Seeing as I continually get questions on this subject from our members [at www.recordingwebsite.com ], I thought I would write a quick article explaining the different types of microphones and their uses.  Microphones are one of the most important parts of the recording signal chain, and, when applied properly, can provide as much personality as different types of guitars do.  For this reason, it is important to know the different qualities of various mics because each has their own specifications.  Hopefully, after reading this article, you will be able to analyze your microphones own properties and place them on the instruments that will benefit the best.

There are two main types of microphones, these being dynamics, and condensers. Each are used for different applications, depending on what instruments you are micing up.  Engineers will always have their own personal favorites from each type, as will you with enough experience.  One thing you should understand is that between the two classes, different mics can handle different levels of volume.  These levels are called SPLs, or Sound Pressure Levels. Dynamic microphones and condensers differ greatly in this area, as dynamic microphones can handle higher SPL levels than condensers.  In fact, dynamic mics are specifically reactive to high SPLs, even if there is background noise, whereas condensers can usually differentiate between background and foreground noises.  Having said that, let's dive into the functioning and characteristics of these two microphone types.

Dynamic microphones are a popular choice for live sound applications, but are also used in the studio for those instruments having high attack volumes, such as snare drums. The reason for this is that dynamic microphones can handle higher SPL levels than condenser mics, as I already stated. The way they work is that the sound of the instrument enters the microphone, and immediately hits the diaphragm. This causes the diaphragm to move back in forth with the soundwave. The diaphragm is then connected to a coil that is suspended between two magnets. When the coil is vibrated due to the movement of the diaphragm, an electrical current is induced from the coil moving between the positive and negative fields of the magnets. It is this mic-level signal that travels down the wire to be amplified by the preamp, and then the result is the sound of the instrument.

As you can see, dynamic microphones are pretty simplistic in design, and as a result, are cheaper in relative relation to condenser microphones. You can find Shure SM-57 mics for as low as $80 at some dealers. But even the larger dynamics, like the AKG D112, are usually under $400. Some dynamics come with variable high-pass filters, which I will talk about later in the article, but these are usually the more expensive models. Also because of the design, they are more rugged because of the lack of sensitive parts like condensers have. They are built to be more rugged, so that if they are dropped, the diaphragm and electronics aren't damaged. It has been said that the SM-57, while being a fantastically versatile mic, can also double as a hammer in a pinch!

Condenser microphones are the main type used within recording studios. This is because they usually have better frequency responses, increased sensitivity, and are generally of higher quality. The frequency response of a microphone is the range of frequencies that it can pick up as well as any inherent frequency cuts or boosts due to the electronics. For example, an SM-57 can record frequencies from 40-15,000Hz, while having a +5db boost at 6000Hz. It also rolls off on the low end at 200Hz and rolls off the high end at 14KHz. When buying or choosing a microphone, it is important to look at the frequency response of the mic and compare it to the frequencies put out by the instruments you want to use it on. An AKG D112 mic is great for kick drums because its frequency response is boosted in the low end at around 80-90Hz, but is pretty flat between 400Hz to 2KHz.

Condenser microphones are the main type used within recording studios. This is because they usually have better frequency responses, increased sensitivity, and are generally of higher quality. The frequency response of a microphone is the range of frequencies that it can pick up as well as any inherent frequency cuts or boosts due to the electronics. For example, an SM-57 can record frequencies from 40-15,000Hz, while having a +5db boost at 6000Hz. It also rolls off on the low end at 200Hz and rolls off the high end at 14KHz. When buying or choosing a microphone, it is important to look at the frequency response of the mic and compare it to the frequencies put out by the instruments you want to use it on. An AKG D112 mic is great for kick drums because its frequency response is boosted in the low end at around 80-90Hz, but is pretty flat between 400Hz to 2KHz.