{"id":169,"date":"2019-01-24T13:35:01","date_gmt":"2019-01-24T13:35:01","guid":{"rendered":"https:\/\/rebootrecording.com\/?p=169"},"modified":"2019-06-04T13:59:55","modified_gmt":"2019-06-04T13:59:55","slug":"distance-mouth-mic","status":"publish","type":"post","link":"https:\/\/rebootrecording.com\/distance-mouth-mic\/","title":{"rendered":"Find The Right Distance between Mouth and Mic Fast"},"content":{"rendered":"\n
To figure out the right distance between your mouth and\nmicrophone you will have to find out which type of microphone you are using.\nThe most common microphone for vocal recording is a large diaphragm condenser.\nIn 95% of cases this is the case and chances are the microphone you are using\nyourself is one. A good starting point\nfor most of these microphones is about 6 inches<\/strong>.<\/p>\n\n\n\n Understanding the proximity effect is vital to figuring out\nhow your distance to the microphone will affect the sound of your track. The proximity effect<\/strong> is a phenomenon which causes low frequencies to increase the\ncloser you get to the microphone<\/strong>. <\/p>\n\n\n\n So going to close can ruin an otherwise good recording. At\nthe same time being too far away can take the bass out of your recording and\nmake it sound airy. But don\u2019t panic. After doing a few test runs you should be\nable to figure out how your microphone behaves at different distances. You can\nalso use this to your advantage. If you\ndesire a brighter sound, move further away from the mic<\/strong>. For a deeper, bass heavier sound move in a\nlittle closer<\/strong>. <\/p>\n\n\n\n This type of microphone is highly dependent on the proximity\neffect. So our distance will have a strong effect on how the sound on your\nfinal recording turns out. <\/p>\n\n\n\n 4 inches:<\/strong> If you\nare about 4 inches away from your cardioid microphone it will produce a warm\nand intimate sound. The minimal distance you can have between a cardioid\nmicrophone and your mouth is 4 inches. Anything less will negatively affect\nyour recording<\/p>\n\n\n\n 12 inches:<\/strong> 12\ninches distance between you and the mic will give you an airy and open sound.\nThis recording will appear to be very bright.<\/p>\n\n\n\n In most cases <\/strong>going\nfor 6 inches<\/strong> will yield you good\nresults. If you are still unsure in your ability to pick up on these nuances,\ngoing for more distance rather than less is advisable, so your recording will\nnot be ruined by overly heavy bass.<\/p>\n\n\n\n Omnidirectional microphones are the ones least influenced by the proximity effect<\/strong>. This enables you to get close and cozy with your mic without affecting the final tone too much. Still maintaining a reasonable distance of a few inches is sensible, when you like moving around a lot while recording.<\/p>\n\n\n\n Whispery vocals can be realized especially well with this\ntype of microphone at a distance of 1 inch or less, without ruining your recording.<\/p>\n\n\n\n They are typically used for recording orchestras. Nevertheless they have great applications in your home studio, when you are recording acoustic guitars, percussions or background vocals. Basically everything that sounds great with some room ambience.<\/strong><\/p>\n\n\n\n This type of microphone is meant to be use up close<\/strong>. The lower end is usually artificially lowered to counteract the proximity effect. So if you have a dynamic condenser get as close as you can<\/strong> to the microphone and start recording. This type of microphone is well suited for rock vocals and even screaming<\/strong>.<\/p>\n\n\n\n You can use this microphone at different distances too and\ntest how things turn out. But generally, since it was designed for up close\nuse, using it in the intended range will get you the best results.<\/p>\n\n\n\n Figure 8 microphones pick up noise from two opposing\ndirections. Imagine it this way: You are listening to two guys left and right\nof you and ignore everything else. At first this type of recording pattern\nmight seem a bit nonsensical, but there are a lot of cool techniques and\napplications with a figure 8 microphone:<\/p>\n\n\n\n Why not just use an omnidirectional microphone for this? The side rejection<\/strong> of the figure 8 pattern proves to be a strength, because the two sounds are now separated distinctly<\/strong>, due to the side rejection. Extraneous room noise is also cut out<\/strong> to a certain extent, as the mic only picks up the sound sources that you aim it at. <\/p>\n\n\n\n The vertical position of the microphone affects the sound more than you think. Not only should the microphone be placed in a way that makes it comfortable to record<\/strong>, but also which type of frequencies of your voice you want to predominantly capture.<\/p>\n\n\n\n High frequencies tend to beam slightly downwards from the nose and mouth<\/strong>. So any placement below your nose will result in slightly brighter recordings<\/strong>. Some consonants like \u201cS\u201d and \u201cP\u201d tend to sound more poorly on a directly vertical axis<\/strong>.<\/p>\n\n\n\n Optimal horizontal settings don\u2019t really exist. They\u2019re different\nfor every performer, because we all move around in our own unique way while\nrecording. The best you can do is try to\nuse the pop filter, if you are in fact using one, as a reference while\nrecording.<\/p>\n\n\n\n How your microphone is angled certainly affects how your final recording sounds<\/strong>. Even if you keep the same distance between you and your microphone, the outcome will differ drastically depending on how the microphone is placed in relation to your mouth.<\/p>\n\n\n\n Even the best large diaphragm condenser microphones have less sensitivity to the high end of the frequency spectrum when recording off-axis<\/strong>. This way you could in theory soften background vocals<\/strong> or do anything else that you deem sensible. Keep in mind though, that recording off-axis is a tricky thing that can quickly ruin a good recording if not employed properly. Most budget to mid-range large diaphragm condenser mics often have an uncontrolled off-axis response<\/strong> and create all sorts of nasty peaks and troughs.<\/p>\n\n\n\n The most principled thing to do is stay on-axis<\/strong> and do the necessary editing post recording.<\/p>\n\n\n\n Now that you know what types of factors are important in finding\nthe right microphone placement, it\u2019s your turn to start experimenting and\ntrying out different settings. We hoped this little guide helped you along the\nway in your journey of becoming a more adapt producer.<\/p>\n","protected":false},"excerpt":{"rendered":" To figure out the right distance between your mouth and microphone you will have to find out which type of microphone you are using. The most common microphone for vocal recording is a large diaphragm condenser. In 95% of cases this is the case and chances are the microphone you […]<\/p>\n","protected":false},"author":1,"featured_media":225,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false},"categories":[1],"tags":[],"jetpack_featured_media_url":"https:\/\/rebootrecording.com\/wp-content\/uploads\/2019\/04\/Webp.net-resizeimage.jpg","_links":{"self":[{"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/posts\/169"}],"collection":[{"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/comments?post=169"}],"version-history":[{"count":4,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/posts\/169\/revisions"}],"predecessor-version":[{"id":461,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/posts\/169\/revisions\/461"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/media\/225"}],"wp:attachment":[{"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/media?parent=169"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/categories?post=169"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rebootrecording.com\/wp-json\/wp\/v2\/tags?post=169"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}How Close You Should Be: The Proximity Effect<\/h2>\n\n\n\n
Distances for the Different Types of Microphones<\/h2>\n\n\n\n
Cardioid<\/h3>\n\n\n\n
Omnidirectional<\/h3>\n\n\n\n
Dynamic<\/h3>\n\n\n\n
Figure 8<\/h3>\n\n\n\n
How High Should the Microphone Be Placed?<\/h2>\n\n\n\n
The Right Angle<\/h2>\n\n\n\n
Conclusion<\/h2>\n\n\n\n