Microphones come in different types, each with unique characteristics suited for specific applications in music production, live sound, and recording. Let’s break them down: ### Dynamic Microphones **How They Work:** • Use a moving coil inside a magnetic field to capture sound. • Rugged, durable, and can handle high sound pressure levels (SPL). • Generally have a limited frequency response compared to condensers. **Best Uses:** | **Application** | **Why?** | **Examples** | | --------------------- | ---------------------------------------------------- | ------------------------------------ | | **Live Vocals** | Handles loud singers, minimizes background noise. | Shure SM58, Sennheiser e835 | | **Snare Drum** | Can take high SPL and delivers a punchy sound. | Shure SM57, Audix i5 | | **Kick Drum** | Tailored low-end response for deep tones. | AKG D112, Shure Beta 52A | | **Guitar Amps** | Captures midrange presence and handles loud volumes. | Shure SM57, Sennheiser e906 | | **Bass Amps** | Captures thick low-end without distortion. | Electro-Voice RE20, Shure Beta 52A | | **Brass Instruments** | Can handle loud, transient-heavy instruments. | Sennheiser MD421, Electro-Voice RE20 | **Pros:** ✔️ Durable and reliable ✔️ Affordable ✔️ Handles loud sounds well ✔️ Less sensitive to background noise **Cons:** ❌ Limited frequency response ❌ Less detailed than condenser microphones --- ### Condenser Microphones **How They Work:** • Use a diaphragm and an electrically charged plate (capacitor). • Require **phantom power (48V)**. • More sensitive, capturing detailed, nuanced sounds. **Best Uses:** |**Application**|**Why?**|**Examples**| |---|---|---| |**Studio Vocals**|Captures clarity, detail, and warmth.|Neumann U87, AKG C414, Rode NT1-A| |**Acoustic Guitar**|Captures rich, natural tone.|Neumann KM184, AKG C451| |**Drum Overheads**|Captures cymbals and full kit detail.|AKG C414, Neumann KM184| |**Piano**|Captures wide frequency range and dynamics.|Neumann U87, Rode NT5| |**Strings (Violin, Cello, etc.)**|Captures natural resonance and articulation.|Neumann KM184, Audio-Technica AT4050| ### Large-Diaphragm vs. Small-Diaphragm Condensers • **Large-Diaphragm Condensers (LDC)** → Best for vocals, room mics, pianos. • **Small-Diaphragm Condensers (SDC)** → Best for instruments needing detail (acoustic guitar, drum overheads, strings). **Pros:** ✔️ Excellent detail and clarity ✔️ Wide frequency response ✔️ Great for studio recording **Cons:** ❌ Fragile and sensitive ❌ Requires phantom power ❌ More prone to background noise --- ### Ribbon Microphones **How They Work:** • Use a thin metal ribbon suspended in a magnetic field. • Naturally produces a **warm, vintage tone** with smooth high frequencies. • Most are **bi-directional (Figure-8 pickup pattern)**. **Best Uses:** |**Application**|**Why?**|**Examples**| |---|---|---| |**Guitar Amps**|Captures smooth, natural tone.|Royer R-121, Beyerdynamic M160| |**Brass Instruments**|Handles high SPL while keeping warm tones.|Coles 4038, AEA R84| |**Strings**|Captures depth and warmth.|Royer R-10, AEA R84| |**Drum Overheads (Vintage Sound)**|Smooths harsh cymbals.|RCA 44, Royer SF-12| |**Room Mics**|Captures a natural stereo image.|Royer SF-24, AEA R88| **Pros:** ✔️ Natural, warm, and smooth sound ✔️ Excellent for vintage-style recordings ✔️ Bi-directional pickup allows for creative mic placement **Cons:** ❌ Fragile – can be damaged by high SPL or phantom power ❌ Not as bright as condensers --- ### Boundary (PZM) Microphones **How They Work:** • Small diaphragm microphone mounted on a flat plate. • Designed to capture **direct and reflected** sound. • Typically **omnidirectional**. **Best Uses:** |**Application**|**Why?**|**Examples**| |---|---|---| |**Conference Rooms**|Picks up multiple speakers from a table.|Crown PCC-160, Shure MX392| |**Theater & Stage**|Mounted on floors to capture dialogue.|Sennheiser E901, AKG C547BL| |**Kick Drum (Alternative Miking)**|Captures full low-end punch.|Shure Beta 91A, AKG C411| **Pros:** ✔️ Great for capturing sound in large spaces ✔️ Discreet and can be hidden on stage **Cons:** ❌ Picks up reflections and ambient noise --- ### Shotgun Microphones **How They Work:** • Highly **directional** microphones with a narrow pickup pattern. • Often used for **film, TV, and location recording**. **Best Uses:** |**Application**|**Why?**|**Examples**| |---|---|---| |**Film & TV Dialogue**|Captures clean speech from a distance.|Sennheiser MKH 416, Rode NTG3| |**Broadcast & Sports**|Isolates commentary from background noise.|Audio-Technica BP4073, Schoeps CMIT 5U| **Pros:** ✔️ Excellent directional focus ✔️ Great for isolating sound in noisy environments **Cons:** ❌ Can sound unnatural if used too close ❌ Not ideal for studio music recording --- ### Lavalier (Lapel) Microphones **How They Work:** • Small, clip-on microphones for hands-free recording. • Can be **wired or wireless**. **Best Uses:** |**Application**|**Why?**|**Examples**| |---|---|---| |**TV & Public Speaking**|Hands-free and discreet.|Sennheiser ME2, Rode Lavalier Go| |**Theater Performances**|Keeps actors’ voices clear.|Countryman B6, DPA 4060| **Pros:** ✔️ Discreet and easy to position ✔️ Hands-free operation **Cons:** ❌ Limited frequency response ❌ Can pick up clothing noise --- ## Conclusion |**Mic Type**|**Best For**|**Examples**| |---|---|---| |**Dynamic**|Live vocals, drums, guitar amps, brass|Shure SM58, SM57, Sennheiser MD421| |**Condenser**|Studio vocals, acoustic instruments, drum overheads|Neumann U87, AKG C414, Rode NT1-A| |**Ribbon**|Guitar amps, brass, strings, vintage sound|Royer R-121, Coles 4038| |**Boundary (PZM)**|Theatrical stage, conferences, kick drum|Shure Beta 91A, Crown PCC-160| |**Shotgun**|Film, broadcast, speech recording|Sennheiser MKH 416, Rode NTG3| |**Lavalier**|Public speaking, interviews, theater|Sennheiser ME2, DPA 4060| Don't be afraid to experiment. Try mics in unconventional ways. Listen closely to the source of the sound you are trying to capture and place mic appropriately. Experiment with placement as well.