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 ARCHIVED TOPIC: Dynamic microphone placement techniques on the banjo


Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.banjohangout.org/archive/404168

isaacmccarthy - Posted - 07/16/2025:  07:43:04


After a conversation with a sound engineer friend, I realized that micing a banjo is a fairly foreign concept to many people, particularly those who are not involved with bluegrass/string band music.



I made this video to show him some basic dynamic microphone set ups, but wanted to know if anyone else had any experience, preferred positions, or tips of the trade with regards to microphone set up. This obviously was a limited video, since I was just demonstrating how different areas of the banjo will produce different tones when amplified (and it doesn’t take into account condenser microphones), but I figured it might be helpful for someone to get a crash course.



---



I note it in the description of my video, but I find the best dynamic set ups to be a two microphone system, one aimed at the neck and one aimed between the strings and edge of the pot. A distance of about two hands length between the instrument and the microphone seems to work best as well. 



Any observations? Any general tips you've learned? Just trying to collect a wealth of information so that all of our banjos can sound better on stage (although some would say they sound best when not amplified at all! lol.)


Edited by - Texasbanjo on 07/16/2025 08:09:46

Waltraud - Posted - 07/16/2025:  08:32:16


I find a AT pro37 very good live, great pick up close and not so close, it’s light enough to put in a case and also to add on a little clip on arm to a mic stand

Eric A - Posted - 07/16/2025:  08:54:28


All I know is, it can be done. I once watched a good banjo player for a good regional band, do an entire show with an open back Deering Goodtime. It came out the speakers sounding great. If I hadn't been close enough to see, I never would have believed it.



It throws a lot of shade on the idea that you need the big old flathead to "project".  It's all in the electronics now.


Edited by - Eric A on 07/16/2025 08:55:54

Old Hickory - Posted - 07/16/2025:  17:09:10


I'm sure my favorite would have been the one you didn't test: SM-57 pointed between bridge and edge and SM-58 pointed at the neck. Or even SM-57 alone.



SM-57 is an instrument mic because it's designed for close miking. The diaphragm is at the front just behind the grille. The 58 is designed for vocals because the ball grille puts extra distance between the the vocalist's mouth and the diaphragm.



Inside, they're the same mic.



My favorite of what you showed was the 58 pointed low on the head and the 57 pointed at the neck.



Why didn't you use the 57 as the primary mic?

mrbook - Posted - 07/16/2025:  19:16:22


I have always used the SM57 over the SM58 because it's an instrument microphone. I often position it between the bridge and the edge of the head, or at the junction of where the neck meets the pot (a spot I also use for the guitar). I don't see a reason to point a mic at the neck. Lately I have been using an Audio-Technica condenser mic instead of the SM57 (I can't remember which model).

isaacmccarthy - Posted - 07/16/2025:  19:36:17


quote:

Originally posted by Old Hickory

I'm sure my favorite would have been the one you didn't test: SM-57 pointed between bridge and edge and SM-58 pointed at the neck. Or even SM-57 alone.



SM-57 is an instrument mic because it's designed for close miking. The diaphragm is at the front just behind the grille. The 58 is designed for vocals because the ball grille puts extra distance between the the vocalist's mouth and the diaphragm.



Inside, they're the same mic.



My favorite of what you showed was the 58 pointed low on the head and the 57 pointed at the neck.



Why didn't you use the 57 as the primary mic?






In my testing on this banjo, specifically, I found that I enjoyed the lower end sound and balance that I got on the SM 58. I totally get using the SM 57, but for some reason I haven't been as happy with it. Had Short form content on Instagram allowed for a longer video, I definitely was looking to swap them, show the differences. 

 



it's entirely possible that my testing & my ear just gravitate towards a specific sound, but I really haven't loved the sound of the 57 on the body! 



You all are giving me plenty of fun ideas and things to try out… So many ways to get a good sound! 


Edited by - isaacmccarthy on 07/16/2025 19:39:08

isaacmccarthy - Posted - 07/16/2025:  19:42:34


quote:

Originally posted by mrbook

I have always used the SM57 over the SM58 because it's an instrument microphone. I often position it between the bridge and the edge of the head, or at the junction of where the neck meets the pot (a spot I also use for the guitar). I don't see a reason to point a mic at the neck. Lately I have been using an Audio-Technica condenser mic instead of the SM57 (I can't remember which model).






Your placement descriptions make total sense. For a live setting, I totally see where you're going and would be happy to mic the instrument there! I have found, that for recording purposes, micing the neck allows for a slight stereo pan of the two banjo tracks.(accounting for body mic).  I really like the space and width you get, and find it makes for a better result sonically than one dynamic microphone. The two mics capture some of the highs and detail from the neck while still getting a good body on the lows. Super in the weeds for sure, but I'm interested in getting the best sound I can with the equipment I have.



 



Condenser microphones are a whole other ball game, and my testing here was really just meant to show a basic Range of sounds you can get on the instrument, particularly considering for use cases where the banjo is less common. (The kind of example I wish I had when I started! Even if it's not perfect, it's something.)


Edited by - isaacmccarthy on 07/16/2025 19:44:38

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