8 Handy Microphone Techniques You’re Probably Not Using (Yet)

Make better, more interesting recordings with these simple ways to get creative with microphone placement when recording.

Whether they’re pointed at an acoustic guitar bridge, pressed right under the nose of an enthusiastic vocalist, or dangling high above a drum kit, microphones are arguably one of the most important components in a recording set up. In audio production, they are the gateway between the physical and the electrical, capturing sound waves created by performers in a room, converting these into signals that can then be treated and shaped any way we want in a DAW. We talk a lot about plugins and how to get the most from them here at Waves, for today, we’re parking plugins off to one side to help inspire you to try some alternative ways of getting your tracks down in your sessions with whatever microphones you have in your collection.

There’s a whole bunch of ways we can place microphones around a source, but all too often we default to stock methods. Align the microphone with the source, position it six inches away – it’s all good, practical advice, but it’s also a little boring and can lead to uniformity. To break up your recording habits and make more unique recordings, why not challenge yourself with some new mic placement ideas, here’s eight ways to do things a bit differently with your mics.

1. Record Two Sources Simultaneously for Unique Results

Recording multiple sound sources with a single microphone isn’t just a budget workaround, it’s a creative choice as well that can provide organic and cohesive sounding recordings. Whether you’re recording a live performance, a duo, or even a small ensemble, this technique is great for capturing an intimate, dynamic sound that can be difficult to fake with multiple mics.

Why Record Two Sources at Once?

Some of the most memorable recordings in history have leaned into this approach. The Beatles, for instance, often placed two singers around a single mic, resulting in a natural vocal blend that highlighted the chemistry between performers. This setup doesn’t just save resources; it also captures the nuances of performers interacting in the same space, adding a human touch to the recording.

How to Record Single Mic Style Right

One of the best tools for this technique is a multipattern microphone set to a figure-of-eight polar pattern. This pattern is particularly effective for two sound sources, such as singers, placed on opposite sides of the mic. The null points on the sides of the figure-of-eight pattern help reject room reflections, offering cleaner and more focused recordings compared to an omnidirectional mic. Here’s a quick 3 step setup guide to help you get started with this method:

1. Positioning the Performers:
   Place each sound source (such as two singers) on opposite sides of the microphone. Ensure both performers are the same distance from the mic to maintain a balanced sound, or adjust distances to prioritize one source over the other.
2. Use Pop Filters:
   Attach pop filters on both sides to minimize plosive sounds from each vocalist and to ensure clarity in the recording. If you’ve got over 12 inches between the vocalists and the mic, you may not need a pop filter at all.
3. Experiment with Balance:
   Have the performers experiment with slight changes in their distance to the mic. This will allow you to fine-tune the volume balance without needing additional processing.

This method isn’t limited to singers, it’s also great for capturing two instruments, such as an acoustic guitar and a vocalist.

2. Using a Talkback Mic for Character

Talkback microphones, while rarely seen in home studios today, were essential tools in the golden age of large-format console recording. Originally designed for communication between the control and live rooms, these were equipped with heavy built-in compression to help make soft voices easier to hear from the other room. Though their primary purpose was functional rather than creative, their compressed, lo-fi sound unexpectedly became a hallmark of raw, energetic recordings - most famously shaping Phil Collins’ iconic drum sound on “In the Air Tonight”.

You don’t need a dedicated talkback mic or a high-end console to harness this vibe. With a little creativity, any mic can help you achieve a similar effect, here’s how:

1. Set Up a Room Mic:
   • Add an extra microphone to your session, positioned at a good distance from the main sound source.
   • For drums, place it in a corner of the room or at an unusual angle to emphasize the ambient space.
2. Process the Signal in Your DAW:
   • Apply heavy compression to flatten the dynamics and emphasize the room's natural reverb.
   • Experiment with saturation to add warmth and grit, giving the sound a lo-fi, vintage character.
   • If working with drums, use a snappy noise gate to cut off the decay, emulating the iconic gated reverb effect.
3. Blend with the Close-Mic Tracks:
   • Bring the processed mic channel into your mix as a layer.
   • Adjust its volume to enhance the energy and atmosphere without overpowering the clarity of the close-mic’d tracks.

Why This Works

This technique adds a textured, "off-the-wall" perspective to your recordings. By capturing a less conventional version of the sound source, you create a unique layer that contrasts with the polished clarity of traditional close mics. It’s perfect for drums, vocals, or even acoustic instruments - anywhere you want to fuse in a sense of additional space and character into your recordings.

So, don’t be afraid to get experimental. That extra mic you have collecting dust in your studio may very well become a secret ingredient your next recording needs.

3. Recording Upright Piano From Below

Some instruments, like a trumpet, are generally straightforward to record. Point the mic at the sound source, and adjust distance to either blend it with the room or keep it up front. Others, like the upright piano, present a more complex array of options when it comes to mic setup. One way is to point the mic directly at the front panel (above the keys), or a stereo pair of mics approximately where the player’s ears are.

Another is to take the front panel off and record the strings themselves, capturing the vibrant highs from the treble strings and the deep lows from the bass strings.

Our suggestion, though, is to take off the bottom panel (by your feet) and approach recording the instrument from below.

This alternative microphone technique will give the piano a warm and woody tone that makes for an intimate flavour. Placing the mic at this angle will yield some interesting results, as you’ll also capture the pedal noise and a rumble as the player engages them. It would be wise to make sure the sustain pedal isn’t too squeaky first, as this unwanted noise will ruin an otherwise solid recording.

4. As an Ambient Microphone

Here’s another take on using an additional microphone to capture a different perspective in a recording. When a microphone is placed further away from source, reflective sound can typically be greater in intensity than the source itself. In other words, the natural room reverb and tone are captured as part of the sound itself, and can become the main focus of the recording. In comparison to the tight, present sound of a close mic’d setup, a microphone placed far away and pointed off kilter will create a sense of the natural space the sound is in.

As the distance of your second ambient mic from the source mic increases, you will have to increase the mic's gain on the ambient mic input to maintain the same relative level as a close mic setup. You’ll want to watch out for unwanted environmental sounds in your chosen recording space, and even outside, the room. The hum of a refrigerator, yelling on the street, a projector fan, cars zooming past a building - these kind of sounds we typically don’t want in our recordings. Another thing you can try if you feel you’re not getting the desired room size or sound is to move your second microphone out of the room itself, of course, you’ll need to keep the door open to let the sound naturally flow between the spaces.

5. To Double-Track a Recording

Let’s go back to getting more from a single microphone. Double-tracking is a technique widely used throughout all styles of popular music - If it’s nice, play it twice. The origins of double-tracking can be traced back to the mid-20th century, with pioneers like Les Paul using the multi-track recording technique to create the illusion of a bigger, more polished sound. This technique exploded in popularity during the 1960s, thanks to the likes of John Lennon, in particular, who was known for his signature double-tracked vocal sound. It became a defining characteristic of many pop and rock records, but we reckon you’re not using your mic to double-track enough.

The appeal of double-tracking is obvious. The slight variations between the two takes, whether it’s timing, pitch, or tone create a richness which fills out the mix and gives it more life. By keeping the setup the exact same each time, the listener’s ears are focused on the subtle variations in performance, but you can also choose to draw their attention to tonal differences by playing with different mic placements, types, or even room acoustics on each pass.

For example, a dry, upfront vocal take can be paired with a more distant, reverberant mic placement to create a dreamy, otherworldly vibe. Or you can use contrasting mics (say, a condenser on one take and a dynamic on the other) to get a punchier, more varied sound. In today’s digital age, where editing is easy and precise, double tracking offers a way of altering the texture and mood of a track in unpredictable ways. With two different takes recorded, you’re then able to blend or set the tracks apart in the mix as you see fit.

Of course, if double tracking doesn’t quite give your the kind of power and energy you’re looking for, then go further, multitrack your parts to create larger sounding elements such as gang vocals.

6. Move Yourself - Not The Mic

Most instruments and the musicians who play them tend to not move around a lot in the studio. Now, as engineers, our role is to move microphones around these performers to get the right sound from them, but have you thought to instead move the instrument or performer around the microphone?

Instead of endlessly moving a mic around the neck of an acoustic guitar to find the perfect spot why not move the guitarist instead? This might seem simple, but this refreshed take on the status of the mic in your setup can lead to some happy accidents in both performance and recording and it’s easy to do if your performer is sitting on a chair with wheels.

Another simple way to apply this "move yourself, not the mic" technique is during percussion instrument recording. Place your mic anywhere in the room, hit record, and experiment by moving yourself around the room while you play your tambourine, shaker, triangle, or woodblock. Percussion often sounds overly harsh when recorded close-up to the mic, so adjusting your distance can help achieve a more balanced and natural tone. You can also use distance creatively to add tonal variation to your track. Try playing further away from the mic during verses for a softer, more spacious sound, and step closer in the chorus sections for a punchier, drier effect.

7. Re-amp Another Recording

A technique beloved by savvy producers and mixing engineers, re-amping involves taking a recorded audio track and playing out of your DAW through a mic’d up guitar amplifier, thereby capturing the output and color of the amp to a new track.

For producers who typically record electric guitar and bass guitars straight in at their audio interface, re-amping is a fairly quick and easy way to add some natural character and tone into those recordings. Regardless of whether you’re working in a perfectly designed acoustic space or not, there are certain sonic benefits to taking direct recorded tracks and livening them up by moving some real air in the room and recording it. What’s also nice is that when you’ve outputted your audio into the input of your amp you can get hands on with microphone placement and with the dials on the amp’s head. As the performance is already down, you get to be truly the engineer in finding the perfect balance of character from the amp and sonic impact from mic choice and placement.

8. Recording Off-Axis

If there’s one takeaway from this exploration of microphone techniques, it’s this one, experimenting with off-axis placement. Legendary producer and engineer Al Schmitt, a master of producing natural records often relied on mic type and mic positioning instead of EQ to shape the tone of his recordings. His philosophy of “using the mic as an EQ” is a timeless principle, encouraging us to think of the microphone as an extension of the performance itself.

Placing your mic slightly off-axis, such as angling it at 45 degrees or moving it away from the center of the guitar amp or instrument can drastically alter the tone. These simple adjustments are also a quick and easy way to reduce harsh high-end frequencies, bringing focus to a richer midrange, or even highlight the room’s natural acoustics. It’s a subtle yet effective way to shape your sound at the source. Just because you mostly record sounds from the front of your mic doesn’t mean you always should!

Try Something New Next Time Your Record

Experimentation is at the heart of every great recording, and your microphones are some of the most versatile tools in your studio. From double-tracking and re-amping to off-axis recording and creative talkback-like mic techniques, each approach opens new doors for creativity and sonic exploration.

The beauty of these methods lies in their simplicity, most of them don’t require expensive gear, just a willingness to step outside your comfort zone and reimagine how sound can be captured. Whether you’re using distance to create dynamics, layering contrasting takes, or simply moving the mic to sculpt tone, these techniques remind us that recording is as much about curiosity and intuition as it is about technical skill.

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