Microphone placement is the single most impactful factor in your recording quality—more than microphone model, more than room treatment, more than post-processing. Professional audio engineers spend years developing placement instincts because they know that the right position can make a budget microphone sound professional, while poor placement will undermine even the finest equipment.
The Three Variables of Microphone Placement
Every microphone position involves three fundamental decisions that interact to create your sound:
1. Distance
The distance between sound source and microphone affects the balance between direct sound and room ambience. Closer positions capture more direct sound with less room character; further positions include more natural reverb and environmental context.
2. Angle
The angle at which the microphone faces the sound source affects frequency response and off-axis colouration. On-axis positioning (pointed directly at the source) captures the fullest frequency range; off-axis positions can reduce harsh frequencies or plosives.
3. Height and Vertical Position
Vertical positioning affects which frequencies dominate the capture. Sound sources often produce different qualities at different heights—the chest voice versus head voice, the body versus strings of a guitar.
Before placing your microphone, put your ear where you plan to place it (being careful with loud sources). What you hear is approximately what the microphone will capture. This simple technique helps you find optimal positions quickly.
Placement for Voice Recording
Speech and vocals share similar placement principles, though music vocals often benefit from closer positioning for intimacy.
Distance Guidelines
- Very close (5-10cm): Warm, intimate sound with strong proximity effect bass boost. Good for ASMR, intimate voiceover, radio voice. Requires pop filter.
- Standard (15-25cm): Natural, balanced sound. Ideal for podcasting, narration, and most voice work.
- Further (30cm+): More natural, less processed sound with more room character. Requires quiet, treated room.
Angle Techniques
On-axis (0°): Speaking directly into the microphone's front. Captures the fullest frequency response but maximises plosives and sibilance.
Slightly off-axis (15-30°): The sweet spot for most voice recording. Reduces plosives while maintaining clarity. Position the microphone to the side of your mouth rather than directly in front.
Significantly off-axis (45°+): Reduces high frequencies and brightness. Can help tame harsh or sibilant voices but may sound dull with some microphones.
- Place the microphone at mouth level or slightly below
- Angle it upward at about 15-20 degrees
- Position it slightly to one side of your mouth (15-30° off-axis)
- Maintain about 15-20cm distance (one hand span)
Understanding the Proximity Effect
Directional microphones (cardioid, supercardioid, figure-8) boost bass frequencies when the source is very close. This "proximity effect" can be a creative tool or a problem depending on how you use it.
Using Proximity Effect Creatively
- Get closer for a warmer, more intimate "radio voice"
- Pull back for a more natural, open sound
- Thin voices can benefit from closer positioning
- Bass-heavy voices may sound better at greater distance
Controlling Unwanted Proximity Effect
- Increase distance from the microphone
- Apply a high-pass filter in post-production
- Use an omnidirectional microphone (no proximity effect)
- Enable the bass roll-off switch if your microphone has one
Placement for Different Voice Types
Individual voices respond differently to placement. Experiment with these starting points:
Deep voices: Position slightly further away to reduce proximity bass boost. Consider slight off-axis positioning to reduce boominess.
Thin or bright voices: Closer positioning adds warmth. Keep the microphone on-axis to capture full frequency range.
Sibilant voices: Position off-axis (30-45°) to reduce harsh "S" sounds. Consider positioning the microphone slightly above mouth level, angled down.
Quiet speakers: Get closer to improve signal-to-noise ratio. Use a microphone with high sensitivity or low self-noise.
Recording Acoustic Guitar
Acoustic guitar placement varies dramatically based on the sound you want. There's no single "correct" position—each creates a different character.
Common Placement Options
12th fret position: Point the microphone at where the neck meets the body. Balanced tone with good articulation. Most versatile starting point.
Sound hole: Captures maximum bass and resonance but can sound boomy and unnatural. Use off-axis positioning or greater distance if trying this position.
Bridge area: Emphasises attack and higher frequencies. Bright, percussive sound good for strumming patterns.
Further back (room position): Captures the guitar's full sound as it develops in the room. Requires good acoustics but sounds natural and three-dimensional.
For a balanced acoustic guitar sound, start with the microphone about two fingers' width (3-5cm) from the 12th fret, pointed at the sound hole. Adjust from this starting point based on what you hear.
Multi-Microphone Considerations
When using multiple microphones, phase relationships become crucial. Sound arriving at different microphones at slightly different times can cause cancellations and reinforcements that colour your sound unpredictably.
The 3:1 Rule
When using two microphones on different sources (such as two podcast hosts), the distance between the microphones should be at least three times the distance from each microphone to its source.
Example: If each host is 20cm from their microphone, the microphones should be at least 60cm apart from each other.
The Same Distance Rule
When using multiple microphones on the same source (such as a stereo pair on guitar), ensure both microphones are equidistant from the source to avoid phase issues.
Environmental Considerations
Your room affects optimal placement. In reflective rooms, closer positioning reduces the ratio of reflected sound to direct sound. In well-treated rooms, you have more flexibility to experiment with greater distances.
Dealing with Noise Sources
Use your microphone's polar pattern to reject unwanted sounds:
- Position the null (rejection) points toward noise sources
- For cardioid microphones, point the back at the noise
- For figure-8 microphones, point the sides at the noise
- Getting closer to your source improves the ratio of wanted to unwanted sound
Testing and Refinement
Microphone placement is an iterative process. Professional engineers routinely spend time experimenting before committing to a position.
A Systematic Approach
- Start with a conventional position based on guidelines
- Record a short test sample
- Listen critically on good headphones or speakers
- Adjust one variable at a time (distance, angle, or height)
- Record another test and compare
- Continue until satisfied
Keep notes on what works in your specific room with your specific microphone. Over time, you'll develop intuitions that let you dial in great positions quickly.
Conclusion
Perfect microphone placement is part science and part art. The technical guidelines in this article give you starting points, but your ears make the final decision. Don't be afraid to break "rules" if the result sounds better to you.
The investment of time in learning placement pays dividends on every recording you make. Unlike equipment that might become obsolete, placement skills last a lifetime and work with any microphone you'll ever use.
For more on capturing great audio, explore our guides on room acoustics and reducing background noise.