There exist a number of well-developed microphone techniques used for miking musical, film, or voice sources. Choice of technique depends on a number of factors, including:

There are several classes of microphone placement for recording and amplification.

Often each instrument or vocalist is miked separately, with one or more microphones recording to separate channels (tracks). At a later stage, the channels are combined ('mixed-down') to two channels for stereo or more for surround sound. The artists need not perform in the same place at the same time, and individual tracks (or sections of tracks) can be re-recorded to correct errors. Generally effects such as reverberation are added to each recorded channel, and different levels sent to left and right final channels to position the artist in the stereo sound-stage. Microphones may also be used to record the overall effect, or just the effect of the performance room.

This permits greater control over the final sound, but recording two channels (stereo recording) is simpler and cheaper, and can give a sound that is more natural.

Darren Mark Moore (born 22 April 1974 in Birmingham) is an English born Jamaican professional footballer who plays for Wellington Amateurs as a centre back. He has three caps for Jamaica, for whom he qualifies through his parents. Moore is a member of the management committee of the Professional Footballers' Association.

Moore attended James Watt Primary School and Holyhead Secondary, both in Handsworth, Birmingham. He played for Holly Lane Colts and in 1989 had a trial with Walsall. He began his football career as a trainee with Torquay United in June 1990, and made his debut while still a trainee on 24 March 1992, in a 2–1 defeat at home to Birmingham City. He turned professional in November 1992. Moore began the following season as first choice in the centre of defence, alongside Wes Saunders and went on to play over 100 league games for Torquay before leaving to join Doncaster Rovers for a fee of £62,500 in July 1995.

He moved to Bradford City for a fee of £310,000 in June 1997. He played 18 times during his first season with injuries limiting his starts. But in 1998–99 he started 44 games helping City to promotion into the Premier League for the first time. During the summer he refused to sign a new contract and fell out of favour with manager Paul Jewell. He played just once more for Bradford, in the Worthington Cup against Reading before Portsmouth snatched his services from a collection of other suitors, for a fee of £500,000, in November 1999. He spent less than two years at Fratton Park before returning to the Midlands with West Bromwich Albion for a fee of £750,000 on 14 September 2001.

Glyn Johns (born 15 February 1942, Epsom, Surrey, England) is a British musician, recording engineer and record producer.

He has worked with such artists as Bob Dylan, The Beatles, The Easybeats, The Band, The Rolling Stones, The Who, Led Zeppelin, Eagles, Eric Clapton, The Clash, The Steve Miller Band, Small Faces, Spooky Tooth, The Ozark Mountain Daredevils, Blue Öyster Cult, Linda Ronstadt, Emmylou Harris, Midnight Oil, New Model Army, Belly, Joe Satriani, Ronnie Lane, Rod Stewart with Faces, Joan Armatrading, Buckacre, Gallagher and Lyle, Georgie Fame, Family, Helen Watson, Fairport Convention, Humble Pie and many others.

In the 1960s, while associated with the rock band The Presidents, Johns began working as a recording studio engineer at IBC Studios, Portland Place, London and was able to take the band in during weekends and try his skills at production and recording. The Presidents was his first true production work and some of the original tracks are available to hear and record at the Sound Bite Page on The President's web site www.the-presidents.org.uk. In 1969, Johns was called upon to rescue the troublesome Get Back sessions for The Beatles. Johns compiled several versions of the album, which were all rejected by the band, before the project was eventually turned over to producer Phil Spector. Spector's version became the released album, which was retitled Let It Be.

Neil Ellwood Peart ( /ˈpɪərt/; born September 12, 1952), OC, is a Canadian musician and author. He is the drummer and lyricist for the rock band Rush. Peart has received numerous awards for his musical performances, and is known for his technical proficiency and stamina.

Peart grew up in Port Dalhousie, Ontario (now part of St. Catharines). During adolescence, he floated from regional band to regional band in pursuit of a career as a full-time drummer. After a discouraging stint in England to concentrate on his music, Peart returned home, where he joined a local Toronto band, Rush, in the summer of 1974.

Early in his career, Peart's performance style was deeply rooted in hard rock. He drew most of his inspiration from drummers such as Keith Moon and John Bonham, players who were at the forefront of the British hard rock scene. As time passed, however, he began to emulate jazz and big band musicians Gene Krupa and Buddy Rich. In 1994, Peart became a friend and pupil of jazz instructor Freddie Gruber. It was during this time that Peart decided to revamp his playing style by incorporating jazz and swing components. Gruber was also responsible for introducing him to the products of Drum Workshop, the company whose products Peart currently endorses.

George Y. Massenburg (born Baltimore, Maryland) is a recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equalizer.

At 15, Massenburg worked part-time both in the recording studio and in an electronics laboratory. He attended Baltimore Polytechnic Institute and Johns Hopkins University, majoring in electrical engineering. As a sophomore, he left the University and never returned.

Massenburg authored a technical paper entitled "parametric equalization" which was presented at the 42nd convention of the Audio Engineering Society in 1972. He is regularly published in professional journals and trade magazines worldwide. In 1973 and 1974, he was chief engineer of Studio Europa-Sonor in Paris, France. During those years, Massenburg also did freelance engineering and equipment design in Europe.

Massenburg participated (individually and collaboratively) in over two hundred record albums over the past thirty years. His work includes recordings of James Taylor, Billy Joel, Toto, Dixie Chicks, Journey, Madeleine Peyroux, Little Feat, Randy Newman, Lyle Lovett, Aaron Neville, Kenny Loggins, Mary Chapin Carpenter, Linda Ronstadt, Earth, Wind & Fire and many more. He has designed, built and managed several recording studios, notably ITI Studios in Hunt Valley, Maryland and The Complex in Los Angeles. In addition, he has contributed to the acoustical and architectural design of many other studios, including Skywalker Sound and The Site in Marin County, California.