A microphone can affect the pre-existing qualities of a musical sound — warmth, brightness, rasp, smoothness, impact, delicacy — or it can have a sonic thumbprint all its own. The best microphones for recording music are naturally professional grade studio microphones used in controlled environments. In this article, we’ll first investigate how different microphone types function on a fundamental level. We’ll then explore how that functionality affects sonic characteristics and application in recording music, then suggest the very best of each microphone type currently available on the market.
Types of Microphones
Dynamic Microphone
Dynamic microphones operate like a loudspeaker in reverse in order to convert acoustic energy to electricity. A metal coil is wrapped around a magnet and connected to a diaphragm — functionally similar to a loudspeaker cone. Sound waves push and pull the diaphragm, moving the coil around the magnet. This creates an electrical signal that carries the audio information. Because these diaphragms don’t represent all frequencies the same, these microphones are known less for their accuracy and more for their signature response curves being tailored to specific sounds — the voice, a kick drum, a guitar amp, etc.
Condenser Microphone
Condenser microphones also contain a diaphragm, which functions as one of two plates in an electrical capacitor. As sound waves push and pull the diaphragm, distance between both plates creates changes in capacitance. This is converted to an electrical signal. Because the mass required to change capacitance is very small, condenser microphones require less gain from a preamplifier than a dynamic microphone. They’re capable of flat or sculpted frequency responses, and typically sound brighter than dynamic microphones.
Ribbon Microphone
Ribbon microphones operate by suspending an ultra-thin metal ribbon in a magnetic field. Sound waves cause the ribbon to vibrate, which then creates a signal through magnetic induction. This is the same principle utilized by dynamic microphones. However, because the metallic ribbons are exceedingly delicate, ribbon microphones are much more detailed than their dynamic counterparts — but also more fragile. They are some of the most expensive musical microphones for a variety of sources benefiting from brilliant high-end response.
What to Look for in a Microphone
Frequency Response
Frequency response describes a microphone’s sensitivity across the spectrum of human hearing. Dynamic microphones have a resonant frequency, typically between 1kHz to 4kHz. This is a “presence peak” that can help accentuate specific qualities of a singer’s voice when paired correctly. Drum overheads benefit from balanced and accurate high-end response. For kick-drum microphones, the opposite is true. Overly bright wind instruments may benefit from a darker frequency response of a dynamic mic. A dark guitar cab may come to life with a bright condenser or ribbon.
Polar Pattern
Polarity pattern describes directionality of how a microphone picks up sound from the front (cardioid), from the front and back (figure-eight), or from all directions (omnidirectional). Cardioid patterns in close proximity to a sound source exhibit a build-up of low frequencies, known as “proximity effect.” This can be desirable when a voice needs more heft, or detrimental when the goal of recording is accuracy. Dynamic microphones are most often only cardioid type, while some condenser microphones are multi-pattern with the ability to switch between polarity patterns. Ribbon mics are commonly figure-eight, since the ribbon is open to sonic vibrations on both front and back.
Diaphragm Size
Diaphragm size on a dynamic or condenser microphone contributes to the highest and lowest frequency a microphone is capable of capturing. It also affects the shape of the frequency response, including resonances and presence peaks.
Sensitivity
Sensitivity describes how much electrical signal is output by a microphone, compared to the acoustic energy that creates the electrical signal. All things being equal, a more sensitive mic is louder than a less sensitive mic. Generally speaking, dynamic and ribbon microphones are less sensitive than condenser types.
Best Microphones for Recording Music
Best Overall – Neumann Digital Large Diaphragm Condenser Microphone
This is a modern take on the classic TLM 103, which is known for its wide presence peak above 5khz and tight low-end response. The 103 D adds onboard digital signal processing (DSP) features, such as a peak limiter as a safeguard against clipping and outputs digitally via AES/EBU or S/PDIF. Onboard DSP features can optionally be controlled via a computer and presets can be stored directly in the microphone.
Pros
- All-digital signal flow dramatically increases microphone sensitivity and enhances signal clarity
- Onboard limiting minimizes risk of clipping while recording
- Built on some of the most legendary microphones of all time, particularly shines as a vocal microphone for a variety of styles and acoustic guitars
Cons
- Control software is supported only as far as Windows 10 and Mac OS X 10.14.6
- Will not integrate with preamps and outboard gear (This mic is meant to excel “in the box”)
- Operates in a single polarity pattern, cardioid
Best Dynamic Microphone – Shure SM7B Cardioid Dynamic Studio Vocal Microphone
The SM7B builds off of the successes and research of Shure’s timeless SM line, home to such classics as the SM57 and SM58. This microphone excels at modern vocal stylings and provides an extremely characteristic shape of sound. Its been justifiably billed by Shure as “the microphone you’ve already heard.” This microphone will help control your plosives and sibilants out of the box like none other.
Pros
- Tight, focused sound with super controlled dynamics
- Often used for pop and rap vocals that benefit from exaggerated proximity effect
- Terrific off-axis rejection for a cardioid pattern, capable of isolating a vocal in a group session
Cons
- Poor off-axis response makes it inconsistent from distances over 18″ from the sound source
- Dark sonic coloration could muddy already-warm sound sources
- Operates in a single polarity pattern, cardioid
Best Condenser Mic – Neumann U 87 Ai Condenser Microphone
Don’t be surprised to see two Neumann microphones on the “Best Of” list. This classic microphone was first introduced in 1967, and its continued popularity 60+ years later is a credit to its quality and flexibility. Its frequency response can be described as flat and accurate with subtle sonic contouring that define its signature. This microphone excels on guitar and bass cabs, as well as in classical and applications for piano, upright bass, and cello.
Pros
- Careful balance of accuracy and unique character
- Smooth response to dynamic musicality
- Operates in three polarity patterns — omnidirectional, cardioid, and figure-eight
Cons
- Lacks the tube amplifier of its predecessor, the U 67
- Much higher price point than the comparable TLM 103
- High end can be brittle in specific applications
Best Ribbon Mic – Coles Electroacoustics 4038 Studio Ribbon Microphone
This is, hands-down, the most iconic ribbon microphone available today. It was first developed by the BBC in 1954 and boasts a frequency response that is completely flat from 30Hz all the way to 15,000Hz. The delicacy of the included ribbon is reflected in the delicacy of the sounds this microphone captures. As such, this microphone is at home in large classical music halls, as well as vocals and drum overheads.
Pros
- Crystal-clear and hyper-accurate capture of musical sounds with warm lows and rich highs
- Extremely sensitive and low-distortion
- Legendary build quality and consistency between all 4038s, easy to use in a cross-matched Blumlein pair
Cons
- Flatness of frequency response means it’s signature quality is accuracy, rather than character
- Extremely fragile microphone, must be cared for diligently
- Operates in a single polar pattern, figure-eight
Ultimately, what makes a microphone musical lies in how it’s utilized. These are magnificent instruments in their own right, played in the art of recording. Just as a musician familiarizes themselves with the inner workings and sonic qualities of their instruments in pursuit of musicality, so must any recordist with the instruments of the trade. By listening critically and giving thought to the end goal of a musical recording, you’ll be able to start making music at the source and spend less effort fixing in the mix. You don’t have to be a tonmeister but, should you choose to be, these four microphones are all a terrific place to start.
