Boss BR-1180 User Manual page 8

Microphone Placement
Common Microphone Situations
Individual Vocalist
A good, clean vocal recording usually requires isolation from other instruments and the
use of a unidirectional mic. Also remember that a condenser mic is going to be more
sensitive than a dynamic mic and probably should be your first choice for recording
vocals in most situations. Generally you will want to place the microphone somewhere
between the mouth and nose of the vocalist. You will also may want to put a little bit of
distance between the microphone and the vocalist. Approximately 8 inches. This will
help reduce "boominess" that is created due to what is called the proximity effect.
Use a Pop Filter to reduce the amount of "pops" created from harsh consonants such as
"p," "b," "d," and "t." An extremely effective pop filter can be made by stretching nylon
stocking over an embroidering hoop or even a coat hanger. Then place it a couple inches
from the microphone between the vocalist and the mic.
The consonant "s" can be desirable to help create clarity in a vocal line but it can be
potentially harsh or piercing. The emphasis of "s" and "sh" sounds, called sibilance can
be reduced by cutting the high EQ for the vocal channel around at 8kHz. The BR-1180
also has a de-esser as part of its vocal multi effects.
Acoustic Guitar
For acoustic guitar you will want to use one or even two unidirectional condenser
microphones. If you are using only one mic, try placing it three to six inches from the
front of the guitar's sound hole. You could also place the mic 6 to 12 inches from the
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12 fret of the fretboard. Use your ears as a guide. For 2 microphones, try placing one
microphone at the 12
Another option would be to stereo mic the guitar from about 3 to even 6 feet away to also
capture your room's natural reverb. And again, your ears will be the best judge as to how
you want to capture the sound of the guitar.
Note: When using microphones in close proximity to each other you may experience
an undesirable effect known as phase cancellation. Phase cancellation occurs when two
microphones inadvertently capture the same soundwave but with opposite sound
pressures. As one mic's soundwave gets stronger, the other's gets weaker. If microphones
are out of phase you may hear a "swirling" sound when you listen to them together. You
may also notice a significant drop in volume. Two microphones that are 180 degrees out-
of-phase will cancel each other out completely.
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fret and another at the bridge or in front of the sound hole.
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