Microphone Techniques for Live Sound Production

Ben Cochran Ken "Pooch" Van Druten

Authored by Ben Cochran, Ken "Pooch" Van Druten

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Course Code: OMPRD-255

Master the art of microphone selection and placement for live sound in this undergraduate music production course. Learn how polar patterns, proximity effect, wireless systems, and room acoustics impact real-world performances—and develop the skills to capture clear, controlled sound in challenging live environments.

Level 2
Intermediate
Modality
Online
Duration
12 Weeks
3-Credit Tuition
$1,575
Semester Starts
Apr 6
Accreditation
NECHE

Key Learning Outcomes

  • Select appropriate microphones and placement strategies for live sound sources based on polar patterns, SPL, frequency response, and performance context
  • Apply proximity effect, polar behavior, and mic positioning to control tone, isolation, and gain before feedback in live environments
  • Identify and resolve electrical, phase, and interference issues affecting microphone performance in live sound systems
  • Use wired, wireless, and direct input solutions effectively to capture clean, reliable signals in live production settings
Overview Syllabus Requirements Instructors Related Music Career Role
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Course Description

This course will emphasize the differences in approach to microphone techniques, and give you the tools necessary to make informed decisions about microphones in live sound. You will learn standard microphone selections and various microphone techniques specific to live sound applications.

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Miking in the live sound environment is often difficult due to acoustic challenges and possibilities. Microphone choices, pickup polar patterns, and placement become far more important in the acoustic to electric transduction capture of instruments in the live sound environment vs. studio recording because of many differing factors. This course will emphasize the differences, and give you the tools necessary to make informed decisions to combat the difficulties associated with microphone techniques in live sound.

The first half of the course will focus on types of microphones, selection and placement techniques, anatomy and function of dynamic and condenser microphones, polar patterns, and various applications. The second half of the course will focus on challenging environments, room acoustics, feedback, multiple adjoining sources, phase alignment issues, electrostatic interference, electrical resistance/impedance, sensitivity, maximum SPL capture, and wireless technologies.

Through these 12 weeks you will learn to understand, identify, and apply miking techniques in challenging environments.

By the end of this course, you will be able to:

  • Differentiate dynamic, condenser, and ribbon microphones and explain their internal components and operating principles
  • Explain the function and safe application of phantom power in live sound systems
  • Apply stereo microphone techniques and multi-mic configurations while managing phase relationships
  • Maintain and troubleshoot microphones to ensure reliable performance in live production environments
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Syllabus

Lesson 1: Dynamic Microphones

  • Dynamic Microphone Basics
  • Dynamic Microphone Polar Patterns
  • Dynamic Microphone Usage
  • Common Dynamic Microphones in Live Sound
  • Dynamic Microphone on a Snare Drum
  • Assignment 1: Dynamics

Lesson 2: Condenser and Electret Condenser Microphones

  • Condenser Microphone Basics
  • Explanation of Phantom Power
  • Condenser Microphone Polar Patterns
  • Condenser Microphone Usage
  • Common Condenser Microphones in Live Sound
  • Condenser Microphone on Acoustic Piano
  • Assignment 2: Mic Internals

Lesson 3: Why We Close Mic Everything in Live Sound

  • Room Acoustics and Far Away Miking
  • Sheer Volume
  • Gain before Feedback and Resonance and Uncoupling
  • The Mix Destroyer: Multiple Microphones on a Single Source
  • Assignment 3: Multiple Microphones on a Single Source

Lesson 4: Acoustic and Electrical Transduction Characteristics

  • Transient Response
  • Output Level and Sensitivity
  • Overload and Max SPL
  • Impedance
  • Assignment 4: Record a High SPL Impulse

Lesson 5: Drum Microphone Placement

  • Choosing the Right Drum Microphones
  • Multiple Microphone Phase Issues
  • Inside or Outside the Kick Drum
  • Common Microphones and Placement
  • Overheads and Stereo Miking
  • Working with a Mono PA System
  • Assignment 5: Input List

Lesson 6: Ribbon Microphones and Stereo Mic Configurations

  • Ribbon Microphone Basics
  • Ribbon Microphone Polar Patterns
  • Common Ribbon Microphones in Live Sound
  • Simple Setup on a Guitar Amplifier
  • Stereo Microphone Configurations
  • Assignment 6: Placement

Lesson 7: Miking Electric Guitar, Bass, and Acoustic Instruments

  • Guitar Speakers
  • Choosing the Right Microphone
  • Multiple Speakers
  • Guitar and Bass Cabinet Isolation Boxes
  • Speaker Emulator Direct Boxes
  • Contact Pickups and Super Cardioid Microphones
  • Assignment 7: Record an Amplifier Using a Direct Box and a Microphone

Lesson 8: Vocal Microphones

  • Characteristics of a Vocal Microphone
  • Handling Noise
  • The Conversation
  • Proximity Effect
  • Assignment 8: Microphone Technique

Lesson 9: Proper Care of Microphones and Troubleshooting

  • Microphone Care
  • Troubleshooting
  • Is It Broken?
  • Recognizing Microphone Diaphragm ‘Tiredness’
  • Assignment 9: Disassembly and Cleaning

Lesson 10: Multiple Microphones and Direct Box on the Same Source

  • Pros and Cons of Multiple Microphones
  • Spaced Pair, X/Y Placement, Mid-Side, Coincident
  • Shock Mounts
  • Using a DI and Multiple Microphones
  • Assignment 10: Phase Cancellation

Lesson 11: Wireless Microphones and Wireless Technology

  • Transmitters and Receivers
  • Multipath Reflections, Diversity, and Signal Dropout
  • FCC
  • Why Cables Are Better
  • Wireless In-Ear Monitoring
  • Assignment 11: Shure Axient

Lesson 12: Putting It All together

  • Best Mic Choice for the Source
  • The 20 Best Microphones
  • Unusual Solutions
  • Assignment 12: Input Lists of Top Tours

Requirements

Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Students should have experience working with their Digital Audio Workstation (DAW) of choice.

Textbook(s)

Recording

  • Students will need to record the following:
    • Spoken voice in weeks 1 and 2
    • A single source, such as a guitar amplifier or acoustic instrument, in weeks 3 and 10
    • A high transient source, such as a snare drum, in week 4
    • A drum set in week 5
    • A live band in week 6 (using a stereo miking configuration)
    • A guitar amplifier in week 7

Software

Hardware

  • Audio interface with at least 4 mic preamps
  • 2 XLR dynamic microphones and cables (3 recommended)
  • 2 XLR condenser microphones and cables (3 recommended)
  • Direct box (DI box)
  • Multimeter

Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

  • macOS Monterey 12.0 or later

PC Users

All Users

  • Latest version of Google Chrome
  • Zoom meeting software
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection

Instructors

Ben Cochran
Ben Cochran

Author & Instructor

Ben Cochran is an engineer and technology adviser at Audio-Technica in Stow, Ohio, and is the worship and production director at Christ Community Chapel in Hudson, Ohio. He holds a master’s degree in electrical engineering.

Ken "Pooch" Van Druten
Ken "Pooch" Van Druten

Author

Pooch is a tenured and acclaimed producer, engineer, and live sound engineer. His track record of recognition for flawless engineering started at Berklee College of Music and has continued through three Grammy nominations and a history of Platinum and Gold records. He is the FOH engineer and production master behind Jay-Z, Travis Scott, Justin Bieber, Iron Maiden, KISS, Guns N’ Roses, Linkin Park, and many more. He holds close to a dozen FOH engineer accolades.

What's Next?

When taken for credit, Microphone Techniques for Live Sound Production can be applied towards the completion of these related programs:

Related Certificate Programs

Related Music Career Role

Employers look for skills learned in this course, when hiring for the following music career role:

Live Sound Mix Engineer

Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

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