Microphones & Accessories

 

NOTE: THIS PAGE IS UNDER CONSTRUCTION/REFRESH

Everyone is familiar with microphones and what they do on a basic level, but not everyone knows the … ins and outs regarding various types, which ones work best in different scenarios, and so forth. 

Worry not, as I’ll take you by the hand and show you a world of pure imagination. But don’t call me Willy Wonka.

In the previous section, we discussed your audio interface, how it relates to microphones, and why it’s so important.

So by now, you’re probably ready to lay down some vocals.

But hold it right there, mister. We have some things to discuss first.

When it comes to mics, there are many different types. Let’s start with the basics, alright?

Large Diaphragm Cardioid Condenser

Large-diaphragm cardioid condensers are arguably the most popular in the studio, as they happen to be incredibly versatile and also very affordable. 

You’ll most likely come across these first in your search for something to scream obscenities into so the world can know how rugged and raw you are. They call that “Rap.”

The cardioid pattern means they’re most sensitive to sound coming from the front and reject sound from the back. This means they typically are very good at rejecting any ambient noise even if your room isn’t completely ideal.

• Click here to see my studio in various stages over the years.

Stuff like an air conditioner, a busy highway, people in your apartment complex yelling loudly for no apparent reason, the guy above you who sounds like he’s dropping bowling balls on the floor repeatedly, the old man taking an enormous dump next door, etc.

All of those things will be mitigated almost completely, but do be aware that I can’t promise anything when it comes to explosive diarrhea.

And, it’s always good practice to employ at least some Acoustic Sound Treatment, and/or invest in a Microphone shield.

A condenser detects sound differently than a dynamic, and as a result, is more sensitive. Both condensers and dynamics receive sound through a diaphragm, but when a condenser vibrates it generates a signal (an electric charge) that is received by an external power source.

This could be from a battery or more commonly the phantom power that your audio interface uses; something we discussed in the previous article.

• Required Reading: What Is 48v Phantom Power?

Use Cases

Generally speaking, a large-diaphragm condenser microphone works incredibly well for vocals, podcasting, singing, rapping, etc., and pretty well for instruments. Some mics work better than others, let’s just put it that way.

For instance, A Rode NT1A is exceptional for the guitar because it’s rather bright and helps accentuate the instrument’s natural tone.

That said, after experimenting quite a bit with recording an acoustic guitar, I find that a small-diaphragm condenser works much better.

Small-Diaphragm Condenser Microphone

These are pretty much tailored specifically for recording the acoustic, and boy howdy do they ever do an excellent job.

This is because of their fast transient response and wide frequency range. It allows the mic (also referred to as a pencil condenser) to capture the intricate details, brightness, and dynamic nuances of the guitar’s sound, providing a clear and accurate representation of the instrument’s tonal characteristics. Additionally, its directional pickup pattern helps minimize room noise and focus on the guitar, enhancing the quality of the recording.

It’s simply astonishing how much easier it is to record with one. Every large diaphragm I’ve ever tried was extremely finicky, to the point where I dreaded trying to record anything. Placement would be right, the recording meh. The problem with condensers is that they require more EQ than is necessary and simply don’t do the instrument justice.

And I’m not talkin’ about Victoria, though I kind of am.

 Required Reading: How To Record And EQ An Acoustic Guitar

Small-Diaphgrams? They made my Gibson Epiphone from 2003 sound good, and I never thought I’d type those words.

In all seriousness, my guitar has a somewhat dated tone, but a small diaphragm like the MXL 991 really highlights its strong points and helps it come alive like Peter Frampton.

I remember exactly how I felt the moment I listened to the take and was like “Yeah this thing is an actual miracle.”

You put the mic in the correct place and it rewards you for it. Large-Diaphragm condensers, again, can be real bitchy about it.

A small diaphragm also requires minimal EQ and, unlike a dynamic, records crisp, clear, clean takes every time.

Speaking of dynamics…

Dynamic Microphones

Dynamic microphones are a strange animal, as they’re suited for a specific purpose while working anywhere from Meh, to OK, to pretty good with other stuff.

They’re best suited for miking amps, drum kits, and recording super loud vocals, live performances, heck, every president dating back to Lyndon B. Johnson has used one for his presidential address. Anything loud and the dynamic’s got you covered.

This is because it can handle high sound pressure levels without distortion. Its robust construction and less sensitive diaphragm make it ideal for recording sources like drums, electric guitar amps, and live vocals, where durability and the ability to manage extreme volume are essential.

That said, it can work for things in the studio. Someone was nice enough to give me an SM57 as a gift, which was rather awesome since I wanted to know if all the hype was warranted.

In short, I’d probably nod and shake my head at the same time.

It’s incredible for vocals, but just make sure you have something like a Triton FetHead for the extra gain it requires. This prevents you from having to jack the gain up on your interface and makes it much easier to record with.

In the picture above, you’ll also notice the Shure A81WS windscreen makes it sound basically identical to a Shure SM7B in addition to being much more predictable and consistent when you’re recording takes.

This article shows a video about the astonishing truth.

I’d highly recommend both the FetHead and the A81WS for maximum max meat results.

Unlike a condenser, the dynamic does not need phantom power from an interface, but it does need plenty of gain.

For instance, a mic like the SM57 from above needs approximately 60dB, and my Volt 2 only supplies 55.

This is why the FetHead is so convenient. I don’t have to buy expensive preamps or worry about needlessly complex setups. Just a simple plug-and-play will do, pig.

What They’re Not As Good For

While they work really well for vocals, trying to record an acoustic with an SM57 is almost an exercise in futility. I tried a bunch of different angles and distances, tried the gain at varying levels, but the mic simply doesn’t cooperate and rarely provides a good take. It also just doesn’t pick up the instrument’s natural tonality all that well and sounds muddy, boxy, and boomy.

With EQ it can work, but a small-diaphragm like the MXL991 as discussed previously is a much better option and it’s not close. 

The way a dynamic works is much simpler than a condenser because it receives sound similar to how our ears do. The sound waves hit a diaphragm inside which vibrates a magnet relative to a coil of wire. This generates an electrical signal which is sent down the output cable. In the same way, sound strikes our eardrums and travels to nerve endings which produce a signal our brain interprets as sound.

A condenser also receives sound through a diaphragm, but when it vibrates, a signal is generated (an electric charge) which is received by an external power source. This could be from a battery or more commonly the phantom power that your audio interface uses.

• For more information on this process, check out: What is a cardioid capsule?

Dynamics also happen to be extremely durable.

The famed example is of course the SM57 just discussed, and all the rumours are true like Fleetwood Mac. This thing feels GIRTHY in your hand.

It’s also likely going to be around long after we’re dead, so there’s that as well.

I can remember a time long ago before I ever bought my first microphone.

The idea of recording something seemed so…

If you’ve made it this far, please stay on the page. Your readership is important to us. Your writer is currently experiencing writer’s block.

OK I’m back.

I remember making the trek down Capital Blvd. to Sam Ashe; you know, an actual music store that you had to get up off your lazy ass to travel to.

I can still smell that fall air, as the drive there was somewhat of a hike. Capital Blvd. is known for all sorts of shenanigans, so having that added element of uncertainty about whether I was about to get robbed on my way into the store only got the adrenaline pumping even faster.

If you know me, you know music really pumps my nads and gets my heart racing, so it was a double whammy. The anticipation of making it safely through the automatic doors is always a palpable, intense sensation that cannot be described with mere words.

If you know, you know.

The glorious feeling of crossing the barrier into safety town, coupled with the endless musical bliss that awaited on the other side, made me feel like Tommy and Chuckie when they get to experience the toy store of their dreams for the first and last time.

My dream was to find a good condenser microphone (not Reptar), and it seemed as though I had found the right place. Who would have thought?

If you’ve never set foot in one of these places (any music store, really), you owe it to yourself to try it out.

Admittedly, I’m kind of a gear hater nowadays, but the feeling of being in a place where everything that surrounds you is used to make music rather than cause arguments is a feeling like no other.

Back before ChatGPT and smartphones existed, people actually, you know, talked to each other. It’s this crazy thing that we used to do back in the day. It sounds shocking now, but times were different then I’ll tell you HWHAT.

I say that to say that because I was new and needed advice, I had to talk to a salesman.

Oh, great.

Jokes aside, this guy was super helpful and actually knew what he was talking about, which is rare nowadays.

What he recommended to me was something so plain, so dull, so grey, so…

incredible.

Recording with a Samson C01 for the first time completely changed my life. It’s hard to believe that this mic was $60 in 2007 and still hasn’t gone up in price like, at all.

He was talking about it like it was the best thing since sliced bread, and I almost rolled my eyes right in front of him.

The C01 is about as exciting as a road trip to Ohio, but fortunately for us, it’s pretty darn useful.

In addition to doubling as a barbell you can use at the gym, the C01 is a hypercardioid large-diaphragm condenser microphone; meaning, it’s even more directional and has a tighter pickup pattern than a regular cardioid microphone, focusing even more directly on sound from the front and rejecting more sound from the sides.

• Required Reading: Cardioid vs. Supercardioid vs. Hypercardioid Microphones

However, it also picks up a small amount of sound from the rear, unlike a cardioid microphone which primarily rejects sound from the rear. This makes hypercardioid mics ideal for isolating sound sources in noisy environments but requires careful positioning to avoid unwanted rear pickup.