Most microphones are meant to be used in free air where sound
waves travel mainly from the front of a diaphragm to the rear. inside
instruments, sound reflections and partial cancellations from
standing waves may cause phasing problems, causing a “swirling”
effect and preventing clarity
The placement of a microphone in free air inside a resonant
chamber may produce uneven peaks and make them highly prone
to feedback
TESTING OR PERFORMANCE: the testing of internal microphones
at very low volumes is not likely to replicate what happens at typical
live performance volumes or in difficult acoustic conditions. Where
there are difficult acoustics or higher volumes, this is likely to cause
additional problems with feedback, resonances and boom
BLENDING: If you try to blend in some mic you may be severely
constrained by stage sound pressure levels from PA speakers,
monitors, or backline combo amps and you may have to turn down
the mic volume to prevent feedback to such a low signal that it is
effectively perceived as being turned off
BAND LIMITING: Microphone feedback may be reduced by using a
pickup to supply mid / bass and a microphone to supply presence /
treble
POSITIONING: If you try to make the mic sound a little less boomy
and unnatural by pointing it out of the sound-hole you may be
making it more likely to pickup speaker cabinets and monitors and
more likely to feedback
P. 54
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