Making music is becoming more affordable for everyone. Musicians recording their own music at home is now commonplace as equipment once purely in the domain of the commercial recording studio is now available to consumers at realistic price points.
Microphones are no exception here and this is particularly important as the microphone is the primary point of contact between vocals and instruments and the recording process. Basically, a microphone is a transducer that transforms the acoustic energy of your music into electrical energy, so it’s the one piece of equipment that you are relying upon to translate your ideas as you hear them to the listening public.
This is a quick run-down of the main considerations when choosing a microphone and getting you recording the music you want to hear. There are a large range of options available and any studio equipment you purchase should allow you to forget about the equipment and focus on the most important thing which is the performance.
Modern microphones are very well constructed and are usually the last point of call when troubleshooting for a fault in a signal chain. Microphones at the lower end price points still deliver a sound and by choosing wisely and operating correctly you can achieve satisfactory results. When you invest in higher priced models you are receiving superior build quality, a true fidelity (non-colouration) of your instrument and voice and better technical specifications like those listed below.
Technical Considerations
Of course, trust your ears, however microphone specifications are important. Here are the main tech specs you need to be familiar with.
Frequency response – Match the hertz (measurement of frequency) of the instrument or voice with the flattest response in decibels of the microphone (sweet spot).
Sound Pressure Level – The maximum decibel level the microphone can take without distortion.
Self-Noise – The signal the microphone produces itself. For an acceptable signal to noise ratio look for a figure below 19db-A.
Sensitivity – The amount of gain a microphone needs to reach unity. Different microphones are naturally “hotter” or “louder” than others. For example, condenser microphones are generally more sensitive than dynamic and ribbon microphones. This is a consideration in multi-mic setups to minimise spill versus the desire not to run the pre-amplifier with too much gain creating noise.
Artistic Considerations
Recording is a creative process so of course, there is nothing wrong with experimenting with microphone selection and particularly the placement. Varying the proximity of the microphone to the sound source creates a whole world of possibilities in terms of results. The more you understand the technical details the more you can “break the rules” to achieve your desired result. Microphones also respond differently to different voices and instruments so the options in terms you have in terms of mic selection will increase your chances of achieving the results you desire.
The main types of Microphones
Condenser microphones are generally used more in the studio than in live situations due to their sensitive nature and ability to pick up more ambient and nuanced sound. These attributes make the use of condensers more problematic in live situations, however, perfect for controlled conditions like a studio.
Condenser microphones offer the ability for vocalists to utilise microphone techniques from wailing to whispers and to capture the finer detail of all types of acoustic instruments with genuine fidelity. Condenser microphones require a power source either via battery or 48 volts (phantom power).
The Neumann U87 condenser microphone is one of the most widely used studio microphones of all time and is legendary in the history of audio recording.
Dynamic microphones are a staple for live sound applications due to their ability to reject sound from other sources, their relative durability in comparison with condensers and their capacity to handle large sound pressure levels (SPL) at close proximities.
Dynamic microphones still have a large part to play in the studio. Miking kick drums, snares and guitar cabinets are common uses for dynamic microphones such as the AKG D112 (kick), the Shure SM57 (snare) and the Sennheiser E906 (guitar cabinets). A transient relating to a sound wave is the measurement of how fast a wave travels from zero volume to its peak, the SM57 has a fast transient which is another reason it is perfect for a snare that reaches the peak of its volume in a very short space of time.
The Shure SM58 dynamic microphone was first produced in 1966 and is still considered the industry standard for live vocal performance today.
Discover our range of Dynamic Microphones.
USB microphones are perfect for podcasting or run and gun live broadcasting situations. They contain all the elements of traditional microphones with two extra circuits, an onboard pre-amplifier and an analogue to digital (A/D) converter.
This allows USB microphones to be plugged straight into a computer without the need for an external sound card, minimising and simplifying the process for applications that don’t require an expansive set-up. You can monitor your sound by plugging your headphones straight out of the microphone.
The AKG Lyra USB microphone packs the latest technology into a cool retro looking package.
Ribbon microphones historically were primarily used in radio and work via responding to the velocity of air molecules rather than the SPL. Ribbon microphones were traditionally delicate to louder SPL levels, however, today’s Ribbon microphones such as the Royer R121 are built to deal with the everyday studio and even live use. Ribbon microphones are generally more of a specialised item and probably going to be purchased by someone with a range of condenser and dynamic microphones in their quiver.
The Beyer M160 double ribbon microphone has appeared on countless famous recordings and most noticeably captured John Bonham’s iconic drum sound on Led Zeppelin’s “When The Levee Breaks."
Modelling microphones are relatively new on the scene and use cutting edge technology to emulate a whole range of classic and much sought after microphones. Companies such as Antelope Audio offer a whole range of options once you pair their modelling mics with their audio interfaces and software.
The Antelope Edge Go is marketed as a studio in a microphone, it’s a USB microphone with ultra-high analogue to digital converters, it also offers effects and presets designed by leading industry professionals.
Common Polar Patterns and Practical Applications
The term polar pattern refers to the pick-up pattern of a respective microphone or what area of the microphone most of the sound will be captured or rejected from.
Cardioid – The front of the microphone will capture most of the sound where the rear and sides will reject it. The pattern is similar to a heart shape hence the term cardioid. Cardioid patterns are useful where a lot of microphones are being used at once as they minimise ambient spill from other sources. Microphones with a cardioid polar pattern are very common in studio and live situations.
Super-Cardioid and Hyper Cardioid - These are extensions of the cardioid pattern and are even more directional, the trade-off is these mics have less rear rejection than a standard cardioid which can be problematic when positioning in a multi-mic setup.
Omni – Like an omnivore, this pattern will capture and eat everything. This pattern equally picks up sound from all directions in a 360-degree radius. These microphones are perfect for organic live tracking where the focus is on one-take group performance and dynamic. A “Nashville Circle” is an example of this and can add authenticity and spontaneity to your recording, the trick here is to be tight musically and for the musicians to “mix” themselves in real-time.
Figure 8 / Bi-Polar – This pattern will capture sound from the front and rear of the microphone equally and reject both sides of the microphone. A classic use of a figure 8 pattern is two vocalists or instrumentalists who need to listen and respond to each other in real-time like a vocal duet or a small string ensemble.
Multiple Polar Pattern – These microphones can switch between many polar patterns making them super versatile for any number of applications. Classic multi-pattern microphones include the Neumann U87 or the AKG C12VR.
Microphone Diaphragm Sizes
Both condenser and dynamic microphones are categorised by the size of their diaphragm. No one is better than the other just more suitable. Large and small diaphragm microphones both have their place in several studios and live applications.
Left - Small Diaphragm KM184; Right - Large Diaphragm TLM103
A large-diaphragm microphone is generally the best first purchase for an all-around studio microphone. A large-diaphragm condenser can be used in for most recording applications including vocals, strings and brass instruments and with careful placement guitar amps and cabinets as well drum kits can be captured as well.
Small diaphragm microphones are ultra-responsive due to a smaller, lightweight diaphragm and are perfect for acoustic guitars and drum overheads. Often they are sold as a stereo pair and are relatively easy to position due to their size.
Popular Microphone Choices
Here is a list of popular microphones matched to a certain application. There are both dynamic and condenser mics on this list at a range of various price points. Many microphones such as a Shure SM57 and the Sennheiser MD421 have many potential uses so keep this in mind to make the most out of your collection.
Drum Kit
There are a range of multi-microphone sets available that cover the entire kit such as the AKG – Drum set session, the SHURE PGA 5 PCE, Beyer Dynamic TG PRO M and the Audio Technica ATM230PK starting from $350.
Kick Drum/Congas/Cajon/Bass Amp and Cabinet Microphones
Under $200.00
Shure PGA52
Sennheiser E602
Under $500.00
Audix D2
Audix D6
SE Electronics X1D
Beyer Dynamic TGD50D
Shure Beta 91
Shure Beta 52A
Beyer Dynamic M99
Over $1000.00
AKG D12 VR
Neumann U47 FET
Snare / Tom / Hi Hat / Percussion - Microphones
Some of these mics include clamps for mounting without using stands.
Under $200.00
Shure PGA56
Shure SM57
Shure PG52
Beyer Dynamic TGD57C
Sennheiser E604
AKG C518
Under $500.00
Audix D4
Sennheiser MD421
Guitar Amplifiers and Cabinet Microphones (live and studio)
Under $200.00
Shure SM57
Sennheiser E609
Sennheiser E906
Under $500.00
Sennheiser MD421
Beyer Dynamic M88
Ribbon Microphones
Under $500.00
SE Microphones X1R
SE Microphones VR1
Under $1000.00
Rode NTR
Audio Technica AT4081
Bayer M160
Over $2000.00
Peluso R-14
Peluso TR-14
USB Microphones
Under $250.00
Behringer C1U
SE Microphones X1 USB
Audio Technica AT2020 USB
Rode NT-USB
Beyer Dynamic – FOX USB
Small Diaphragm Condenser Microphones
Discover our range of Small Condenser Microphones.
Drum Overheads, Acoustic Guitars and Stringed Instruments
Under $200.00
Behringer B5 (includes interchangeable Omni and Cardioid capsule)
AKG P170
Audio Technica AT2031
Under $500.00
Rode M5 (stereo pair)
Rode NT5 (stereo pair)
Sennheiser E914
Sennheiser E614
Aston Starlight
AKG C430 (specifically EQ’d for Cymbals)
AKG C1000S
Antelope Audio Verge (small diaphragm modelling microphone)
Under $1000
Aston Stealth
Beyer Dynamic MC930
Beyer Dynamic MC950
Neumann KM184
Under $2000.00
Peluso P-28
Peluso CEMC-6 (stereo pair)
Neumann KM184 - MT (Cardioid)
Neumann KM183 - MT (Omni)
Neumann KM185 – MT (Hyper Cardioid)
Under $5000.00
Peluso P-84 (stereo pair)
Neumann KM183 (stereo pair)
Neumann KM184 (stereo pair)
Neumann KM185 (stereo pair)
Large Diaphragm Condenser Microphones
Discover our range of Large Condenser Microphones.
Vocals, Pianos, Room Sound for Drums and Guitars
Under $200.00
Behringer B-1
AKG P120
Under $500.00
Rode NT1-A
AKG P220
Aston Origin
Under $1000.00
AKG C214
Neumann TLM102
Under $2000.00
Neumann TLM103
Audio Technica AT5045
Antelope Audio Edge Duo (large diaphragm modelling microphone)
Under $5000.00
Neumann U47 FET
Audio Technica AT5040
Large Diaphragm Multi-Pattern Condenser Microphones
Under $500.00
Rode NT2A
Warm Audio WA-47JR
Under $1000.00
Aston Spirit
Warm Audio WA-14
Warm Audio WA-87
SE Electronic z5600a II
Under $2000.00
AKG C314
AKG C414XLS
Peluso P-414
Peluso P-87
Neumann TLM107
Under $5000.00
Sony C100
Neumann U87
Large Diaphragm Valve Condenser Microphones
Under $500.00
SE Electronics X1 Tube
Under $1000.00
Rode NTK
Rode K2
Under $2000.00
Warm Audio WA-47
Under $5000.00
Peluso P-67
Peluso P-12
Peluso P-49
Peluso 22 47
Over $5000.00
Neumann U67
Neumann M147
AKG C12VR
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