The proximity effect

Ever wondered why radio DJs often seem to have really deep voices? That’s down to the proximity effect. The closer a sound source is to a directional mic, the more the bass response is emphasised – up to a 16dB increase under certain circumstances – which can be both a blessing and a curse. Excessive proximity effect on a vocal recording can have the unpleasant effect of adding a boomy, muddy feel to the low frequencies, clashing with the bass and kick drum, and leading to mix congestion.

Understanding how the proximity effect works lets us use it to our advantage in the pursuit of a great vocal. If you’re looking to give softly sung vocals a deeper, more intimate vibe, for example, encourage the vocalist to get closer to the mic when they sing. Moving in the other direction, moving slightly back from the mic during louder passages can deliver a more clear tone, as the strength of the performance will carry through without any unhelpful low-end boxiness.

On a related note, the phrase ‘on-axis’ refers to the vocalist being positioned directly in front of the microphone capsule, which should always be the default placement. However, if you find that your vocals sound a bit sibilant or overly spitty, a possible fix is to move the singer slightly off axis, so that they’re singing slightly across the capsule, rather than straight into it.

“We can use the proximity effect in the pursuit of a great vocal sound”