Microphone Types

When recording your ensembles, it is important to not only understand the different types of microphones but also understand their purposes, strengths and weaknesses. Luckily for you, this guide was designed to help the average music director quickly navigate and find the type of microphone they might need for the task at hand.

Types of Microphones

Starting with types of microphones. Microphones come in several shapes and sized but can be usually boiled down to the following:

Dynamic
Condenser
Electret Condenser
Ribbon
Carbon
And Piezoelectric

For the purpose of this guide, we will stick to using Dynamic and Condenser microphones.

Dynamic Microphones

Dynamic microphones are the most common type of microphones you will find. This type of microphone is fairly robust and can usually stand up to a fair amount of abuse. That being said, they often work great on just about anything without breaking the bank. These microphones contain a diaphragm coupled to a wire coil and a magnet. When sound reaches the diaphragm, it moves the coil along the magnetic field causing a push and pull motion which is then transmitted as positive and negative audio signals to the receiving mixer.

Note: Dynamic microphones tend to sound different at different distances from the sound source, it is recommended to experiment with the proximity to each sound source until the desired sound is achieved.

Shure SM57 Courtesy of Shure Incorporated

Condenser Microphones

These microphones are more sensitive than dynamic microphones and can usually be separated into Large Diaphragm Condenser microphones (LDC) and Small Diaphragm Condenser Microphones (SDC). Both types of microphones work by having a gold plated diaphragm mounted in front of a conductive back plate, leaving a small gap of air to form a capacitor or condenser. In order to work, a small voltage is applied to the plate and diaphragm (usually 9-48 volts), when sound hits the diaphragm it vibrates producing electrical signals. Since there is no attached coil, the diaphragm is more receptive to the captured sound waves.

Large Diaphragm Condenser Microphones (LDC)

Large Diaphragm Condenser mics are usually larger than SDC and Dynamic counterparts. Though there is no specific minimum size, most LDCs have a diaphragm that is about an inch or larger. These mics usually require a Shock Mount in order to isolate them from vibrations caused on stage or by other things hitting the microphone stand. Usually these microphones tend to have lower Self Noise. These microphones are great for just about anything from brass, woodwinds and strings to choirs, and overheads on drums.

AKG C14 XLS Courtesy of AKG Acoustics

Small Diaphragm Condenser (SDC)

Small Diaphragm Condenser mics, often referred to as pencil mics work the same way as their larger brethren but can usually capture better transients. They are loved due to their neutral and unbiased sound. Because of this, SDC mics work great on overheads, strings, percussion and choirs. Since they are smaller, they don’t usually require a shock mount and can be placed harder to reach areas.

Rode NT5 Courtesy of Rode Microphones

Types of Microphone Patterns

All microphones have what is called a Directional Response. This dictates the way the microphone records its intended sound source. These different Directional Responses open up a wide range of possibilities for us when trying to record or amplify your ensembles. The most common mic patterns you will encounter as a music director are the following:

Omni-Directional (Omni)
Figure 8
Cardioid
Super/Hyper cardioid

Cardioid

Cardioid microphones are the most common type of directional responses for microphones The reason for the name has to do with the fact that they pick up what is in front of them while rejecting sound from other directions. This makes the microphone “directional” as now you can point it in a specific direction to capture the intended sound source without worrying about capturing other sounds. Applications for this include, hand held microphones, individual microphones, soloist microphones, drums and ensemble recordings to have a Left and Right side of the ensemble.

Omnidirectional

Omni-Directional microphones are microphones that record in every direction, hence the term “omni”. They are great for recording in large spaces and getting both the intended source as well as the room reflections. Because of their patter, there is no “proximity effect” meaning that there is no increase in bass response the closer they are to their subject. These types of microphones work great when capturing an entire ensemble, room reflections or an instrumental soloist.

Figure 8

Figure 8 microphones are microphones that capture directly in front and behind the microphone, while rejecting the side noise. Because of this, these are great for stereo miking instruments or duets or when using them in Mid Side configurations. These can also function very well as room mics as they capture both the subject and the audience.

Super/Hyper Cardioid

Similar to their Cardioid cousins, Super/Hyper Cardioid microphones are much more directional as they reject even more noise on the sides. This makes them great for getting microphone isolation.

Page updated

Google Sites

Report abuse