Microphone Technique
General Tips for Using Ribbon Microphones
The SF-2 is highly versatile and well suited to a wide range of instruments, particularly those
used in classical and scoring work where the SF-2’s lack of microphone induced “hype” captures
instruments in an extremely natural sounding way. Its smooth frequency response characteristics
and ability to capture minute detail make it an excellent choice for strings, woodwinds,
percussion and all acoustic instruments.. Phase-related distortion and irregular frequency peaks
are conspicuously absent.
Strings
sound very sweet and clean with ribbon microphones. Place the SF-2 anywhere from two
to several feet from the instrument. For larger string sections, place the microphone(s) slightly
above the instrumentalists and angled down; a distance of three or four feet will do the trick
nicely.
Reed Instruments
sound full and never edgy when captured with an SF-2. Normal working
distances are about a foot or two from the instrument.
Brass Instruments
and ribbon microphones go together very well. Mic the instrument from a
distance of a couple of feet, and increase the working distance a little if several instruments are
being used.
Pianos
sound excellent with ribbon microphones and are free of phase-related comb filtering.
The bass is full and rich while the top remains clean with no clatter. Mic the piano at a distance
of one foot to several feet, depending on taste. A more direct upfront sound will be achieved
when the microphone is placed closer to the soundboard.
For capturing a piano in stereo, place the SF-2’s apart, one over the bass strings and the other
over the high strings. The farther the mics are from each other, the wider the stereo spread. For a
more direct stereo effect, the microphones may be placed in an X-Y pattern a couple of feet from
the center of the soundboard. It is often worthwhile to remove the piano lid and suspend the
microphone(s) above the soundboard for the most natural sound. When mics are placed inside a
piano with a raised lid, the sound reflecting off the lid may be undesirable.
Amplified Instruments
Caution!
The SF-2 is not recommended for close miking loud sound sources. Amplified
instruments should be miked from a distance of 18 inches or more. The smooth, undistorted low-
end response is very useful for electric guitars and electric bass. Since guitar amplifier speakers
are often beamy, experiment with mic placement to find just the right spot. Placing the mic at
greater distances from the speaker cabinet adds more room ambience to the mix. You will find
that a ribbon microphone does not add undesirable elements to the sound. Basically, what you
hear at the amp is what you’ll get in the control room and in your recordings.
11
