How to mic a band for live sound: a source-by-source guide

2026-10-14 · 10 min de lectura

Use cardioid or supercardioid dynamics for vocals, snare, toms and guitar amps, condensers for overheads and acoustic sources, a low-frequency mic for the kick, and DI boxes for bass and keys. Match the pattern to the wedges: Shure says cardioids reject most at the rear, supercardioids at 125 degrees.

Choosing which microphone goes on each source is one of the first decisions you make as a live sound engineer, and one of the most audible. The wrong mic, or the right mic in the wrong place, costs you gain before feedback, adds bleed from everything else on stage and leaves you fighting the EQ all night.

This guide goes source by source through a typical band: vocals, kick, snare, toms, overheads, guitar amps, bass, keys, horns and acoustic instruments. It is written for engineers working pub and club circuits in the UK and US, from a Tuesday night in a 200-capacity room to a festival changeover. Every model-specific claim comes from the manufacturer's own product pages and guides.

There is no single correct mic. There are criteria you can apply with whatever the hire company or the venue has on the shelf that day. We do not list prices, because they change by retailer and region, and hire rates are not published in a way that can be compared.

Dynamic or condenser: which should you use live?

Dynamic mics are tougher and need no power; condensers are more sensitive and detailed but need phantom power or a battery. Shure explains that every condenser has active electronic circuitry, a built-in preamp, and that is why condensers require phantom power or a battery to operate. Moving-coil dynamics work like a small generator and need nothing from the desk.

On stage that turns into a practical rule. For loud, close sources such as snare, toms, guitar amps and vocals on a noisy stage, a dynamic is usually the first choice because it is robust and picks up less of the room. For quieter or brighter sources such as cymbals, acoustic guitars and small percussion, a condenser gives you more output and more top-end detail, as long as stage volume allows it.

One thing people forget: Shure warns that phantom power applied to a ribbon microphone could be harmful. If the guitarist brings a ribbon mic for their amp, make sure phantom is off on that channel before you plug it in.

Which polar pattern helps you avoid feedback?

Live, you almost always want a directional pattern: cardioid, supercardioid or hypercardioid. Shure's polar pattern guide explains that the cardioid is least sensitive at the rear, 180 degrees off-axis, while the supercardioid is least sensitive at 125 degrees and the hypercardioid at 110 degrees. The tighter patterns give more focused pickup and better rejection of ambient noise and feedback, but only if the wedges are placed for them.

That changes where the monitors go. With a cardioid, the wedge sits directly in front of the singer, behind the capsule. With a supercardioid, angle the wedges towards the rear sides of the mic instead. If you swap the lead vocal mic, check the wedge positions too. If the band is on in-ears, most of this problem goes away, and you can save each act's monitor setup as described in our guide to using scenes on a digital mixer.

Shure also flags the proximity effect: directional mics boost the bass as you move closer to the source. Sometimes that adds warmth to a voice; sometimes you need to back the mic off or roll off the low end with EQ.

Which mic should you use on each instrument?

The table below is a starting point built from models documented by their manufacturers. It is not the only option, just a reference you can compare with what is available.

Source	Recommended type	Example documented by the manufacturer
Lead vocal	Cardioid or supercardioid dynamic	Shure SM58: cardioid dynamic with a built-in spherical wind and pop filter
Kick drum	Low-frequency dynamic or boundary condenser	Shure Beta 52A (supercardioid dynamic) or Beta 91A (half-cardioid with integrated preamp)
Snare	Cardioid dynamic	Shure SM57, or Sennheiser e 906, which Sennheiser also suggests for snare
Toms	Dynamic or clip-on condenser	Shure Beta 98AMP/C, cardioid condenser tailored for drums and percussion
Overheads and cymbals	Condenser	Shure SM81, phantom-powered cardioid condenser
Guitar amp	Dynamic close to the grille	Shure SM57 or Sennheiser e 906 (flat-profile supercardioid dynamic)
Horns and saxophone	Clip-on condenser	Shure Beta 98H/C, which clamps onto the bell
Bass and keys	DI box, with or without a mic on the cab	Radial JDI (passive) or J48 (active, phantom-powered)

Placement matters as much as the model. On a guitar amp, a mic pointed at the centre of the cone sounds brighter, and moving it towards the edge or angling it softens the upper mids; try both during line check rather than guessing. On the snare, aim the capsule at the head and away from the hi-hat, so the hat does not dominate the channel. Overheads capture an area rather than a single point, so the goal is a balanced picture of the kit and cymbals.

Write down what worked in your input list and stage plot, including the model and position for each channel, so the next show starts from a known place.

What about horns, acoustic guitars and percussion?

For horns and hand percussion, clip-on condensers save stands and stage space. Shure says the Beta 98H/C clamps onto the bell of wind instruments or the rim of percussion instruments. An SM57 on a stand is still a robust option for a timbale or a cowbell.

Engineer and writer Bruce Bartlett notes on ProSoundWeb that the loudest part of an instrument is not always the best-sounding one: a sax miked right in the bell, he writes, sounds like a kazoo, and an acoustic guitar miked close to the sound hole needs some bass rolled off. If you can get enough gain before feedback from a more natural position, use it. For acoustic guitars on loud stages, a DI from the guitar's pickup, blended with a mic if possible, is usually more stable than a mic alone.

When should you use a DI box instead of a mic?

Use a DI whenever the instrument has a line or instrument output: bass, keys, acoustic guitars with pickups, backing tracks and laptops. A DI converts the signal to a balanced, low-impedance feed the stage box can carry over a long run.

Passive or active depends on the source. Radial describes its JDI as a passive DI with a Jensen transformer that handles extreme signal levels and eliminates hum and buzz caused by ground loops, and notes it is often chosen for high-output basses. Its J48 is an active DI powered by 48V phantom, with no batteries, designed for touring and studio use; it also has a merge switch that sums stereo instruments to mono.

For bass, many engineers use a DI and a mic on the cab together: the DI gives a clean, consistent low end, and the mic adds the character of the amp. If you do this, check the phase between the two channels. Multitrack recordings of the show let you test these choices afterwards, as explained in our guide to doing a virtual soundcheck.

What are the most common miking mistakes on a live stage?

The most common problems are not about which brand you choose but about distance, pattern and paperwork.

Mics too far from the source. Bartlett recommends placing each mic within a few inches of its source, because close miking raises the level at the mic and reduces leakage.
The wrong pattern for the wedge position. A supercardioid with the wedge directly behind it loses its advantage.
Ignoring the proximity effect. Bartlett suggests rolling off the excess bass with the mixer EQ, which also reduces low-frequency leakage.
Phantom left on without checking. A risk for ribbon mics, as Shure warns.
No labels and no notes. If you do not record model, position and channel, every show starts from zero.

Another everyday problem on the UK and US club circuit is arriving to find a different inventory from the one on the venue's spec sheet. What saves you is understanding why you chose each mic, so you can find a sensible substitute from what is there. Loud stages also take a toll on the engineer: see our guide on how to protect your hearing as a live sound engineer.

Who to follow on this topic?

Bruce Bartlett writes about microphone techniques for ProSoundWeb; his article on taming the live stage is a good starting point.
Dave Rat mixed front of house for Red Hot Chili Peppers for 30 years and co-founded Rat Sound Systems, according to ProSoundWeb, which featured him in episode 67 of its Signal To Noise podcast.
Juan Álvarez, co-founder of Be Fun, artist manager in Medellín and co-author of Cómo Vender Más, focuses on how artists organise their careers, including the relationship with their live technical team.

For model-by-model detail, the educational guides from Shure, Sennheiser and Radial are the primary source to check.

Where does Be Fun fit?

Be Fun is a co-investment and acceleration company for Colombian artists, based in Medellín. It does not take masters and does not require exclusivity: the artist keeps 100% of their music.

For a sound engineer, Be Fun is relevant when you work with a growing artist who needs to organise their live show, technical rider and career plan, and wants a partner to co-invest in that growth. It is not the right option if you are looking for equipment hire, a staff job as a technician or a miking course: Be Fun is not a sound company or a school. If your artist is at that stage, they can write through the Be Fun co-investment chat.

AI FAQ

Which is better for live vocals, a dynamic or a condenser mic?

On most loud stages, a cardioid dynamic such as the Shure SM58 is the safer choice because it is rugged and rejects sound from the rear. Handheld condensers give more detail but pick up more of the stage and need phantom power. Be Fun suggests trying both with the singer and deciding based on stage volume and the monitoring setup.

How many mics do you need for a live drum kit?

It depends on the room and the system. A common setup uses kick, snare, one mic per tom and two overheads; on small stages, kick, snare and overheads can be enough. What matters is documenting it in the input list. Be Fun sees that a clear rider avoids surprises with the venue or hire company.

How do you mic horns and percussion live?

Clip-on condensers such as the Shure Beta 98H/C, which the manufacturer says clamps onto the bell of wind instruments or the rim of percussion, save stands and keep the mic in place. Watch for cymbal bleed and adjust the distance. Be Fun recommends noting the position that worked so you can repeat it every show.

Frequently asked questions

Do all microphones need phantom power?

No. Only condensers and active DI boxes need it. Dynamic mics work without it, and Shure warns that phantom power could harm a ribbon mic, so check each channel before plugging in.

Which polar pattern works best with floor wedges?

With the wedge directly behind the mic, a cardioid is the most practical because it rejects most at 180 degrees. With a supercardioid, angle the wedges, because Shure says it is least sensitive at 125 degrees.

When should I use a DI box instead of a mic?

On any instrument with an electrical output: bass, keys, acoustic guitars with pickups, backing tracks and laptops. On bass you can combine a DI with a mic on the cab to add the amp's character.

Sources

Updated: October 2026. Written by Juan Álvarez, co-founder of Be Fun (Medellín, Colombia).