Microphone Stands for Live Sound: Types and Selection Guide

Microphone stands form the foundation of mic positioning in live sound. The right stand keeps microphones stable, positions them correctly, and survives the rigors of gigging. Understanding stand types and their applications ensures appropriate selection for each situation.

Straight Stands

Straight stands consist of a vertical tube with height-adjustable sections, a base, and a top fitting for microphone clips. These simple stands suit applications where the microphone positions directly above the base.

Tripod bases provide stability on uneven surfaces. Three legs spread load and adjust independently, accommodating angled stages and uneven floors. Tripod bases fold for transport but require more floor space during use.

Round bases offer smaller footprints than tripod bases. The weighted circular base provides stability through mass rather than spread. These bases work well where floor space is limited but may tip more easily if bumped.

Straight stands serve lead vocal positions, speaker podiums, and any application where the microphone needs to be directly in front of the performer.

Boom Stands

Boom stands add a horizontal arm extending from the vertical shaft. This arm positions the microphone away from the base, reaching over obstacles or into spaces the base cannot occupy.

Telescoping booms adjust length for various reach requirements. Full-sized booms extend 30 inches or more; shorter booms provide modest reach in compact form. Boom length should match actual positioning needs.

Counterweights on some boom stands balance heavy microphones. Without counterweight, boom arms tend to droop with weighty microphones. Quality stands include counterweight provisions; budget stands may not.

Boom stands serve guitar amp miking, drum overhead placement, choir coverage, and any application where the microphone cannot position directly above the base location.

Short Stands

Short stands, sometimes called kick stands or amp stands, provide low-profile positioning for floor-level sources. These stands typically reach 12 to 24 inches in height.

Guitar amp miking commonly uses short stands with boom attachments. The stand positions beside the amp cabinet; the boom extends in front of the speaker.

Kick drum miking inside the drum shell or through resonant head ports uses short stands. The low profile fits within kick drum cavities.

Some short stands feature weighted round bases; others use tripod configurations. Either works depending on space constraints and stability requirements.

Overhead Stands

Overhead stands reach above performers or instruments, positioning microphones for top-down capture. These tall stands extend beyond standard straight stand height.

Drum overhead applications require stands reaching 6 to 8 feet. The microphones position above the kit, capturing the overall drum sound including cymbals.

Choir miking from audience areas uses overhead stands to reach above the ensemble. Tall stands with long booms cover multiple singers from single positions.

Weight and stability become critical at extended heights. Sandbags on tripod legs or substantial round bases prevent tipping. Extended stands amplify any instability.

Heavy-Duty Considerations

Road use demands rugged construction. Die-cast metal parts survive impacts better than plastic. Steel tubing with solid clutches maintains adjustment settings through transport.

Clutch mechanisms determine whether height settings hold under load. Quality clutches grip firmly; cheap clutches slip, dropping microphones mid-performance.

Tripod leg locks should engage positively. Loose legs cause wobbling and potential collapse. Metal leg locks outperform plastic alternatives.

Load capacity specifications indicate how much weight stands safely support. Large diaphragm condensers with shock mounts and heavy clips require higher capacity than lightweight dynamic microphones.

Brand Options

On-Stage, Ultimate Support, and K&M manufacture stands across price ranges. Their mid-line products serve most live sound applications well.

Atlas Sound and Shure produce professional-grade stands for demanding applications. Higher pricing reflects superior construction and durability.

Budget stands from various manufacturers provide entry-level options. Initial function may seem adequate; durability under road use often disappoints.

Accessories

Microphone clips secure microphones to stands. Standard clips fit most handheld microphones; specific clips serve microphones with unusual shapes or requirements.

Shock mounts isolate microphones from stand-transmitted vibration. These benefit condenser microphones sensitive to mechanical noise.

Pop filters attach to stands, positioning fabric or mesh screens between vocalists and microphones. These reduce plosive impact on recordings but see less common use in live reinforcement.

Cable clips route microphone cables down stand shafts, reducing cable loops that snag on equipment or performers.

Maintenance

Inspect stands before each use. Check clutches for proper grip, legs for solid lock, and fittings for wear or damage.

Clean threads and adjustment mechanisms periodically. Dust and grit accumulate, causing stiff adjustment and accelerated wear.

Replace worn parts before failure. Clutch pads, leg locks, and fittings are often available separately from replacement stand purchase.

Store stands properly to prevent damage. Dedicated bags or padded compartments protect stands during transport. Loose stands banging in vehicle cargo areas suffer accelerated wear.

Setup Practices

Position stands where they will be used before attaching microphones. Moving loaded stands risks dropping microphones.

Verify height and angle before tightening all clutches. Making major adjustments after fully tightening requires releasing and re-tightening multiple controls.

Route cables neatly to prevent tangles and tripping hazards. Cables running down stand shafts rather than across floors improve safety and appearance.