Microphone Buying Guide

With the high amount of microphones available in today’s market combined with the ever-dropping prices that they cost, it’s easy to see why many buyers need to be able to narrow down their searches. This can be done in no time at all by simply answering a few questions. 

Are you recording your voice or some instruments, doing fieldwork, taking it onstage, amplifying a speech or presentation, or perhaps something even more specific? Are you using it in a studio, or primarily for sound reinforcement? 

Many microphones are primarily designed for performing certain duties very well, with an array of “workhorse” models that do a fairly good job at performing any task. An example of this would be “bass drum mics” with frequency responses and dynamic levels that make them ideal for kick drums or bass guitar cabinets. Other “Workhorses” can do a variety of sounds (voice, drums, bass, guitars, percussion) fairly well. For this reason, live sound companies like stocking up on these mics, as they are also very durable to add to their versatility.

Dynamic microphones use passive electronics to capture the sounds around it and convey them to your other gear. They are passive in that the vibrations cause a diaphragm to touch wire contacts to generate the electricity, therefore not needing any kind of power source. Dynamic mics are usually very durable as opposed to other types, making them much better choices for live sound. They can also take a beating sonically – dynamics can normally withstand sound levels that challenge the limits of human hearing – so they’re great for sound sources that are very loud. 

Condenser microphones use a series of charged electrons to vibrate the diaphragm, offering sonic clarity and output level superior to dynamics. The trade-off to this, however, is that these microphones require a power source outside of the microphone itself. This is referred to as Phantom Power. In most cases, this comes from the mic’s destination, be it a preamp, recording interface, or mixer input. Most of those devices available today supply phantom power, usually indicated by a “+48V” symbol. Due to their increased output and sensitivity to the nuances of voices and instruments, they are preferred to recording many types of instruments as well as vocals in the studio. Condensers with portability in mind (like many video camera models) also have the ability to hold a battery for their power source. 

The output of the mic is usually amplified by solid-state circuitry, but higher-priced models sometimes use a vacuum tube instead. This is felt by many musicians and engineers to affect the sound in a very musical way, giving sounds a certain character or “vintage” quality, due to the fact that all condensers once used tubes many years ago. Tube mics usually require more than normal phantom power, and therefore include their own power supplies. 

With the exception of a few handheld models, most model condensers are designed to stay stationary on a stand. 

Each microphone has a pickup pattern. This is the way in which the mic picks up sound around it, and to what degree. Some common patterns: 

• Cardioid: Also called unidirectional. Picks up the sound strongest right in front of its diaphragm, getting gradually weaker around the sides until weakest behind the mic.
• Hypercardioid: Much like cardioid except the rejection curve as it approaches the rear is greater. This makes it ideal for noisy stage use.
• Supercardioid: Sort of a “middle ground” between the previous two patterns. It is slightly less directional than Hypercardioid or Cardioid as well.
• Omnidirectional: Picks up sounds equally all over. This makes it useful for broadcast and field recording jobs.
• Bidirectional: Picks up immediately in front of and behind it, with little to no side pickup. This has uses in various stereo applications.

As mentioned earlier, you’ll find a microphone for every need. Drum mics are often sonically tailored to record a certain part of the kit, and often are sized to fit better in that area. The size of the mic itself usually indicates the size of the diaphragm inside. A larger one can take on more sound levels and reproduce a wider range of frequencies. Smaller diaphragm models are used on instruments like guitars and percussion, generally to bring out a bright clear quality. Larger diaphragms are used on voice, piano, and acoustic instruments as they have wider ranges or frequencies to pick up. You’ll often see the term “Large Diaphragm Condenser” – this is for anything 1” or larger. 

It will always be subjective as to what best suits the application at hand. For example, a vocalist with a bright, sharp quality to their voice might want to avoid a mic that has that very quality in the event that it yields a poor recording. When it comes to building your “wish list” of models you want to add to your rig, it’s always helpful to check out pro audio publications and websites. Interviews with the pros always include what mics they’re using, as well as why and how they’re using those mics. Are you looking to record your voice into your computer or digital studio? Consider finding out what mics your favorite singers use onstage or in the studio. Pros tend to have their “go-to” model that best brings out the quality of each individual voice or instrument. For guitarists, guitar magazines often cover mic setups for many big-name artists’ setups, including mic types and placement. 

With the wide price range available currently, combined with an amazing level of quality that reaches all the way down to the most affordable models, there will be a suitable model for nearly any budget. 

Below is a list of different microphone applications and the best models to look for to fulfill that need. 

• Live Vocals: Handheld dynamic. Handheld condensers also exist but can be more delicate, yet offer an improvement in sound quality.
• Studio Vocals: Large diaphragm condenser. It’s best to also use a pop filter to avoid clipping during “P” sounds as well as reducing breath noises.
• Podium Speech: This depends on the desired sound quality and the background noise in the area. Omnidirectional is usually best for this, but noisy rooms likely need something cardioid or hypercardioid to reduce noise levels. Specific models even exist for this purpose, with an integrated podium mount.
• Presentation: Lavalier (or clip-on), with a condenser element recommended. For people that need to move around, a wireless system might be a wise choice.
• Video Cameras: Several camera-mounted models exist, many of them with an omnidirectional pattern and condenser element. Most of these also can mount directly onto a camera’s shoe.
• Bass Drums: There are several models on the market for that specific purpose. They have dynamic elements, are cardioid, and can withstand the pressure a bass drum generates. In addition, they are designed to easily fit inside a bass drum for optimal placement.
• Snare Drums: Any cardioid dynamic mic will do the trick. There are even a few models designed to capture the attack and pressure levels of the drum.
• Toms and Latin Percussion: While any cardioid dynamic mic will work, you want to find ones with a good-sized diaphragm to get the entire frequency range. There are tom-specific models out there that even have built-in mounts and small profiles to stay out of the way.
• Cymbals and Overheads: To best capture the brightness needed, small-diaphragm condensers are often used. It is a good idea to use two of the same model in pairs to ensure an even sound.
• Bass Guitar: Two different tones are common. For “presence”, engineers use a basic dynamic mic to grab lows and midrange. For “bottom”, some people will actually use a bass drum mic. These are often blended with a signal from a DI box during recording.
• Acoustic Guitar: Condensers are always better for capturing the many nuances and sonic levels of acoustics. Using a small diaphragm will get a brighter sound without getting a lot of the body’s resonance, which is good for complementing an acoustic/electric’s plugged-in signal. A larger diaphragm will offer a more robust sound.
• Electric Guitar Amps: There are many possibilities that exist with guitar amps, and largely depend on the tone, volume, and style of playing. A large condenser will be one of the safest bets for sound quality, but be sure to check up on the volume levels that the mic can take, especially if you’re doing heavier, louder music.
• Brass and Woodwinds: These are a lot like acoustic guitars in how they are handled. A large condenser will likely be the best bet to get the most accurate frequency response. For live sound reinforcement, dynamic mics will bring out the most important frequencies to fit into a mix.
• Piano: The very nature of the piano makes a condenser almost a necessity. Use either a small diaphragm for distant placement and a bright sound, or a large model for closer use and a better-rounded tone (such as solo classical or jazz playing).