Microphone Position for Vocal Recording

How to position a condenser mic for vocal recording

Rule #1: Don't eat the mic.

Stage dynamics like the SM58 are designed for very close placement, up to and including physical contact with the singer's mouth.

Unlike stage dynamics, large-diaphragm studio condensers are not designed to be taken internally. The singer's mouth should be at least six inches (15cm), if not 10-12 inches (25+ cm), from the grille of the microphone.

The Roswell Colares and Aztec microphones have even more "reach;" these could be positioned 18-24 inches (60cm) from the singer's mouth, and still sound clear and intimate (assuming the room has appropriate acoustic treatment).

Large condenser mics excel at capturing detail and nuance, even at a distance of six to 24 inches. Moving the mic closer merely invites plosives and exaggerates proximity effect (bass boost). Putting more space between the singer and the microphone allows the mic to capture a more natural sound, and creates a bigger "sweet spot"  -- meaning you'll have less level change if the singer moves his or her head while singing, which in turn means you'll need less compression later to deliver a consistent volume in the vocal track.

Rule #2: Flip it & tip it

Hang the microphone upside down, with the grille at forehead height. Tip the grille away from the singer, so that it points at the singer's chin from above.

This position might seem unconventional, but it delivers several benefits:

• It moves the mic's capsule out of the "blast zone," reducing the likelihood that the singer exhales forcefully onto the capsule (which would create a plosive pop).
• It reduces the capsule's exposure to humidity, smoke, and whatever else might be flying out of the singer's mouth at your expensive microphone.
• It allows the microphone to hear chest resonance, which usually results in a richer, rounder vocal sound.
• It often eliminates the need for a pop filter, because most singers will not tip their heads back to sing up at the microphone. Given that every pop filter colors the sound of the microphone, whether by whistling due to breath, or resonating, or attenuating frequencies unevenly, removing the filter from your vocal chain is often a sonic upgrade all by itself.

This mic position can be seen in all of the demo videos below. 

Vocal Mic Position Demo Videos

Sam Clayton used a Roswell Aztec tube mic to record vocals for Little Feat's cover of the Muddy Waters song, Can't Be Satisfied.

Gabby Gordon used a Roswell Colares to record vocals for her original song, You I Hold On To.

Karina Iglesias used a Roswell Aztec to record vocals for her Beyonce mashup. (The acoustic guitar mic is a Roswell Mini K87.)