Dynamic microphones ultimately are tougher
than condenser microphones. This gives them the diversity of uses in different
situations even though different microphones are more suited in certain
situations. Dynamic microphones are cheaper to manufacture, reliable and do not
need a power source to work. Live
performances are obviously a lot louder than studio work, and due to the lack
of sensitivity and fragileness of most dynamic microphones, they can “take a
beating” and last a long time, hence being reliable. They dynamic range is
higher than condensers and since there are a lot of loud noises; the SPL (the
level of sound the microphone can take before clipping) is high. This gives
this type of microphone the diversity to be used on live vocals and drum kits.
Condenser microphones on the other hand are
quite the opposite of dynamic microphones. They are way more sensitive and
fragile than a dynamic microphone. They are also a lot more expensive than the
dynamic microphones to manufacture. Also a condenser microphone requires a
power source called phantom power, which can range from 12-48 volts depending
on the microphone. Condensers are most commonly used for vocals. Since they
have much higher sensitivity, a lower SPL tolerance and higher output, they
can’t take loud noises. But since in a studio it is much quieter, it can pick
up the vocals very cleanly and with good clarity when it comes to pronunciation
of characters.
 |
| Condenser |
 |
| Dynamic |
2.) The three main types of polar patterns that
are contained with in microphones are omni-directional, uni -direction and
bi-directional.
 |
| Uni Omni Bi |
Uni-directional means that it is good for capturing sound
from one direction. This comes in 3 types of cardioid patterns, which are:
cardioid, super cardioid and hyper cardioid. A good example of using a
uni-directional microphone is recording a snare drum or overheads on the drum
kit. The sound will travel in one direction into the microphone being captured
accurately and clearly making sure it is dynamic uni-cardioid microphone before
doing so.
Super Cardioid - Picks up best in front of the microphone.
Partly rejects sounds approaching the sides or rear of the microphone. It is a narrower
pickup than cardioid.
Hyper Cardioid - Picks up best in front of the microphone.
Partly rejects sounds approaching the sides or rear of the microphone. It is a
narrower pickup than super cardioid.
Omni directional microphones pick up equally well in all
directions and are great for capturing natural, ambient sounds. Unlike the
other patterns, omni has no proximity effect (no up-close bass boost). A good
example of using these types is for recording a choir in a church. The reverb
will bounce around the environment; hit the microphone from any direction and
get picked up from whatever direction the sound gets received from.
Bi directional picks up best in two directions, in front of
and behind the microphone and rejects sounds to the sides. In a sense it is
like half an omni-directional and half a uni-directional because focused sounds
can be captured like a uni-directional alongside some ambient sounds like an
omni-directional. A good example of use is a radio station. When a radio host
is interviewing some one, a bi-directional microphone can be placed in between
them to pick up one person on one side and the other person on the opposite side.
3.)Another whole type of microphone is the
ribbon microphone. They work by using a thin aluminium, duralumin or Nano film electrically
conductive ribbon placed between the poles of a magnet to generate voltages
by electromagnetic induction. Ribbon
microphones are usually bi-directional. The voltage output of older ribbon microphones is
typically quite low compared to a dynamic microphone. Ribbon
microphones have a warm, smooth sound quality. It is popular for horns and
guitar amps and does not require phantom power.
4.) An Audix D6
is a dynamic, cardioid microphone that can be used for recording kick drums, large toms
and bass cabinets. This is because they all produce low frequencies and the
D6’s Hz ranges from 30Hz -
15kHz while 40 Hz to 10 kHz is suited for bass and low frequency instruments.
The SE Titan is a transformer-less,
multi-pattern, 48V phantom powered condenser. It utilizes a specially developed
centre terminated titanium diaphragm capsule creating a frequency
characteristic to enhance clarity, detail, and transient response. It is
excellent for vocal recording and broadcast use. It is also well suited for
mic-ing any acoustic instrument, orchestral to ethnic. Its excellent transient
response makes it ideal for percussion. Its frequency response ranges from 20Hz-20KHz and has a cardioid polar
pattern.
The M 300 is a compact condenser microphone designed for studio
applications in radio, television broadcasting and films for live performance
and recording of instruments, vocals and speech and sound reinforcement under
adverse acoustic conditions, for example churches. It has a cardioid polar
pattern with a 40 – 18000 Hz and is powered by 48V of phantom power.
5.) A
microphone pre-amp can be necessary for preparing a microphone to be used by
other equipment as well as the mixing desk. Compared to the high level of
quality of a mixing desk, a microphone signal can be too weak for it to be
transmitted with a decent quality. So a pre-amp can increase the quality for
the mixing desk so it can be levelled out and sound very good. What pre-amps do
is that they increase the microphone signal by providing a balanced gain while
simultaneously stopping other noise that might distort the signal. On a
pre-amp, features such compressors, EQ, noise gates and enhancers are expected
to be found.
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