How to choose a vocal microphone. Choosing the right microphone. Sound wave processing technology

The difficulty of choosing a microphone for vocals lies in the ambiguity of the characteristics of this device in terms of revealing the individual vocal qualities of the performer. Ideally, each user seeks to choose a model that would best emphasize the merits of his vocals and also hide flaws. Determining how well a particular microphone can handle this task is not easy. Moreover, even purchasing the high-priced premium version with advanced performance will not guarantee it will perform well in a variety of applications. And yet, you can choose the optimal microphone for vocal if its operational properties are taken into account in the complex, not forgetting about the functional features and structural ergonomics.

Main selection criteria

The performance of the microphone makes it clear how accurately a particular model can reveal vocal data. This does not mean that it will allow you to better reflect them, but the very fact of having such a potential is the basis for choice. So, it is recommended to pay attention to indicators such as sensitivity, amplitude-frequency range and directivity. These are the main characteristics that distinguish vocal microphones of different models. In practice, these parameters can affect the detail of the sound, the absence or presence of blockages of individual frequencies, the stability of the loudness support, etc.

The amplitude-frequency spectrum in audio equipment is most often represented by the same values, therefore, no special attention is paid to this value. However, in the case of microphones, every detail is important, and considering impulse response is essential. For example, if a microphone is selected for recording vocals, this characteristic will determine how effective the device will respond to electrical impulses. Taken together, the sensitivity, frequency spectrum and directionality type of the device will provide one or another character of interaction not only between the performer and the microphone, but also with additional equipment. Do not forget that other specialized equipment is also involved in the recording and playback process. The microphone should at least match the quality characteristics of the main equipment. Conversely, if a high-quality modern microphone was purchased, then its function may be ineffective when used in conjunction with budget equipment. For example, performance may not be revealed even if cheap speaker cable is used.

Microphone sensitivity

The sensitivity determines the level of voltage that is formed at the output of the microphone during sound exposure. In other words, it is the electrical return of the acoustic pulse received at the moment the vocal parts are played. Usually, the concept of sound pressure is used to assess this indicator, but experts still recommend using an integrated approach, that is, take into account both the frequency of the sinusoidal signal of the sound wave and the output voltage. How does the sensitivity of a microphone affect the quality of its work? At first glance, it might seem that a high value as such indicates the possibility of unlocking the wide potential of vocal data. But this is not entirely true, and it is the sensitivity that demonstrates the deceitfulness of high performance as a device.

Sensitivity only gives information about the ability of the device to pick up a signal with varying strength, which will be expressed in the power of the feedback with sound reproduction. However, the quality of the microphone operation, precisely from the point of view of acoustic properties, minimally depends on the sensitivity, since a high degree of membrane susceptibility can be reduced to zero distortion and interference, the significance of which also increases. Despite the vocal should be selected taking into account the optimal sensitivity. If you are planning to perform on stage, then this figure should be high, but for a recording studio there is no need to increase the sensitivity. By the way, for universal needs, the digital model will be the best choice, since it allows you to flexibly adjust the sensitivity value for specific tasks and conditions of device use.

Consideration of directivity parameters

In a sense, the directivity of the microphone is also related to sensitivity. The sensitivity index, as already noted, expresses the ability of the device to capture force further converting it into voltage. The radiation pattern, in turn, indicates which side the device receives the signal from in the best way. For example, omnidirectional vocal microphones work equally well with lateral sensitivity in processing front and rear sound waves. Bidirectional models are usually side-oriented, but do not receive signals from the front or rear.

The most popular are unidirectional modifications, which provide three patterns to choose from. What does this mean in practice? These are audio capture circuits that are represented by cardioid, supercardioid, and hypercardioid patterns. However, all three options are insensitive to off-axis and rear-axis sound that comes from sources located behind or to the side. For example, a traditional cardioid chart is shaped like a heart. In this configuration, the device ignores sounds in the front zone and partly from the side. The hypercardioid and supercardioid configurations differ in that they leave narrow areas of the audio spectrum to the side and to the front. A modern microphone for vocals in some versions also provides the ability to adjust the sensitivity zones. These are circular or multi-diagram models that allow you to switch the device to different capture directions depending on the application - for example, in the studio or on stage.

frequency range

The amplitude-frequency spectrum determines the range of values \u200b\u200bwithin which the output signal will be formed. At the moment, the vocal models segment represents devices operating in the range of 80 Hz - 15 kHz. This is the optimal spectrum for a vocal device. If you need a professional microphone for vocals, tom-toms and snares, then it is better to go to the versions with a range of 50 Hz or more. Devices operating with frequencies from 30 Hz are no longer just professional, but specialized, which are used for non-standard sound recording tasks.

The frequency spectrum can be related to sensitivity. So, if the signal sensitivity determines how much the microphone is able to pick up the walking signal, then the frequency spectrum indicates the ability of the device to work with the transmission of the output signal at different levels. This is a very important dependence in terms of individual choice. Even with nominal support for the above spectrum, different microphones can handle frequencies in their own way. Some models work better with higher ranges, while others work better with lower ranges. Moreover, the microphone volume as a means of correcting the parameters of frequency processing and reproduction will not help. What matters is the basic potential of the ability to handle the peaks and valleys of the output signal. You should also consider the so-called proximity effect. It is expressed in the fact that as the microphone approaches the sound source, the low frequency spectrum becomes more detailed and deep. In fact, this phenomenon refers to distortion, but in some cases, sound engineers use it precisely as an additional acoustic effect.

Dynamic or ribbon microphone for vocals?

The working base is a combination of an inductor and a sensing element in the form of a membrane. In the process of exposure to a sound signal, the voltage in the coil changes under the action of the membrane itself with its oscillations. Moreover, the coil operates in a constant magnetic field. It is the optimal microphone for voice and live performance. The design is distinguished by the massive body and the presence of a special mount for holding in the hand. In terms of performance, they are guided by live recording, ignoring off-axis sounds.

In contrast, the tape-type models have a fragile design and a more sensitive internal filling, which focuses on more accurate and detailed signal processing. Instead of a membrane in such a microphone, a thin tape is used, due to the vibrations of which, the voltage indicators change. The operation of the tape device is characterized by soft susceptibility, which allows it to be more effectively used in sound recording, not only of voices, but also of musical instruments. However, a microphone for studio recording can also be found in lines with dynamic models. Usually these are universal devices, thanks to the settings of which you can solve various tasks.

If we talk about working with recording instrumental sounds, then it is worth paying attention to specialized modifications. For example, the same dynamic microphones are available in versions for drums, tom-toms, wind instruments, etc. Typically, such modifications are provided by a wide range of control parameters, both in terms of sensitivity and directionality of signal capture.

What makes a stage condenser microphone different?

This version of the vocal microphone is internally designed to contain a sensitive thin tape and a metal plate. This combination forms a kind of capacitor, which is charged from a mains source or battery. Direct voltage fluctuations occur due to the interaction of the vibrating tape and the plate. It is a good microphone for recording in the studio, but it does not perform well in outdoor venues. At the same time, there are various modifications. For example, a whole line of devices designed to work with musical instruments, from strings to percussion, is popular.

In some versions, capacitor devices are supplemented with special switches that expand the acoustic capabilities of the device. Thus, the roll-off system is designed to correct the frequency range at a low level. Also, with its help, if necessary, you can lower the sensitivity - this function is especially important when using a microphone in a studio. But it should be borne in mind that additional equipment with options increases the price tag of the model. The answer to the question of how much a microphone with a roll-off switch costs may involve amounts of the order of 40-50 thousand rubles. True, this applies to the products of well-known companies, famous for their good quality. Wide diaphragm condenser models are also common. These versions are distinguished by their large construction and large diameters of about 3 cm. They are also intended for sound recording, but mostly for amateur needs.

Model Shure SM-58

The American company Shure is one of the leaders in the audio equipment segment. In this case, we are considering a dynamic microphone model SM-58, which is suitable for use in concerts and in studio recording. This Shur microphone is good not only for its basic performance characteristics, but also for its design ergonomics. The developers of this company traditionally produce compact hand-held models with convenient shapes and this version fits completely into the concept of comfortable minimalism.

As for the acoustic capabilities, the filling is sharpened for deep processing of all the main shades of voice. The device works with a cardioid directional pattern, which allows you to rationally distinguish between the areas of target and external sound. The frequency response ranges from 50 Hz to 15 kHz. This spectrum allows you to count on revealing the possibilities of vocals with a clear and transparent sound. The question of how much a microphone in this version costs will also not disappoint fans of the brand: the price tag averages 10 thousand, which is not bad for a quality device of this level. Especially when you consider the presence of technological features, which are expressed both in the original design and in the arrangement of switching systems.

Model Neumann U 87 Ai

High quality and technological model designed for the professional This device is considered by some experts as the standard of studio microphones today. The device is distinguished by several directional patterns, including circular, eight-shaped and cardioid. And if the microphone "Shur" in the SM-58 modification is more likely designed to use one specific spectrum of sound coverage, then in this case the user can use the selector to select the most suitable configuration in narrow directions. In addition, it provides for the possibility of cutting frequencies and lowering the signal. This concerns the processing of the lower spectrum.

If we talk about design features, then they are expressed in the increased size of the membrane, the use of a new generation XLR3F connector, as well as in a switchable 10 dB attenuator. This model is also ideal for amateur tasks, since the ergonomics of adjustment and control are implemented according to the traditional scheme. But, there is also a drawback that this microphone has. The price of the device is about 220-230 thousand. For this reason, this modification is mainly used by large music studios and television companies, which need to provide high-quality clear sound.

Sennheiser MK 8

The German manufacturer Sennheiser is rather known for traditional acoustic equipment, as well as headphones for professional and amateur use. But successful microphones often appear in the families of this brand. In particular, a good MK 8 microphone can be used both at home and in studio recordings. This is a double diaphragm condenser model that delivers accurate and smooth sound reproduction. To maximize vocal data, the developers have provided the possibility of using circular, extended, supercardioid and standard cardioid directivity configurations.

Another feature of the model is also noteworthy. The fact is that the MK 8 user gets the opportunity to adapt any type of mixer to the audio path through a three-stage attenuator. In general, the set of accessories included with this model made the device almost universal, in any case, it concerns the channels for connecting the model to third-party equipment besides the mixer. High-quality filtering systems also deserve special attention, which, if necessary, can eliminate both the mentioned effect of approaching the sound source and the effect of structure-borne noise. In general, we can say that this is a technological, functional and simply high-quality microphone. The price of the model, however, is also rather big and amounts to about 50 thousand.

How to choose the best option?

When choosing a microphone, it is difficult to focus on specific characteristics without a clear understanding of the future operation of the device. So, differences in approaches to the choice are determined not only by the scope, but also by the intricacies of the technical organization of the work process. The method of connection and recording requirements, as well as possible external influences on the design of the device, are also important.

At the same time, in the selection of a device for universal needs, experts recommend adhering to average characteristics, still focusing on advanced technologies. For example, the standard XLR microphone jack for balanced connection is gradually giving way to the more cost-effective XLR3F format. True, such changes mainly affect accessories and external fittings. The inner filling with the structural arrangement of the same tape membranes retains the basic configuration with the tolerance of minor adjustments. In any case, you will have to rely on the high-quality implementation of the technical device of the microphone only if you purchase a model from a major manufacturer. Even if a budget modification from a little-known manufacturer will have similar nominal characteristics, this does not mean at all that in practice the model will provide the same sound quality. However, there are such exceptions.

Nowadays, the microphone has turned from a device that is necessary for a narrow circle of people into a popular device. It is used in online games, for voice acting for video clips, for communicating with friends, clients and colleagues on Skype.

Many people need a microphone, but it can be difficult for an ordinary user to make a choice from the variety of models presented.

In order to understand the question of how to choose a microphone for a computer, it is worth understanding the main technical characteristics of this device and the tasks that the microphone you purchased should cope with. This is what we will do now.

Design

First you need to pay attention to the design of the microphone, it can be of several types:

Lavalier microphone.Attaches to clothes thanks to a small clothespin. This keeps the microphone at the same distance from the mouth at all times, so head movements do not affect the sound level. Such devices are very convenient due to their small size, but you should not expect good high-quality sound from them.

Desktop devices.Such devices have a special stand on which the microphone itself is located. Additional control buttons can also be located on the stand. The downside of this design is that when you move your head, the distance to the device will change and the sound level will change accordingly... Therefore, you have to keep your head still.

Computer headset. These are headphones connected to a microphone. Microphone is attached to the earbuds with a special holder. The main advantage of this design is that the distance from the mouth to the microphone is the same all the time and the voice level does not change.

Audio interface

There are two main ways to connect a microphone to a computer:

1. Analog - microphone jack plugs into a standard audio input jack. This interface has many advantages. You have the opportunity to include various electronics in the circuit for working with sound, such as a preamp. But if you do not want to use additional equipment, you will have to completely rely on your computer sound card... If the sound card is built into the motherboard, then this design will not work for professional solutions. With simple communication, you won't notice the difference.

2. USB - the microphone is connected to the USB connector. Expensive models may have built-in preamplifiers and various other electronics. Cheap microphones do not have additional electronics.

A USB microphone is not as flexible as an analog microphone, but if you choose a fairly expensive model, then its functionality will satisfy most ordinary users.

Main technical characteristics

There are several main technical characteristics that have a decisive influence on sound quality. Knowing these characteristics will help you understand the variety of the assortment:

Sound pressure -This parameter determines the maximum sound level in decibels that can be transmitted by the microphone without severe distortion.

Directivity -determines the sensitivity of the microphone to sounds that come from different directions. Mostly there are non-directional devices. They pick up sound from different directions equally and are well suited for a home PC. In some cases, a clear recording of a specific sound may be required, in which case one-way microphones are used.

Sensitivity level -defines the minimum sound level that the microphone can pick up. Devices with high sensitivity are also susceptible to unwanted noise. Therefore, it cannot be said unequivocally that good performance of this characteristic is good.

Working frequency range - it is clear that the wider the range of supported frequencies the microphone has, the better, of course. You just need to understand: the frequency of human speech is in the range of 0.1 - 10 kHz, which means that a device that supports these parameters is enough to record speech.

Sound transmission mechanism

There are two types of sound transmission:

Condenser -the sound is transmitted due to the change in capacitance in the capacitors, which are located between the sensitive membranes. For good sound recording, professionals recommend purchasing condensate-type microphones, since these are the devices used by professional studios.

Dynamic - when transmitting sound waves, a sensitive membrane is used, located in a magnetic field. This design is simpler, therefore it is more often used in the budget version.

Model overview

Sven MK-630 -has excellent characteristics of the audio range of 30-16000 Hz. The set includes a removable and very convenient stand. The disadvantages include the low sensitivity of the microphone.

Microphones are divided into the following categories depending on their application.

Measuring microphones - used to measure various acoustic characteristics of rooms.

Concert microphones - used in live concerts and performances. They should be distinguished by increased reliability and shock resistance. There can be wired microphones and radio microphones (they give more freedom of movement around the stage, therefore, more convenient).

Studio microphones - used to record the sound of vocals and musical instruments. They are the most expensive, but there are also budget models for recording sound at home. The recording quality also depends on the equipment with which the studio microphone will be used.

• Vocal(acoustic) microphones - used to sound and record human voices. They are distinguished by a rise in the frequency response (amplitude-frequency characteristic) in the region of 2-4 kHz - this emphasizes the brightness of the vocal. Some microphones perform well when recording strings or wind instruments.
• Instrumentalmicrophones - allow you to sound and record musical instruments. These microphones are characterized by an increase in frequency response at frequencies inherent in a particular musical instrument. Therefore, such models are chosen for certain types of instruments: for example, the same microphone can work better with a piano and worse with drums.

Computer microphones are the cheapest and simplest models. They are used mainly for communication via the Internet, for example, in Skype, for dubbing videos. The requirements for them are much lower. First of all, microphones must be user-friendly.

There are several types of computer microphones according to the device:

• tabletop microphones are a stand with a microphone attached to it. The disadvantage is that you need to keep your head still at a constant distance from the microphone so that the sound is even;
• lavalier microphones - a structure that is attached to clothes with a clothespin. The disadvantage is distance from the head. In order for the sound to be clear enough, it is necessary to increase the sensitivity of the microphone, but at the same time extraneous sounds will be strongly audible;
• headsets- the most popular designs consisting of headphones and a microphone.

There are microphones for laptop, phone and tablet: they differ from computer microphones only in design. They are not very popular.

Other types of microphones

Video camera microphones - are used in tandem with a video camera, for which a corresponding mount is provided on its body.

Voice recorder microphones - used to work together with voice recorders. Although these devices have a built-in microphone, an external device is more effective in many cases.

Video production microphonesa - are divided into two categories:

• for "field" reports - dynamic omnidirectional microphones, which are distinguished by good sensitivity;
• for studio work - condenser unidirectional or bi-directional models that provide high quality sound transmission.

Conference microphones - used in press centers, in the stands. Provides good sound quality regardless of the position of the speaker in relation to the microphone, which is important for a comfortable speech.

A type

Condenser microphones - used mainly for recording sound in a studio or home. They require additional power supply: either from the battery, or from the mains, or power is supplied from the connection connector (so-called "phantom" power). Allows you to record sound with minimal distortion. Disadvantages - high price, additional food required.

• Condenser lamp- a kind of previous microphones. They are characterized by a special “warm” sound that is highly appreciated by many listeners and professional musicians. Used in studio work. The downside is the high cost.

Dynamic microphones - used for live sound at concerts, various events, karaoke. They are robust, drop and shock resistant. Advantages - low price, no additional power is required (a microphone is enough to plug into the appropriate jack), the ability to record sound with high sound pressure, for example, drums.

Dynamic tape- a kind of dynamic microphones. Differ from standard models in higher sound fidelity. The result is a velvety sound. Disadvantages: high price, bulkiness, fragility. These microphones are rare and are used in studios.

Electret microphones - similar in characteristics to capacitor models. Favorably distinguished by lower price, greater compactness, better resistance to external influences. Battery power is sufficient for some devices, while others require powerful "phantom" power.

Focus

This characteristic reflects the sensitivity of the microphone to the location of the sound source.

Types of microphones depending on directivity.

One- or bi-directional microphones - perceive sound from one or two sides only. Types of directions:

• cardioid directivity - the microphone only picks up sound coming from the front. Sounds from other sides are practically ignored;
• supercardioid directivity - the area where the microphone picks up sound narrower than the previous version. It also partially picks up the sound coming from behind;
• hypercardioid directivity - similar to supercardioid, but the "back" zone of sound perception is slightly larger;
• semi-cardioid directivity - typical for microphones that need to be placed on any surface;
• eight - microphones with such directivity pick up sound coming from the front and back equally well, but completely ignore sounds coming from the side.

Omnidirectional - such microphones perceive sound from any point of the sound source location. Omni-directional microphone options are devices with hemispherical directionality - they perceive sound from a hemisphere, front or back.

Some models have switch directivity, allowing you to change them depending on the use of the microphone. This is especially useful for studio microphones.

Food

"Phantom" - Power is supplied through the cable between the microphone and the receiving equipment. This option eliminates the need to monitor the battery level. At the same time, freedom of movement depends on the length of the network cable.

Important: A receiver or amplifier that supports this power is required for the microphone to function properly. Some devices are equipped with a module that makes it possible to be powered from a regular network (220 V).

Battery- has no extra wires and provides maximum freedom of movement, which compares favorably with the phantom method. However, this option requires regular battery recharging. It is used in electret, wireless devices. Almost never found in condenser microphones.

Battery / phantom - works from two ways of feeding. One-stop solution.

Characteristics

Sensitivity - shows the minimum sound level that the microphone perceives, indicated in one of the units of measurement:

• decibels (Db)- the lower the value, the more sensitive the microphone;
• millivolts per pascal (mV / Pa)- the higher the value, the more sensitive the microphone.

Sound pressure level - shows the maximum volume level that the microphone can receive. Measured in decibels (dB). The average value is 100 dB, the increased value is 130 dB.

Frequency response - the frequency range in which the microphone generates sound. The lower the received sound, the lower the lower range value should be. For example, there is enough range for vocals 80-15000 Hz, and to record drums you need a frequency 30-15000Hz.

ADC bit depth and sampling rate - ADC (analog-to-digital converter) converts the analog signal from the microphone capsule into a "digital" signal. The higher the bit depth and sampling rate, the closer the digital sound is to the original analog sound.

Indicative indicators:

• bit ADC - 16 bit (professional microphones), 32 bit (elite models);
• aDC sampling rate - 8 kHz is considered optimal. There are microphones with a sampling rate of 96 kHz, which is not always justified - increasing this parameter increases the amount of transmitted data.

Signal to noise ratio - the larger this ratio, the less distorted the sound. Measured in decibels (dB). For good microphones, this parameter is 64-66 dB, professional models boast a value of 72 dB and higher.

Nominal impedance (impedance) - resistance of the device to alternating current. This parameter determines the compatibility of the microphone with the equipment to which it is connected. Impedance is especially important in professional technology, but for devices that are paired with laptops, computers, telephones, this parameter is often not indicated.

Cable length or range - the degree of freedom of movement and ease of use of the device depend on this parameter. The longer the wire / the higher the range of the wireless connection, the more comfortable it is to work with the microphone.

Important: Range is based on ideal conditions (including no interference, full battery). The actual value will be less. Therefore, choose a wireless microphone with some headroom.

Interfaces

XLR- such a connection is resistant to interference, securely fixed in the socket. The downside is the large size of the connector. XLR microphones are professional models where high quality signal transmission is required.

• mini-XLR - a smaller version of the previous interface. Used in more compact technology.

mini-Jack (3.5 mm) - widespread interface. This connection provides a relatively low quality signal transmission. For professional work, mini-jack microphones are not suitable.

Jack (6.35 mm) - the middle variant between mini-Jack and XLR. This option provides a more reliable connection, reduces the possibility of interference. The increased size of this connector makes it more difficult to use in portable equipment. The Jack interface is most often used in karaoke microphones.

TA4F - a special connector with small dimensions. Found in professional microphones such as compact lavalier and head-mounted models.

USB - most commonly used in studio microphones.

Lighting / 30-pin - used in microphones for Apple phones and tablets. 30-pin - outdated interface (up to 2011 inclusive), Lighting is used in modern technology (since 2012). An adapter is required to connect these connectors.

Sometimes there are proprietary interfaces in microphones - they are used by certain manufacturers.

Functions

Wireless connection - provides maximum freedom of movement, which is important when working on stage. Unlike wired models, these microphones require batteries, and their price is higher. Other drawbacks include low potential for interference, limited battery life. Found in vocal microphones.

Principle of operation: the microphone is connected to the receiver using a radio channel, the receiver itself is wired to the amplifier.

• Manual - held in the hand. It is widely used for concerts, festivals, presentations, for singing from karaoke.
• Lapel- frees the user's hands. It is mainly used when recording TV programs.
• Head- like the previous version, it leaves hands free, but is much closer to the speaker's mouth, which improves the clarity of the sound. In some situations, a head microphone is easier to attach than a lavalier microphone - it does not impose any clothing requirements.
• Manual + head, manual + lapel - combinations of the previous types, combining their advantages.

Radio system- a wireless microphone equipped with a receiver and other accessories necessary for work. This solution is more convenient than searching and purchasing separately additional equipment, primarily a receiver.

Flexible leg - allows you to change the position of the capsule without having to move the microphone. The rigid leg with a swivel mount serves the same purpose, but in comparison with it the flexible analog gives a greater degree of freedom. Used in microphones for laptop, computer and conference microphones.

LPF - low-pass filter (Roll-off). Reduces the level of low frequencies, which improves the sound quality. As a result, the amount of interference from wind noise, human breathing, and blows to the microphone is noticeably reduced. This option is useful to control the "approach" effect (increasing the volume of low frequencies in case of approaching a noise source). Found in electret and condenser models.

Stereo recording- records sound from a microphone in stereo format. Usually this function is implemented in bidirectional microphones, less often in paired sets.

Attenuator- reduces the signal level at the output. It is used to attenuate the sound volume in order to avoid overloading the equipment.

Mute the microphone - useful in a number of cases: when communicating via Skype, so that the interlocutor does not hear extraneous conversations; to avoid unpleasant sound from the speakers due to microphone swapping and so on.

Sensitivity adjustment - makes it possible to change the microphone settings based on the current situation (first of all, the sound volume). In this case, you do not need to use the adjustments in other elements of the audio system.

Switching DN - allows you to select the directional pattern (DP) of a unidirectional microphone (cardioid, supercardiode, and so on). On some models, this option is used to switch between different work formats (unidirectional, bidirectional, omnidirectional).

Headphone out - to connect headphones to a microphone. This option is typical for studio devices, as it helps to control the quality of the vocals during recording. Most often, headphones are connected via mini-Jack.

Body material

Plastic- cheap, lightweight, corrosion-resistant material. Minus - low strength. Used in headsets, lavalier microphones, computer, laptop models, as well as devices for a video camera.

Metal- outperforms plastic in strength. Disadvantages: high price, significant weight, susceptibility to corrosion. Used in vocal, instrumental, studio microphones.

Equipment

Transmitter (external) - a device equipped with miniature models with a wireless connection (headsets, lavalier microphones). The microphone is connected to the transmitter, which is hung on the belt. This design of the microphone allows it to be connected to other equipment, not just to the transmitter.

Receiver- the receiver, which is found in wireless microphones. The receiver is connected to various audio equipment, for example, an amplifier for transmitting a signal from a microphone to it.

Monitor mount - used in computer microphones. A good solution when there is a shortage of free space on the table where the computer is located. This mount can also be used to work with a laptop.

Bare wire - the open section of the microphone, which is used to connect to equipment that has terminals (including a speakerphone system). Accordingly, this microphone does not have a plug.

Display- displays information about the operation of the microphone. Most often found in wireless models, when using which it is important to know about the battery level, the selected channel, and so on.

Stand holder - allows you to easily install the model on a stand / tripod or remove it. This holder is used in instrumental and vocal microphones. It will come in handy in concert activities.

Anti-shock suspension ("spider") - suppresses noise in the sound from various vibrations of the microphone caused by the steps of people or the work of equipment.

Pop filter - a round plate that is installed in front of the studio microphone when recording vocals. This screen prevents air flow noise (exhalations into the microphone). The pop filter protects the microphone from saliva splashes, which prolongs its life.

Detachable cable - makes it possible to change the complete cable for a longer or shorter one. This solution greatly simplifies the transportation and storage of the microphone.

Power adapter - supplies phantom power from a standard socket (220 V) to an electret or condenser microphone. Useful when you need to connect a microphone to receivers, players and other equipment that do not have phantom power inputs.

Tripod- a miniature tripod for mounting the microphone on a table or other high surface. Such a tripod is easy to carry, but this solution is not suitable for working with a structure on the floor or ground.

When choosing, remember that if you have a limited budget and the main use of the microphone is home use, then you can limit yourself to buying a dynamic microphone. If you need to achieve the maximum quality of voice recording, musical instruments, then you need to purchase a more expensive condenser microphone.

There is a huge selection of microphones in different price categories on the market today. In general, the rule of thumb for microphones is that the higher the price, the better the quality. However, over the past few years, the situation has changed slightly - high-quality microphones have appeared on the market at an affordable price. Most of the inexpensive models are cut-down copies of their more expensive counterparts.

How are you going to use it?

The most important thing is to find a microphone that suits your needs. How are you going to use the microphone - for stage performance or for recording instruments? Or for sound recording? Or perhaps you need a versatile microphone? There are many microphones that can be used for both live sound and studio recording. One such example is the Shure SM57.

The microphone should be selected taking into account where and with what equipment it will be used. There is no point in spending thousands of dollars on a Neumann studio microphone if you are doing home recording in a room where the acoustics are far from perfect. In this case, a less sensitive and more budgetary microphone will do. Technically, even the best mic is highly dependent on the quality of the mic preamp used. Without a high-quality preamplifier, all the virtues of a professional microphone are lost.

Understanding technical specifications

Understanding the specifications and terminology makes it easy to select the microphone that will suit your needs. Below we will look at the main technical characteristics and terms used in the descriptions of microphones.

Directional pattern

The directional diagram shows the dependence of the microphone sensitivity on the location of the sound source in space. The omnidirectional microphone picks up the maximum amount of surround sound. A bi-directional microphone picks up sounds from the left and right, but its sensitivity is much lower in front and behind. A unidirectional microphone “hears” sounds primarily from one direction and has little sensitivity to sounds from other directions.

Unidirectional microphones the most popular and have three radiation patterns: cardioid, supercardioid and hypercardioid. All three diagrams are insensitive to rear-axis and off-axis sounds from sources that are to the side or behind the microphone. Roughly speaking, the cardioid diagram is shaped like a heart (hence its name). That is, the microphone picks up sounds from the front and slightly to the side, while sounds from sources located behind the microphone, ideally, will not be heard in the recording. The supercardioid pattern picks up some of the sound from the source behind the microphone. At the same time, it has a narrower sound capture zone in front of the microphone diaphragm. The hypercardioid diagram, in comparison with the supercardioid diagram, has an even narrower sound capture zone on the side, but also wider in the back.

Directional patterns are important when the microphone is used in a noisy environment, such as a vocalist performing at a concert. Cardioid, supercardioid, and hypercardioid microphones eliminate all sounds except the singer's voice. The sound is clearer and feedback is minimized.

Multi-pattern microphones

Some condenser microphones have switchable pickup patterns. Using a switch or interchangeable capsules, you can switch from one chart to another (for example, from a circular to a cardioid). This mic characteristic is very useful for studio recording.

Frequency response

This is the range of frequencies (low to high) within which the microphone will output. Can be, for example, from 80 Hz to 15 kHz. For a vocal microphone, this is normal. For snare drums and tom-toms, you need to look for a microphone with a range of 50 Hz, and for kick drums, a lower threshold is desirable at 40 Hz or even 30 Hz.

Sensitivity and SPL

Sensitivity indicates how quiet sound the microphone can detect. Expressed using different systems. It is enough for a layman to know that the lower the numbers, the higher the microphone sensitivity.

SPL is the sound pressure level (measured in decibels, dB). Shows the maximum audio volume that the microphone can handle. It's kind of the opposite of sensitivity. This parameter is especially important if you plan to use the microphone with loud instruments such as drums. Average value of SPL - 100 dB; high - 130 dB.

Frequency response curve (AFC)

The frequency response only shows the range reproduced by the microphone. The frequency response curve characterizes the dependence of the frequency sensitivity. Since this dependence on the graph starts at zero and returns to zero over time, its shape resembles a curve. There are peaks and slopes on the curve in a number of places, which gives the microphone certain properties and allows it to be used for various purposes. For example, a vocal microphone may have a peak in the upper range, resulting in better and smoother transmission of people's voices.

Proximity effect

Although the proximity effect is not a technical characteristic, it is an important parameter and is often found in descriptions. Condenser microphones have a higher proximity effect than dynamic microphones. When the sound source is closer to the microphone, the proximity effect enhances bass response. This will interest singers who "use the microphone" to create effects. The sound engineer can choose a microphone with a high proximity effect if there is a need to emphasize low frequencies when recording an instrument.

What technical characteristics are silent about

In microphones, in addition to technical characteristics, other parameters are of no less importance - design, materials used, workmanship. Since some manufacturers like to embellish the numbers, it can be difficult to tell the difference between a $ 50 microphone and a multi-hundred analog from the specs alone. It should be mentioned that the price is already an important characteristic. But you can really see the difference between a good microphone and consumer goods only in practice.

Microphone types and their uses

Almost all microphones fall into two categories: dynamic and condenser... No power supply required for dynamic microphones; for capacitor - required. We will consider the principles of their work, the differences between them and how to use them below.

Dynamic microphones

How it works: A dynamic microphone is a membrane connected to an inductor that is placed in a strong constant magnetic field. The movement of the membrane moves with the coil, thus changing the voltage produced by the coil.

Key Features: Dynamic microphones are massive and have a high SPL, and also have a shockproof mount for holding in the hand. The pick-up pattern of these microphones does not “hear” off-axis sounds. They are used for live sound, vocals and instruments. Some models can be used for sound recording. Over the years, the Shure SM57 has proven itself to be a good studio and concert microphone. As a group as a whole, dynamic microphones are relatively inexpensive, and many well-known manufacturers produce an economical series of dynamic microphones with an optimal price / performance ratio.

Ribbon microphones

Unlike other dynamic microphones, ribbon microphones are very fragile. The principle of their operation is no different from other dynamic microphones, but instead of a membrane, a thin tape is used here, the vibration of which changes the voltage. Ribbon microphones are used in studios for recording voices and many instruments. They soften the sound and warm up the recording. Ribbon microphones have high SPL, which means they can be placed close to the sound source.

Special dynamic microphones

In the past few years, manufacturers have begun producing dynamic microphone models designed specifically for a specific instrument. Here are some examples:

• Drum microphone

Different drums sound differently; accordingly there are microphones for kick drums, snares, tom-toms, and cymbals. Each type of microphone has specific parameters and sensitivity ranges. Drum microphones are usually sold in sets of four, five, or more. They are inexpensive, easy to use, and do the job well.

• Wind instrument microphone

As a rule, they are small in size, light in weight and frequency response corresponding to one or another instrument. They also have a special mount for attaching a microphone to an instrument or body. This mount maintains a constant distance between the microphone and the instrument, which ensures good sound density. In addition, the musician gets more freedom of action.

• Miniature microphones (also called Bullet microphones)

Often used by harmonica musicians. They have a small round body and can hide between the hands of a musician. The tiny membrane of such a microphone produces a distorted sound, which is so popular with harmonica lovers.

• Wireless microphones. In fact, they are no different from their wired counterparts except for the built-in radio transmitter.

Condenser microphones

How it works: In this type of microphones, a thin conductive film is placed a short distance from a metal plate (called a “back plate”), which forms a capacitor. A weak electrical charge is applied to the capacitor from either phantom power or a battery. Sound vibrations cause the membrane to vibrate. Changing the distance between the diaphragm and the back plate affects the output voltage. This is the useful signal from the microphone.

Key Features: Condenser microphones are powered either from an external source, a built-in battery, or phantom power from the mixer jack. Virtually all mixers today have phantom power in their microphone jacks. If you purchased a mixer previously, make sure it has phantom power before purchasing a condenser microphone.

There are several types of condenser microphones and most of them are used for sound recording. Although some are also used for live sound: choir, piano, acoustic strings and a number of percussion instruments. Condenser microphones can also work with cymbals. The main types of condenser microphones are:

Roll-off switches and attenuators

Many condenser microphones are equipped with these switches to expand their capabilities. The roll-off switch changes the frequency range (usually low), reducing the sensitivity to a certain level. Roll-off is used for live sound when it is necessary to reduce low frequency noise and improve amplifier performance. Many amplifiers are not able to reproduce low frequency sounds, although they consume electricity. Thanks to the roll-off switch, the amplifier does not have to work with low frequencies. When recording, this gives the sound a special clarity. Attenuators change the sensitivity and volume in the microphone to avoid overloading when exposed to a very loud sound source.

Wide diaphragm condenser microphones

These are massive recording microphones with diameters ranging from 2 to 3 cm. Typically they are expensive and require an external power source and suspension. The large size and the need for a suspension do not allow the use of such microphones, for example, for drums, where rigid fixation is required. At the same time, they are ideal for voice recording and many other instruments. In most cases, wide diaphragm microphones serve as studio versatile microphones. Their best models are extremely expensive. In recent years, a number of inexpensive wide-diaphragm condenser microphones have appeared on the market, the design of which mimics the more expensive counterparts, and their quality is quite suitable for non-professional sound recording.

Side-trick condenser microphones

This is another type of large condenser microphone. These microphones have a wide diaphragm placed horizontally and directed to the side at an angle of 90 degrees. There is usually a wide, flat windscreen over the membrane. If the microphone is mounted vertically, it seems that the artist is singing into it a little from the side (hence the name).

Dual Diaphragm Condenser Microphones

Typically, these are side-address microphones with two diaphragms pointing in opposite directions. Used to record duets and bands, or to create an acoustic atmosphere. Compared to using two single diaphragm microphones, a double diaphragm condenser microphone makes balancing two simultaneous sources much easier.

Tube condenser microphones

These are vintage microphones that were used in recording studios for decades. Due to the fact that such microphones allow for particularly high-quality sound recording - like a tube amplifier makes a guitar sound in a new way - they are still produced and used in professional recording studios. Tube microphones require a certain amount of voltage, since it is the tube that produces a warm, rich sound.

Narrow diaphragm condenser microphones

The diaphragm of such microphones is 1.5 cm or less. They can be used both for sound recording and for work with live sound. It is recommended to use narrow diaphragm microphones for reproducing high frequency sounds and sources with sudden volume changes. Often mounted on top of drum cymbals. Like other condenser microphones, narrow diaphragm microphones operate on phantom power or a battery.

Directional microphones

These are condenser microphones with a very narrow and extended pick-up pattern. Most often they are used for television and radio broadcasts (for example, sports events), since they are good at capturing certain sounds at a distance.

Boundary microphones

Boundary microphones are versatile enough. Used on catwalks, conferences and studios. They are usually placed on a flat surface - on the floor, ceiling or wall. Sound is better removed this way. Boundary microphones can be used to record large bands.

List of brands

Telefunken - a kind of "elite" among microphones. Excellent quality, rich traditions of the company. Many manufacturers today look up to them. Very expensive microphones.

Neumann Is a legendary brand. Their U47 and U87 models have become a true "standard" in the recording world and are used in almost every studio. Expensive microphones.

Violet Design - a Baltic company. The microphones are hand-assembled and renowned for their sound quality and character. A good lineup also speaks in their favor - there are both expensive and quite budget items.

RODE - Australian firm RODE Microphones with over 30 years of history. Recently, it has gained immense popularity among musicians of the post-Soviet space, largely due to its good pricing policy. Quite affordable microphones, very good quality.

AKG Is a very well-known company with an incredibly wide range of models. Their C414 microphone is perhaps the only one in the world about which it is impossible to say anything bad. However, in recent years, the quality of this company's products began to decline rapidly. And now there is no longer any reason to overpay for their brand.

Marshall Electronics MXL Is a company with more than 30 years of history, which is worth looking at for all aspiring home musicians. Very affordable prices and amazing quality for the money.

Shure - of course, one of the leaders. Their legendary instrumental SM57 and vocal SM58 are simply "style icons" that are used, well, probably in all, without exception, small and large studios in the world.

Conclusion

A simple method of gathering information is probably the most helpful in choosing a microphone. Ask others about their microphones, experience of use. Talk to sales assistants at several record stores, read reviews online,as well as reviews of different microphone models. Good luck in choosing and buying!