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VoLUME 4:The Home Studio Microphone Guide
p r e S e n T S
Finding the right mics for every situation and every budget
B y A n d r e C A l i l h A n n A , K e i t h h A t s C h e K , & J o n M A r C W e i s s
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Ater the instrument, and the player, the microphone is arguably the most important element in the record
chain. The preamp matters, as does the console, the speakers, and the entire signal path, but the micropho
and your mic placement techniques are the means o capturing the sounds you are trying to record. A po
quality or ill-suited mic, or a mic placed in the wrong spot at the wrong angle, will make the best perorman
sound sub-par.
There are dierent types o microphones, but they share a ew things in common. All are transducers, convert
energy rom one orm to another. In this case, a microphone is a transducer that turns acoustic energy (sound) i
electric energy, or an audio signal. In addition, every microphone has a diaphragm, which vibrates when souwaves move the air and converts those vibrations into the audio signal.
One thing that sets mics apart otentimes universes apart is the price tag. As a rule, the type o mic, the qu
ity and expense o the components, the artistry involved in crating the mic, and the science behind the constr
tion all actor into the fnal price. While a higher-quality microphone does tend to result in a higher price tag,
the more expensive the mic, the better it is, there are many gems that outperorm their contemporaries in sim
(and sometimes higher) price ranges, and others that are simply better suited to particular situations.
So when youre ready to pull the trigger and lay good money out or a microphone or a set o microphones
or your home studio, where should you begin? First, ask yoursel, what am I recording, and what kind o sou
am I going ater? Theres no doubt that a huge arsenal o mics o varying types and character can help mak
producer/engineer/studios reputation, but any quality mic collection takes time (and money) to assemble. I you
just starting out, working within a budget, or hungry or the next great mic to add to your stable, here are so
ideas to get your motor running.
Types of MicsDierent types o mics are categorized by the type o element
used: condenser, electret (condenser), ribbon, and dynamic. Thereare a number o other types o mics (carbon, piezoelectric, ber op-
tic), but condensers, ribbons, and dynamic mics are the mainstays
o music recording.
Condenser MicrophonesVery popular or all types o recording situations, condenser micro-
phones provide a very accurate representation o the source. They
work well on quiet and subtle sound sources, like an acoustic guitar,
and can also pick up loud sound sources, like a drum kit, without
losing detail.
A condenser mic houses one or two electrically charged plates,
usually Mylar sputtered with gold or nickel, and built into most is
a transormer. Because they are electrically charged through a
battery, phantom power, or in the case o electrets, by the electric
charge inherent in the mics materials a condensers capsule is
very active and sensitive to even slight pressure fuctuations, which
is the main reason condensers are so accurate.
There are dierent sized condenser mics, and its the size o
the diaphragm that dictates the area o concentration. A vocal
condenser mic will typically have somewhere between a
1 diaphragm. In general, a 1 diaphragm mic is ideal or
cals and other instruments where youre trying to pick up the end, and particularly with a vocalist, you can achieve a proxim
eect, meaning that when the vocalist gets closer to the mic
makes it sound like the voice is closer to your ear (bass requen
are also boosted).
Small diaphragm condensers have a diaphragm thats anywh
rom to , and are a good choice or instruments that hav
lot o high-end energy, such as acoustic guitar and drum overhea
You will oten nd small diaphragm mics set in a stereo pattern
Dierent model condensers all have dierent characteristics: so
have multiple pickup patterns, low-requency rollos, atten
tor pads some o them are tube, some o them are FET (
eect transistor), some are transormerless, with and with
IC chips, and they all produce a very dierent sound. F
dierent types o condensers used on the same instrument
going to sound very dierent, depending on the technolog
used, materials, diaphragm, etc.
Condensers are not commonly used in live situations as t
generate eedback airly easily and are more ragile tha
dynamic microphone. Moisture or good knock rom a drums
can permanently damage a condenser mic.
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Ribbon MicrophonesRibbon mics go back to the late 20s, when RCA embraced the tech-
nology and made it popular. Think o those images o Frank Sinatra
standing in ront o the RCA 77DX, the pill-shaped mic that was
incredibly popular rom the 30s through the late 60s. They were
a studio staple: they looked cool, they were cool, and they were
large because magnet technology hadnt been perected until
ater WWII. Ater that, ribbon mics were manuactured with
smaller, more powerul magnets, and the size o the mics shrank.
Ribbons aded out o avor or many years or a number o reasons.First, you need a very strong preamp to use them, like the original
RCA preamps that could provide a 50 Ohm boost (preamps today
oten come equipped to handle a ribbon). More notably, ribbon
mics were incredibly ragile. Drop a vintage ribbon mic, blow into
it, or slam a door in a tight room and the element is broken and it
was o to the shop. The element is literally a pressed ribbon o cor-
rugated material (usually aluminum) stretched across a magnet, and
that thin ribbon was liable to break with any amount o air pressure.
Ribbon mics are still ragile, compared to dynamic mics and even
condensers, but windscreen technology has advanced to make
them much less prone to destruction.
A ribbon mic is not the most versatile mic, but what makes them so
enduring is their unparalleled midrange detail. Ribbons were, and
still are, really popular or some types o vocalists, but what they
were used or all the time were horns. A saxophone, and all kinds o
brass, has a signature midrange that plays to a ribbon mics sweet
spot. Theyre still popular on horns and strings, and youll nd them
being used on guitar cabinets and drums as well. A ribbon mic on
a vintage Vox AC30, or used as a room mic, will produce a very
organic sound.
Ribbon mics tend to be on the more expensive side o the scale,
though there are a number o Chinese-made ribbons that can be
ound new or under $300. Be aware that you may nd inconsisten-cies rom mic to mic in the lower price ranges, due to the variation
in tensioning o the ribbon element. For the more adventurous,
vintage ribbon mics can show up at fea markets and garage sales.
Find an old ribbon mic at a fea market or $50, take it to a proes-
sional who can re-ribbon it, and theres a chance youll be sitting on
a $500-$3,000 microphone.
Dynamic MicrophonesDynamic mics were originally designed to be a replacement or
ribbon mics because they can handle high sound pressure levels
(SPL) and can handle being thrown around. Dynamic mics donthave nearly the character or articulation o a condenser, but they
are very resilient to damage, even i theyre dropped.
Dynamic mics are probably the most commonly used mic (think
Shures SM57). Dynamic mics are relatively inexpensive, and there
are a host o uses or them, including recording drums, guitar
cabinets, bass cabinets, horns... almost everything. In a studio,
you wont usually see them on vocals or acoustic guitar, or
anything that has a lot o detail in the top end, though there are
notable exceptions to this rule.* In a live setting, a huge percent
o the mics being used are going to be dynamic. Theyre desig
to withstand a ton o abuse and keep eedback in check.
*One famous exception is Bruce Swedien, who engineered the bu
Michael Jacksons catalog, using a Shure SM7B to record Jacks
vocals for the bulk of the Thriller album. A quick search reveals
Metallica and the Red Hot Chili Peppers use the same mic (the
goes on). Considering these are industry giants working in the
studios in the world with producers and engineers who can dem
whatever they want, the fact that they choose a $349 dyn
microphone for vocals is the ultimate case in point that a higher tag doesnt always mean its the right mic for the job.
Pickup PatternsA microphones pickup pattern (or polar pattern) reers to
breadth o its area o concentration. In other words, it reers to
sensitive the microphone is to picking up a sound source rela
to its central axis. Most mics have a xed pattern, though so
studio mics include a range o pickup pattern choices by wa
a switch on the mic or a remote control unit. (See Pickup Pat
diagrams on page 4.)
OmnidirectionalAn omnidirectional pattern will pick up 360 degrees around
element. While it picks up sound sources equally rom every an
you may nd that there is a slight fattening o the response
sources coming in rom the back o the microphone. But i you h
one mic and you want to pick up everything going on in the ro
like a choir or a circle o singers or strings, an omni mic settin
the one to use.
Bi-directional (Figure-8)A bi-directional (or gure-8) mic will pick up sound sources equ
rom the ront and back o the mic. A bi-directional mic has
elements, one is negatively charged and the other positive. M
ribbon microphones have a bi-directional pattern, which is us
i you have two sound sources you want to record, like a due
singers or instruments.
Cardioid
Cardioid is a tighter pickup pattern, and gets its name romheart-shaped pattern seen in the diagram. The most popular
pickup pattern, cardioid mics will pick up sound sources in a
wide range rom the ront o the mic, will taper out sources
directly in ront, and have almost no sensitivity to sounds com
directly rom the rear o the mic. This helps reduce eedback
ocuses on the sound source.
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Hyper-CardioidCompared to a Cardioid pattern, a hyper-cardioid microphone has
a tighter area o ront sensitivity plus a small area o rear sensitiv-
ity. A hyper-cardioid microphone is not unlike a bi-directional, but
with a larger area o concentration in the ront and a smaller area
in the back.
Super-CardioidA super-cardioid pattern is similar to a hyper-cardioid, with a slight-
ly larger area o concentration in the ront and a thinner area inthe rear.
UnidirectionalA unidirectional pattern has extreme o-axis rejection, mean-
ing it will only pick up sound sources that are directly in ront o
the microphone.
ShotgunA shotgun mic is a unidirectional mic designed to pick up th
that are ar away, with a high degree o ocus, so as not to
up sources it isnt directly pointed at. Theyre typically elec
condensers, and are oten used or TV and eld recording, tho
they can be used to isolate instruments in a studio setting, lik
bass drum or piano.
Pressure Zone Microphone (PZM)Pressure Zone Microphones are a unique type o mic cap(usually omnidirectional) mounted to a plate. While not ordin
used to record instruments during multitrack recording, they
be used as room mics. A PZM also allows or recording in enclo
spaces, like being taped to the underside o a grand pianos
which may need to be closed when recording with a band in
same room.
(Polar Pattern images Galak76)
OmnidirectiOnal
Hyper-cardiOid
Bi-directiOnal (Figure-8)
Super-cardiOid
cardiOid
unidirectiOnal
Pickup Patterns
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Beyond the pickup patternAdditional pickup patterns can be achieved
using multiple microphones, including:
XY Small or large diaphragm condensers, crossed at a 90
angle, which provide a wider pickup pattern than youll get
rom a single mic. Oten used or a stereo feld, but sometimes
ust used or coverage on a drum kit or a piano, or instance.
MS (Mid-Side) The MS technique provides more controlover the width o the stereo spread. Set a cardioid or hypercar-
dioid mic acing the sound source (the mid mic), then aim a
bi-directional mic 90 o axis rom the source (the side mic)
placed as close as possible above the mid mic.
oRTF Devised in the 60s at the Ofce de Radiodiusion
Tlvision Franaise (ORTF), this technique uses two cardioid
mics mounted on a stereo bar, typically 17 cm apart at a 110o
angle. This technique can be used to create depth in the ste-
reo feld or a single instrument, or used in mono to create a
wider pickup pattern. Rather than using multiple mics around a
room, you can use this technique to limit and control the width
o your pickup pattern.
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36 Mic Picks for theHome Studio (and beyond
Behringer C-1$44Condenser(Large Diaphragm)For anyone working with a small budget, this card
mic delivers crisp, clear voice recordings and accu
reproduction o acoustic instruments. Its a lot o mic
the price.
Shure SM 57$99DynamicThe cardioid dynamic microphone you see everywh
on so many dierent instruments and applications
cabinets, drum kits, horns so its versatility is a big p
Its also very rugged, dependable, and incredibly aable. Good or studio and live situations.
Shure SM 58$99DynamicThe sibling o the SM 57, includes the ball grille with
oam lining to provide an extra degree o pop and w
protection. For the record, SM stands or studio mi
phone, as this was originally to be an alternative to
notoriously ragile ribbon mics (the grey matte color
designed to cut down the glare o the typical silver mIts durability has made it a live perormance staple.
Audi Technica AT2020$99Condenser (Medium Diaphragm)This medium diaphragm condenser was designed
the home studio owner in mind. Use it to record vo
acoustic instruments, strings, and even as an overhead
or drums.
Shure Beta 57A $139DynamicThe supercardioid cousin o the SM 57, the Beta
provides a slightly brighter sound and higher out
level. It has a bit more warmth and presence than
57, and works well on drums, guitar amplifers, br
and woodwinds.
UNDER $250
GNU
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$250 $500
Shr KSm141 $399Condenser (Small Diaphragm)Switches rom cardioid to omnidirectional with a
midrange sound that works well or drum overhe
and snare, vocals, percussion, and nylon and st
string acoustic guitars.
B mic. Baby Btt$400
Condenser (Large Diaphragm)Blues entry-level large-diaphragm cardioid
denser is a lot o mic or the money, recommen
or vocals, percussion, and any acoustic ins
ment. By the way, Blue stands or Baltic Lat
Universal Electronics. Impress an engineer with
next time youre in a studio.
Rd NT5$429Condenser(Small Diaphragm)The price listed is or a matched pair o th
cardioid condensers. For stereo eld record
the NT5 provides depth and detail in most
recording situation.
ectrvic Re20 $449DynamicDesigned or broadcasting, this dynamic cardio
well-suited or vocals and works great on upr
bass and bass drums.
Rd NTK$529Condenser (Large Diaphragm)A cardioid vacuum tube condenser that w
equally well on wooden futes and loud voca
boasts being used on vocals or Nickelbacks
Long Road). Described as warm and fatter
without adding its ngerprint to the recorded tr
Shr Bta 58A$159DynamicThe supercardioid cousin o the SM 58, the Beta
58A is really designed to be a live vocal mic, but its
home studio applications can be likened to the 57
and Beta 57As (you can always remove the ball grille
and stick it on an amp).
mXl 990$200Condenser (Medium Diaphragm)Cardioid condenser that is quiet and smooth with
enough mids to cut through the mix when recording
vocals, acoustic guitar, and piano.
Rd NT3 $269Condenser (Small Diaphragm)Cardioid condenser recommended or acoustic
guitars, percussion, and anything where youre
looking to capture mids and highs.
Adi Tchnica AT4022$349Condenser(Small Diaphragm)Omnidirectional condenser at an aordable price
well-suited or midrange requencies. As with any
omnidirectional mic, a good acoustic environment
is key to capturing great tones.
Shr Sm7B$349DynamicClassic cardioid vocal mic with bass roll-o and an
impressive resume, including many o Michael Jack-
sons most amous vocal recordings. Also widely
used in broadcasting, e.g. Robin Quivers rom The
Howard Stern Show.
Snnhisr mD 421 II$380DynamicCardioid mic with a ve-position bass roll-o switch,
which allows you to lter out unwanted low requen-
cies. Good mic or live and recording situations,
particularly or bass drum, brass, and narration.
$500 $1,000
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mjav Adi mA-100$795Condenser(Small Diaphragm)Tube condenser with interchangeable cardioid
omnidirectional capsules, the MA-100 gets
reviews or use on string ensembles, snare dr
toms, guitar amps, and acoustic guitar.
Ryr R-101$799
RibbonThe little (less expensive) brother o the R-121
accolades or sounding almost exactly as g
Both are ribbon mics with a bi-directional polar
tern, Royer has sound clips o the 101 vs. 12
their website.
Nann Km 184 $850Condenser (Small Diaphragm)A studio staple cardioid condenser describe
accurate and exceptional on all things string
Best used in rooms with good acoustics as
accuracy can accentuate your rooms tro
spots, particularly i there are any extrane
sound sources (computers, ans, etc.).
Shr KSm44A $999Condenser (Large Diaphragm)Multi-pattern (cardioid, omnidirectional, and g
8) condenser mic that works well on just about
sound source, including piano, acoustic guitar,
strings. Also a nice choice when a little more ness in tone would benet a vocalist.
AKG C414XlII$999Condenser (Large Diaphragm)The C414 eatures multiple pickup patterns (o
wide cardioid, cardioid, hypercardioid, gur
and our intermediate pickup patterns) and
handle high SPL. An excellent mic or aco
instruments, and one that adds a bit o bright
on guitar amps.
AKG C414 XlS $999Condenser (Large Diaphragm)Featuring nine polar patterns or a wide variet
uses, the C414 is a thoroughbred vocal mic w
long history (it was rst introduced in 1971).
exceptional on acoustic guitar and piano.
Adi Tchnica AT4050$699Condenser(Large Diaphragm)A condenser with three polar patterns omnidi-
rectional, bi-directional, and gure-8 this mic
can handle walloping sound levels and is suited or
vocals, acoustic instruments, and loud percussion.
Rd K2$699
Condenser (Large Diaphragm)Another vacuum tube condenser rom this Austra-
lian company (note, thats Australia, not Austria).
A warm and versatile mic that sounds particu-
larly good on acoustic guitar. Has multiple polar
patterns (omni, cardioid, gure-8, and everything
in between).
Byrdynaic m 160$699RibbonHypercardioid mic with two ribbons with a wide
range o uses, including strings, horns, electric
guitar amps, and drums. Ever hear When The
Levee Breaks by Led Zeppelin? Thats an M 160
on Bonhams drums.
Byrdynaic m 130$699RibbonFigure-8 (bi-directional) dual ribbon brother o
the M 160.
Nann Tlm 102$700Condenser (Large Diaphragm)Neumann has owned the studio mic universe or
years, and while the TLM 102 isnt exactly a budget
mic, its the entry-level Neumann. The TLM 102 is
a transormerless (TLM stands or transormer-
less microphone), xed cardioid condenser with
no switches, no pad, and no additional pickup
patterns. This is specically designed to sweeten
vocals, but is a great choice or amps and drumskits as well.
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8/8PAGeT h E h o m E S T u d i o m i c R o P h o N E G u i d E
B micrphns Kiwi $1,999Condenser (Large Diaphragm)Multiple polar patterns (controlled by a ro
switch) range rom omni to cardioid to gu
with three intermediate positions in between.
Kiwi is described as smooth as silk and is i
or all kinds o acoustic instruments and percus
and provides clarity or male and emale vocalis
Rd Cassic II $2,099Condenser(Large Diaphragm)Tube mic with a warm and rich tone. Its prim
purpose is or vocals, but with nine polar patt
(cardioid, omni, gure-8 and all the in betwe
its great or use on all sorts o acoustic instrum
and even drum overheads (with a good stu
mic stand).
Nann u 87 Ai $3,200Condenser (Large Diaphragm)Proessional-studio, multi-pattern (omni, card
gure-8) condenser mic that delivers unparall
detail and dynamic sound. The U 87s sonic si
ture can be heard on many hit records. Sele
by Sound on Soundmagazine readers as the
microphone, period.
AKG C12 VR $4,999Condenser (Large Diaphragm)The AKG C12s history dates back to the early
Manuactured in Austria, it is widely regarded as
most exclusive and sought ater mic ever buil
vacuum tube mic with nine polar patterns, AK
C12 VR is a modern take on the original.
B mic. Wdpckr$1,000RibbonAn active (accepts phantom power) ribbon, the
Woodpecker has an output signal that exceeds
typical ribbon mics. Great or brass, acoustic
guitars, and amps, though the higher output might
require mic placement experimentation to quiet
down some o the high end output.
Nann Tlm 103$1,100Condenser (Large Diaphragm)The next step up rom the 102, the TLM 103 is also a
cardioid mic used by proessional broadcasters and
pro studios around the world. Boasting a very natu-
ral sound, or a high-level home studio, this is a
high-quality general purpose mic.
mjav Adi mA-300 $1,295Condenser(Large Diaphragm)Mojave, which is Royers non-ribbon division,
expanded on the MA-200 tube condenser (a
xed cardioid) to include multiple patterns
(continuously variable rom omni to gure-8). Use
on vocals, as overheads, percussion, and especially
acoustic guitar.
Ryr R-121 $1,295RibbonA gure-8 ribbon mic that delivers clean and warm
tones and can take a huge amount o SPL. Use them
on everything, rom vocals to drums to horns.
se ectrnics Gini II$1,599Condenser(Large Diaphragm)A dual tube cardioid condenser that is physically
heavy (a big mic with two tubes will tend to be), that
provides a balanced sound with good string deni-
tion on acoustic guitars and colored, detailed midson vocals.
$1,000 $2,000
OVER $2,000
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