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The main text explains the concepts behind positioning microphones, but if you just want to get on with recording, here are some tips.

Record vocalists 20 to 30cm away from a condenser microphone, being careful to face it the right way. Most large condenser mics are sensitive on the side where the logo is, and not on the top of the microphone. Use a pop shield, a nylon mesh, between the singer and microphone to stop 'p' and 'b' sounds causing the microphone to pop.

Electric guitars are best recorded by putting a microphone in front of a guitar amp. Position it a couple of inches from the centre of the speaker and move it to the side or further away to smooth out the sound if necessary. You can do the same for bass guitars, but many people prefer to plug them straight into the computer. Be sure to use direct-injection (DI) input suitable for guitars.

Position (preferably two) condenser microphones about a foot apart and away from acoustic guitars and orchestral strings, facing the sound board. For violins and violas, this means placing the microphones above the player, but keep them out of the way of the bow. Record woodwind from a metre away, bearing in mind that their sound comes out of any open holes and not just the bell. Brass instruments just need a single microphone a foot away from the bell.

Drum it in

When recording drums, the two most important microphones are the overheads. These are positioned about a metre apart and a metre directly above the drum kit. They pick up a blend of the whole kit, so for a natural drum sound you'll be using these fairly prominently when you come to mix. Try to position and angle them so the snare is equally loud in each one.

The bass drum gets lost in the overheads so it needs a dedicated microphone. In fact, it's possible to get a decent drum sound just with these three microphones, although it doesn't leave much scope to do fun things when you come to mix. Tuck the microphone close to the hole in the bass drum skin. If there isn't one, consider removing the skin altogether.

Snare and tom mics should be positioned where they won't risk being hit with a drum stick, and pointing towards the centre of the drum for a full sound. Get them as close as possible to get the loudest volume you can, thereby reducing the relative volume of the other drums in the microphone, as this will make them easier to mix. It's also worth putting a microphone on the underside of the snare drum, as the snares (metal springs) give it a different sound to the top of the drum.

There is so much cymbal level in the overheads that dedicated microphones aren't necessary, but a hi-hat microphone might still come in handy. Position it so that it doesn't get a blast of air as the cymbals close together, and angle it to reduce the amount of snare drum it picks up.

	1 A pop shield stops bursts of air distorting the microphone and keeps the vocalist the right distance from the mike.

	2 Two overheads record the whole drum kit, while individual 'spot' mics give you added control over each drum.