{"id":8203,"date":"2015-09-03T10:37:15","date_gmt":"2015-09-03T10:37:15","guid":{"rendered":"http:\/\/dev.wordpress\/?p=8203"},"modified":"2018-08-02T10:50:19","modified_gmt":"2018-08-02T14:50:19","slug":"most-versatile-microphones-for-the-recording-engineer","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/most-versatile-microphones-for-the-recording-engineer\/","title":{"rendered":"Most Versatile Microphones for the Recording Engineer"},"content":{"rendered":"

Early on in my studio life, I had a strange feeling while I was putting up a pair of overhead microphones. I opened this finished wooden box that could have contained royal crown jewels. I cradled the polished nickel cylinder as I carefully attached it to a finely craftedshock mount. That one microphone in my hands was worth more than my first two cars, combined. At first, I couldn\u2019t understand why this microphone was so expensive. But then, I started to hear the graceful nuances that these microphones reveal. Soon, the differences between consumer and professional microphones became black and white. We need these great microphones if we\u2019re going to compete in the recording industry but we don\u2019t have the budget of a record label in the 90\u2019s. There is no one<\/em> magic microphone that is perfect for all<\/em> recording situations. So, the quest becomes: How can I make my budget go the furthest and build a respectable microphone team?Let\u2019s take a look at the different types of microphones on the market and explore some of the most versatile options.<\/p>\n

There are three basic types of microphones: dynamic, ribbon, and condenser. There is no singular<\/em> correct answer to which mic should be used in a specific application. Experiment with mic choice and placement to find what sounds the best for you.<\/p>\n

Dynamic microphones<\/strong> work by vibrating a stiff diaphragm wrapped in wire. The disruptions in the magnetic field induce the electrical audio signal. The thick diaphragm is resilient and can stand up to loud sound sources. It also vibrates less and produces a clean, uncolored, but not sensitive sound. In the studio, dynamic microphones are used on loud sources such as kicks, snares, drums, and amps.<\/p>\n

Ribbon microphones<\/strong> work by vibrating a very thin aluminum ribbon between two strong magnets. The relatively low induced signal is then run through a dedicated transformer to boost the signal. These fragile and thin diaphragms are very sensitive and can vibrate a lot which creates a wide, nuanced, dark, smooth, and warm sound. In the studio, ribbon microphones are used on moderate level amplifiers, strings, vocals, winds, acoustic instruments, drum overheads, and as room microphones.<\/p>\n

Condenser microphones<\/strong> work by vibrating a charged metal plate. The voltage differences between the moving front plate and the secondary charged stationary plate create the audio signal that is then amplified. Since an initial current is required to polarize the plates and amplify the signal, condenser microphones require phantom power (+48v) or their own power supply. Condenser capsules vary in size and are often separated into \u201clarge diaphragm\u201d and \u201csmall diaphragm\u201d. Small diaphragms have less mass and can respond faster and generally have a sensitive, bright, and more natural sound. The heavier large diaphragms have a wider, warmer, and smoother sound. Condenser mics are more sensitive than dynamics and respond well to acoustic instruments, clean amps, vocals, and drum overheads.<\/p>\n

Dynamic Microphones<\/strong><\/p>\n

One of the most popular dynamic microphones is the Shure SM57<\/a> ($99). It is budget friendly, built like a tank, and delivers a classic sound. High-end studios with big dollar mic collections will still use a SM57 on snare drums and guitar amps. The Shure SM58<\/a> ($99) is the same microphone as the SM57, except the SM58 has a different grill and some extra padding to be better suited for vocals. Both microphones have a heart shaped cardioid polar pattern. This means they are the most sensitive in front (on axis) and the least sensitive from behind (null point). No matter how many premium mics you add to your collection, the affordable and classic SM57 will always get some use.<\/p>\n

\"\"<\/p>\n

The Electro-Voice RE20<\/a> ($449) dynamic microphone was originally developed as a broadcast \/ voice-over mic. This large diaphragm cardioid mic is fantastic at capturing lower frequencies such as acoustic\/electric bass, kick drum, acoustic guitars, and has a special character on vocals.The cardioid pattern of this mic creates virtually no off-axis coloration while providing the greatest rejection of unwanted sounds. The steel housing and hum-bucking coil make the RE20 fairly resistant to induced hum and noise. The result is an exceptionally rugged microphone that can handle the loudest anddeepest sounds to produce a large condenser like response within an affordable dynamic mic.<\/p>\n

\"\"<\/p>\n

Large Diaphragm Condenser Microphones<\/strong><\/p>\n

You can add two AKG C214s<\/a> (<\/span>) to your setup, if you’re trying to stay on-budget. Note, however, that the C214 sacrifices polar pattern options and onboard customization for a lower price point. The C214 is also a utility mic and sounds great on vocals, overheads, strings, winds, acoustic instruments, clean amplifiers, and as a room microphone.<\/p>\n

\"\"<\/p>\n

The king of versatile microphones may very well be the Neumann U-87ai<\/a> ($3,199). This classic large diaphragm condenser was first released in 1967 and has become a recording industry staple for vocals, orchestras, acoustic instruments, amplifiers, and almost anything. The mic has three switchable polar patterns (Omni, cardioid, and figure-8) as well as a switchable roll off and attenuation. In the introduction to this article I said there is no one <\/em>magic microphone, well, the U-87 is the closest and because of that it is worth every dollar. There are mics that sound better than the U-87 in specific applications but the U-87 exceeds expectations all around the studio. The workhorse U-87 delivers a clear, clean, and real sound that has made it a standard in professional studios worldwide for the past 50 years.<\/p>\n

\"\"<\/p>\n

Small Diaphragm Condenser Microphones.<\/strong><\/p>\n

The Rode NT5<\/a> ($219) is an affordable small diaphragm cardioid condenser mic with exceptional value. They are also sold in matched pairs<\/a> ($429) featuring sequential serial numbers. Matched pairs help create a balanced stereo image. The NT5 provides a faster frequency response than large diaphragm mics and can also handle louder sources. The NT5 helps capture the attack of a ride cymbal or the subtle nuances of an acoustic guitar. Small diaphragm condenser mics tend to be fairly specialized, but the NT5 is incredibly versatile for the price. You can use the NT5 as a spot mic on cymbals, drum overheads, acoustic instruments, orchestral instruments, choirs, ensembles, and as room microphones.<\/p>\n

\"\"<\/p>\n

Ribbon Microphones<\/strong><\/p>\n

The Beyerdynamic M 160<\/a> ($699) has a unique double ribbon design that creates a more durable mic with clear and well-defined sonic characteristics. The M160 has a hypercardioid polar pattern, which means it extra tightly focused on axis (in front) and the null points are 110 degrees off the axis as opposed to 180 degrees with cardioid. The M160 delivers a classy and punchy sound with aggressive mids. The M160 excels with drums where it delivers an undeniable rock sound; it brings out the crack and weight of a snare evenly. The enhanced mids of the M160 may suit some vocalists with sibilance issues. The M160 can also be used on acoustic instruments, strings, woodwinds, amplifiers, drum overheads, and as room mics.<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Early on in my studio life, I had a strange feeling while I was putting up a pair of overhead microphones. I opened this finished wooden box that could have contained royal crown jewels. I cradled the polished nickel cylinder as I carefully attached it to a finely crafted shock mount. That one microphone in my hands was worth more than my first two cars, combined. <\/p>\n","protected":false},"author":178,"featured_media":20745,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6,33,639,17787],"tags":[10661,627,9090],"class_list":["post-8203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio","category-audio-33","category-how-to","category-microphones","tag-audio-recording","tag-buying-guide-627","tag-microphones"],"acf":[],"yoast_head":"\nMost Versatile Microphones for the Recording Engineer | Expert photography blogs, tip, techniques, camera reviews - Adorama Learning Center<\/title>\n<meta name=\"description\" content=\"Early on in my studio life, I had a strange feeling while I was putting up a pair of overhead microphones. I opened this finished wooden box that could have contained royal crown jewels. 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