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MTR231
Multi-Pattern Studio Condenser Microphone
9
Microphone Placement
finger picking is usually naturally warmer. To record an even, full tone, it is sug-
gested that you begin by positioning the microphone 3–6 inches above the center
of the bridge. This will help emphasize the higher frequencies and pick up the
attack sound of the finger picking. If the microphone is picking up too much low
frequency from the sound hole, move the microphone so that it is slightly off-axis
from the guitar. If you have a pair of MTR231 microphones, try one positioned at
the fingerboard and the second over the bridge of the guitar, or have one micro-
phone positioned close to the guitar and the second a few feet away to pick up the
sound of the room, blending the two sources together.
Piano
The piano is a very challenging instrument to capture, and there are numerous
microphone techniques that can be used. For close-miking the piano, position
the MTR231 just inside the piano, centered between the soundboard and the
open lid. The closer you move the microphone toward the instrument the more low
frequencies the microphone will pick up. For an ambient recording like that used
in a classical performance, position the microphone outside the piano, facing
into the open lid. For a more contemporary ensemble sound, place two MTR231
microphones in the piano, positioning one over the bass strings and one over the
high strings at a distance of 6–12 inches apart. When miking an upright piano
with a single microphone, position the microphone just above and in front of
the piano with the top open, centered over the instrument. If you have a pair of
MTR231 microphones, position the microphones over the open top of the piano
with one microphone over the bass strings and one over the high strings. You can
also position two mics in front of the kickboard area approximately 8 inches over
the bass and high strings.
Overhead Drum Kit
Thanks to its extended high frequency response and fast transient response, the
MTR231 performs outstandingly when used as an overhead cymbal microphone.
You can position one MTR231 on a boom mic stand directly above the kit point-
ing from front to back. For stereo miking, use two MTR231 microphones placed
over the drum set at a distance of three to five feet. You can experiment with the
exact placement depending on the size of the room and whether you’re looking
for an ambient or close-miked sound. In general, when miking a drum kit, it’s a
good idea to start with the overhead mics. Even though you use the overhead mics
mostly for the cymbals, you can get the entire kit to sound great with just one
overhead. Using overhead mics, it is easier to simply turn up your individual mics
for more attack and thickness in the overall sound.
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