These are the most common microphones you’ll find in any recording studio you walk into. In many cases, you’ll find multiple condenser mics in recording studios (mostly for different recording applications).
Condenser mics have a really good frequency response and have the ability to reproduce sound accurately in its purest form.
Condenser mics can be pretty expensive depending on what brand you shop for but, thanks to the advancements in technology there is now a good mic in every price range.
Now in order to use these mics, you’ll need an additional piece of equipment known as phantom power. Phantom power is basically a power supply used to power your microphone (fair enough).
Some condenser mics come with phantom power boxes but if yours doesn’t don’t worry as phantom power also comes built-in with your mixer, mic preamp, or audio interface.
While shopping for condenser mics you’ll run into 3 different types: USB Condenser Mics, Small Diaphragm & Large Diaphragm
– All capable of getting the job done
Large Diaphragm Condenser Mics
Large condensers are popular because they are good for vocals and any instrument where low tones are present. Another great thing about large condenser mics is they add a little warmth to the recordings.
Make sure you use a good pop filter when recording vocals because this mic is very sensitive to transients sounds (sometimes called plosives) such as P’s and B’s or any type of sound that puffs air forward. Without the pop filter, you will have horrible sounding recording sessions.
Here are a few large diaphragm mics I recommend: Rode N1-A, Behringer B2, Blue Spark, Studio Projects B3
Small Diaphragm Condenser Mics
These mics have a fast transient response (ability to reproduce little sounds) and are great for picking up details in recordings. In vocal recordings, this mic will pick up everything from lip-smacking of your lips to your tongue hitting the roof of your mouth and your teeth during a recording.
With stringed instruments, it’ll pick up great finger slides, accidental finger slides, light deck hits, and other natural random sounds. One downside to small condenser mics is their sensitivity to loud sounds. Too loud of a sound feed into condenser can ruin it.
Here are a few condenser mics I suggest: Shure SM57, Sterling Audio ST33, Oktava MK-012
Dynamic mics are built like tanks compared to condensers. You can throw them, drop them, throw them into traffic and they’d still work. The most popular dynamic mics are Shure’s SM58 and SM57 models and any band who’s touring has at least 5-6 of these bad boys with them at all times.
They are excellent all-around mics for both studio and live stage performances and shine when it comes to recording vocals as well as instruments.
The best thing about a dynamic mic is it doesn’t require any additional powering (unlike the condenser mic). Dynamic microphones do have a more limited frequency response compared to the condensers making them less likely to be overloaded by a loud sound and lastly, they are not as accurate when it comes to sound reproduction.
Keep in mind there are some dynamic mics that are better than others I was always like to go down to my local music store and try them out. They won’t allow you to test a mic out of the box but the mics on display are another story.
Here are some mics I’ve used and personally recommend: SM58, Audix OM5
Dynamic Or Condenser… Which One To Choose?
So now the big question is “which is the best microphone to choose for my recording studio?” In order to figure this out, you’re going to have to take what type of recording you’ll be doing into consideration. So with that said let us round up some of the facts to make it a much easier decision.
Recording Vocals – For vocal recording projects you’re going to want to use a large diaphragm condenser mic but remember they need phantom power. If you’d like an alternative that doesn’t require phantom power then consider going with a dynamic microphone or a USB condenser mic.
Recording String Instruments – As I’ve mentioned above small diaphragm condenser microphones shine because they are able to pick up a lot of detail from the source. You’ll want to make sure you go with a trusted brand when shopping for your main recording mic.
Here are a few small diaphragms I’ve used and are more than pleased with:
Recording Live Bass – This is a job for a large condenser mic because of its slower response time as well as its low-frequency reproduction which in turn gives warmth to recordings.
Recording Drum Sets – this can be done with 1-2 mics (a lot of people will argue against this) but for best results, you’ll want to use an assortment of dynamic and condenser mics.
I would suggest using dynamic mics for the kick drums since they can withstand louder sounds, small condenser mics for the overheads, and maybe something like an SM57 for recording the snares.