Close, distant, accent and ambient are not four distances on a scale — they are four different intentions, each with its own costs. Knowing which one you are attempting before you touch the stand is most of the skill.
Microphone placements get sorted into four families, and the categories are more useful than they look — not because the distances are prescriptive, but because each one is a different intention, and each fails in its own characteristic way. Most placement problems come from attempting one of them while thinking about another.
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