Traditional Guitar

The majority of traditional acoustic guitars utilized by electro-acoustic bands have built-in pick-ups, so they can go through the PA via a backline amp, or direct, normally via a DI box. But you might be utilizing your acoustic for just one or two numbers, then changing returning to electric, therefore it is barely worth having a pick-up fitted – in this case stick an instrument or general purpose mike (should you have one – the majority of vocal mikes will deal if you haven’t), on a boom stand and point it towards the body end of the guitar’s neck from about six inches away. Take care not to point the mike immediately at the sound hole as this may result in feedback issues. Just about any feedback that does occur will be within the low/mid frequencies, so be prepared for it. You can test out mike position until you’ve got the type of sound you desire, bear in mind that, the further towards the headstock you put the mike the greater finger-on-string noise you’re likely to find. And excessive movement by the guitar player will not do a large amount of good for the consistency of the overall sound.

Double Bass

If you need to mike up a double bass (quite a few nowadays already are fitted with pick-ups), you need the mike as close as it can be, and don’t point it at the F holes, just under the bridge yields the best results, except for a bright sound you are able to point the mike at the body end of the fingerboard. Any feedback that does occur will be within the lower frequencies, not surprisingly.


Fiddles have a tendency to be best dealt with by fitting some kind of pick-up (you will find plenty around, varying from affordable to high-priced condenser mike-based models, or even a tie-clip type mike – if you are opting for the latter, attempt to get a cardiod one, or perhaps be ready for feedback fighting. An omni-directional mike constantly seems superior, nevertheless, you really do need to compromise plenty of volume.


Pianos are never the simplest of instruments to mike up to attain a good sound over the full range. One of the ways is to use a boom stand and position the mike over the strings somewhere between middle C and also the top end, with the front panel taken off on an upright, and, obviously, the lid open on a grand. If you an abundance of mikes (as well as mixer channels), then use two of them, one near the bass end, one at the top, especially when the piano is one of your lead instruments. On a grand piano, position one mike halfway down the inside (beneath the lid), and the other beneath the piano in the centre – seems like a strange idea, but it works.


Stick a mike on a straight or boom stand and treat your blowist like you would your vocalist. With seriously powerful brass you have to make sure your mike is capable of handling fairly high sound pressure levels. Most mike manufacturers make a range of fitments for brass to go with the mikes they recommend for these instruments. For the really active player, add a wireless transmitter (and receiver, of course).With powerful, high -end brass instruments like soprano saxes, keep the players well away from the mike or they’ll drown everyone else as well as overloading the PA in a very nasty fashion indeedy.


By yanam49

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