What type of microphone for recording

However, in use this wasn't that obvious, and is possibly compensated slightly by the gentle boost above 7kHz. Either way, both patterns are useful inclusions, and save you the trouble of buying or setting up another mic, should you want to try out different patterns.

Overall, sE's upgrade is a success, and combined with the multi-pattern option, the a MkII is more desirable than ever. OK, the multi-pattern capability has pushed up the price a bit, but there's always the fixed cardioid version if your budget's tight. Issues with feedback rejection and handling noise have to be balanced against tradeoffs in sound quality. In short, yes. The high frequency range is present and well defined, without the harsh hype and phase-shift peakiness that some cheaper condenser mics either display or attempt to mask with an overall HF pull-down.

Read our full AKG C review. As one of the best-respected names in microphones we were expecting good things from the Neumann TLM This large diaphragm condenser promises superlative performance for vocals, and it does not disappoint. Offering crystal clear reproduction across the frequency range, with a nice bump around the 6 kHz mark, the TLM is a specialist mic which will do wonders for your mixes.

All told this is an ideal investment for anyone looking to upgrade their recording gear and take their tracks to a new level. Read the full Neumann TLM review. Electronically, the NTR is active, running from 48V phantom power and has a built-in transformer that offers a high output so that the mic is not so finickity about preamp requirements as other ribbon mics and can, a fact borne out by our tests, be used with a wide range of preamps without having to turn the gain up to noise-generating levels.

Internal shock mounting results in there being no need for an external suspension cradle, which helps with placement and, even though this is quite a heavy mic, the included compact mount which attaches to its base works great at holding it at any angle on a mic stand with little pressure needed to firm it up. On a variety of sound sources we found the mic to deliver a very natural representation of whatever was put in front of it with plenty of low-end and a clear top with a natural roll off, rather than the often overdone brightness designed into some condensers.

Read our full Rode NTR review. The TS stands for Twin System: it works either in regular multipattern mic mode, or in dual mode, providing independent access to both diaphragm outputs. This allows adjustment of the pickup pattern after recording and also opens up some stereo recording options. In dual mode the second diaphragm output is accessed via a miniature three-pin connector on the side of body, and in the carry case there's a mini three-pin XLR breakout cable as well as accessories such as foam windshield, suspension cradle, mic pouch and a rather nifty magnetic pop shield.

All told, it's a well put together and stylish package. So in theory, if you can emulate them with software then you should be on to a winner. There have been a few plugs over the years which have claimed to give one mic the character of another but, given the limitations of the original mic, coupled with any number of mic pres that could have been used, plus the quality of the interface that recorded it, most of them have been pretty disappointing.

Slate Digital have taken that idea and built a complete system which removes as many of those variables as possible. With everything plugged up, the first thing that's obvious with the Aria is just how natural it sounds. There's definitely a slight presence lift, but this is in the upper mids rather than right into sibilant territory. Beyond this there's no high frequency hyping, or the brittleness that plagues mics of that ilk. So, one's attention is drawn to the lows and low mids.

These feel solid and although there is a small proximity effect, it's not at all overbearing. In use we feel the cardioid polar pattern is pretty broad both in horizontal and vertical directions. So the sweet spot is large, which is particularly useful for vocals and acoustic guitars.

On vocals the Aria delivers a faithful sound, and when you dig in with more forceful delivery it responds very well. With acoustic guitar it's easy to capture a non-boomy sound, and once again the non-hyped sound is great. The smooth response also lends itself to complex sounds such as guitar amp , strings and percussion. Read our full Sontronics Aria review. With a new large diaphragm condenser mic there's rarely anything unusual to discuss.

After all, the focus is typically on the general frequency response, pick up pattern, build quality and sound. Audio Technica's AT ticks all the boxes of a typical high end phantom powered condenser mic with its discrete component design, low noise, high SPL handling and decent shock mount. Look closer, however, and you will find some special touches.

The noise figure is exceptional and the quick release cradle beautifully designed more later. Also worth mentioning is the advanced internal capsule decoupling mechanism and the fact that it's percent hand built and inspected. The really big deal here — bigger than that whopping price tag — is the capsule: a four-part rectangular design delivering over ten square cms of surface area roughly twice that of a one inch capsule. Put into perspective, a circular design with roughly the same area would have a diameter of 3.

Read our full Audio Technica AT review. It's unlikely you'll have a precise notion of how the final recording will shape up, but even a vague idea of the direction you want to take will enable you to make a good start, which is half the battle. To fully understand how to choose between one microphone and another let's take a quick look at how they work. Essentially, sound waves generated by a vocalist, an acoustic guitar, a flute, a pregnant elephant or whatever else you're trying to record will hit a flexible diaphragm inside your microphone.

As the diaphragm moves it generates an electrical signal that travels down a cable to your amplifier, desk or recording interface. Nine times out of ten this signal will end up at a speaker, or pair headphones, where it causes a speaker cone to fluctuate.

These movements cause the air pressure to change, generating sound waves that match your original source. Yes, it still seems like magic to us too. OK, there's a bit more to it than that, but if you think about it the microphone and speaker work in a very similar way. The mic's diaphragm and the speaker's cone are doing pretty much the same thing but in reverse. One is converting sound into an electrical signal and the other is converting it back again.

The way in which a mic's diaphragm handles the conversion will impact the characteristics of our sound, so we need to make sure our microphone choice aligns with the sonic ambition we set out in step one. Two types of diaphragm, and their associated electrical gubbins, account for the vast majority of microphones found in studios today — the dynamic mic and the condenser. Let's take a closer look. Microphone types and where you should use them. Life is pretty darn simple for the dynamic mic.

As sound waves enter the microphone the diaphragm flexes, moving the coil which generates an electrical signal. The process is crude and insensitive but it works surprisingly well. Dynamic mics are just the ticket for live use.

Their no-nonsense build means there's little to go wrong and, in order to support the coil, they're equipped with relatively hefty, robust diaphragms. They're also passive devices, which means that, unlike condenser mics, they don't need phantom power in order to operate. These attributes make them well-suited to the rough and tumble of life on the road.

Their insensitive nature, a product of the thick diaphragm, does limit their frequency response, but that's not entirely bad news for live use. The last thing you need is a mic so sensitive that it picks up every bit of background sound and handling noise. They also excel at miking loud sound sources that would damage most condenser mics. Because acoustic drum kits are naturally loud and punchy, you'll want to go with dynamic cardioid mics for the snare, bass and toms.

Small diaphragm microphones can then be used to capture the nuances of the hi-hat, ride and cymbals. For best results, there are specialized mics that are fine tuned to handle the different frequencies and SPLs of each part of a drum kit, you can either get them one by one or go for convenient drum kit mic bundles. In the studio, you can setup an Omnidirection or ribbon mic to blend in some ambience into your drum tracks.

Close mic'd guitar amplifiers are as loud, sometimes louder than drum kits, and as such they require mics that can handle high SPL. Your best bet is a cardioid or hyper cardioid dynamic mic that is well positioned in front of the amp speaker.

Again a second condenser mic or ribbon mic, set back at a distance, can be used in case you are using multiple amps or if you want a warmer more classic sounding output, or in combination with a close mic to capture some of the room ambience. These dynamic mics are great for recording guitar amps.

Acoustic guitars when not amplified have a softer sound with immersive nuances. These type of instruments require the fidelity and quality of large diaphragm condenser mics. You can also go for a well placed Cardioid condenser mic or Figure-8 pattern ribbons depending on the situation and noise level. Finally, setting up an extra small diaphragm mic will work wonders in capturing the higher frequencies that sometimes get lost when acoustics are plugged in or miked directly up front.

See which mics we recommend for Acoustic Guitars. We've talked about the main types of microphones you'll use in various situations, however as you gain experience you'll also learn how to break with convention.

If there's anything more you would like to know about microphones then please feel free to ask in the comments below. In "Pumped Up Kicks", the singer's voice is sort of distorted throughout the entire song as if it's coming out of a radio, and in the music video, you can see the microphone he is using. I have hear something about this being a talkbox effect? I don't really know. I wouldn't base the kind of mic a singer is using on a music video. All I can say is that the voice has been processed in post with plugins or analog gear to have that effect.

It's more of a clever application of high cut and low cut with some saturation during the mix. For journalism, a shotgun mic picks up more of your voice and rejects sound that isn't directly in front of it. Live news field reporters use shotgun mics to focus on their voice especially in loud environments. Which mic will be best for recording vocal and guitar at the same time? Which mic can capture vocal and guitar together with same intensity?

Condenser mics would be your top pick. As for capturing guitar and vocals together, mic position plays a crucial role as to what you capture. In an exhibition setting, I want to have the sound of people stepping on a plastic carpet louder.

Considering that most of the mics are noise cancellation, I want the exact opposite effect. Which type of microphone could I use? One type of mic you can try is something called a "boundary mic". It's a floor positioned mic that picks up sound by reflections. I've never tried a boundary mic on carpet but on a flat surface, the proximity of the footsteps becomes more apparent and you can blend that in with another mic placed elsewhere.

I used to love american made.. Don't quote me but I believe a boom would be in the shotgun mic category given it's shape and use. We publish many microphone guides which are based on features such as price, diaphragm size, diaphragm type dynamic, condenser etc. Please elaborate on why you want us to make a list based on polar pattern types and we'll consider the request. I would like to record harmonica against karaoke or backing track. That will go go a sound card.

Output will go to another input of soundcard. Which mic would you recommend? I have a home made studio for recording known as The Legend Gospel studio, I need wireless microphones that I can use for best results of my works.

You've come to the right place! We have a guide up for The Best Wireless Microphones that you can read to check which one suits your studio's needs! Though wireless mics are usually used live, they're also great studio tools especially when filming livestreams as there won't be any cables lying around the studio area when you stream. Brilliant piece. Just what I've been looking for. This article is now saved in my "Bookmarks" header for future reference.

We have a lot of wind here and it sometimes takes over the mic. What kind should we use in this windy environ we live in? Newbee here. Sir kindly suggest me a mic which is most sensitive mic to capture all types of sounds inclusive with surrounded noise as well with-in the open field.

Note: Relevant to stumps mics. Recommendations on microphones for live performances of ensembles? Is there a microphone that would pick up a keyboard, violin player and 3 vocalists? Pretty much any microphone that you can place on someone's chest aught to work - for extra sensitivity go for a condenser rather than a dynamic mic. Condenser mic is best for studio recording, but are very fragile. Hi, i've purchased a Sony HXR nx5E Camcorder and would like to try both indoor and out door interviewing, i have a shotgun mic with the camera, what would you advise I use to achieve best quality?

What are the types of mics which are used to record the Foley Sounds? Either inside or outside the studio. Hi, So helpful. I'm running a club at school that will include foley sound work, radio dramas, and podcast interviews. Three setups. Thinking of two sets of lavalier mics for the interviews going into a laptop or possibly a used H1 or H2 Zoom for field work.

Unsure what to get for the radio dramas. Limited budget for sure. Any thoughts? I teach 20 3rd - 5th grade children to play ukulele and sing each year. At the end of the school year the kids give a recital, but without amplification. Of course, there are exceptions to every rule: shotgun condenser microphones are used on TV and movie sets, so as to pick up all dialogue. Rather than using moving a magnet and moving coils, these use capacitor plates which are constantly charged from an external power source phantom power.

The front plate is made from a malleable material and is comparable to a diaphragm used in dynamic microphones. Soundwaves hit the front plate which then vibrates. This slight movement changes the capacitance between the front and rear plates and converts it into an electrical signal. Vintage King Ribbon microphones typically have a bidirectional recording pattern.

When I think of a Transatlantic accent, I picture a man in a suit with large lapels, tightly combed hair, standing behind a rectangular ribbon microphone.

This type of microphone is great for recording voices and had a higher resonant frequency than microphone diaphragms back in the s. Upon inception, they were remarkably fragile but have since become more rugged. They usually have a bidirectional polar pattern, meaning they equally register sounds from the front and rear.

Ribbon microphones aren't as fragile as they once were but dynamic mics are generally tougher, still. As the name suggests a ribbon microphone uses, well, a ribbon. As it vibrates between said poles, a voltage is created. This signal is then converted and transmitted for output. If you need a microphone to accurately produce high-frequency sounds, this is a great option so long as you have a phantom power supply.

Blue Tubes are great for vocals and studio recordings. These condenser microphone use a vacuum tube to amplify the signal from the recording capsule. Tube microphones are great for voices, too, as they tend to emphasize bass frequencies, making vocal fundamental frequencies more perceptible.

These determine from which direction, or directions, a microphone registers sound. This pattern has some off-axis rejection but will still capture room ambiance. If you want to learn more, Chris has an in-depth breakdown of various recording patterns. The Shure SM58 intentionally reduces bass frequencies to combat the proximity effect. Headphones, microphones, and speakers all have a specific frequency response.

This denotes how well something can reproduce an audio signal across a specific frequency range. A commonly used frequency range is 20HzkHz; these are the lowest and highest frequencies the human ear can register. A neutral frequency response makes it easier to edit during post-production. This means some frequencies may be less or more audible, depending on the microphone. When visualized like in the chart above, a louder frequency range appears as a bump, while a quieter one dips.