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BUDGET MICS – UP TO $299 // 1. AKG C5: The cardioid polar pattern ensures maximum gain before feedback and has been optimized for use with in-ear monitor systems. 2. Audio-Technica AT2010: Provides solid condenser performance with no-frills & budget priced. 3. Blue Encore 300: Stands out from the crowd with its novel suspended capsule.
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PREMIUM MICS - $600 & UP (continued) // 2. Earthworks SR40V: Hand-tuned and tested, the SR40V offers frequency range of 30Hz – 40,000 Hz (+/- 1.5 dB at 12 inches) along with low handling noise. 3. Shure KSM9: Available in elegant champagne or basic black, the KSM9 from Shure is a dual-diaphragm model offering switchable cardioid/supercardioid patterns.
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PREMIUM MICS - $600 & UP // 1. DPA D:FACTO II: The D:Facto II is a complete system that includes a wireless adapter for a capsule with high SPL handling and ultra-low self-noise.
A couple of decades back, handheld condenser microphones were a rarity in worship applications. They were considered too expensive, too delicate, and too problematic for use with amplified contemporary music. Also, many church tech folks probably assumed—in many cases rightly so—that any performance benefits would not be significantly audible through their consoles and loudspeaker systems.
Much has changed of late. The advent of the quiet stage (in-ear monitoring, drum booths or electronic drums) has minimized bleed problems while at the same time new digital consoles and high-tech, self-powered loudspeaker systems have extended overall system bandwidth. In addition, along with fewer potential problems and more appreciable benefits, microphone makers have responded with more models across a wide price range.
Before going further, let's consider the reasons you might want to switch some of your key vocal mics from dynamic models to condensers.
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Why go condenser? (Or not)
- More “air” – As a rule, condenser microphones are more sensitive and have a wider, flatter frequency response. The result is a more delicate, “breathy” quality on vocals, with greater definition of detail in quieter passages.
- More reach – Greater sensitivity also means condensers are generally better at capturing vocalists who stray further back from the mic.
- More versatility (some models) – Many better condensers will have switchable pads and low-cut filters, while a few high-end models will even have switchable pickup patterns.
On the other hand, it’s good to be mindful that—again, all else being equal—there are good reasons to stick with dynamic handhelds.
- Higher cost – For the same general level of quality, you will have to pay a bit more for a condenser, although as we’ll see, the costs are now getting more competitive.
- Phantom power required – Availability is no longer an issue, even with the lowest-cost consoles. The only remaining issue is unskilled volunteers inadvertently turning it off.
- More handling noise – Greater sensitivity does mean more potential for handling noise, requiring more expense in capsule isolation. (Better mics are double-isolated.)
Digital consoles and high-tech loudspeaker systems have extended overall system bandwidth to utilize the increased sensitivity and "air" associated with condenser microphones.
- Less separation and potentially higher feedback – Condensers will pick up more ambient stage sounds within their pickup patterns (most notably acoustic drums). Also, greater sensitivity could lead to feedback problems through stage monitors or the house system, although this is often counterbalanced by the flatter response of condensers.
- Potential durability problems – Condenser mics have on-board active electronics, which means greater inherent potential for circuit failure, particularly following mishaps like dropping on cement floors. This is one prime argument for paying a bit extra for quality.
A few more specifications are either a toss-up or a non-issue. Yes, it is true that all condenser microphones generate self-noise, but they also have a higher output that allows you to dial back your input preamp level for lower noise at that end. Relative self-noise in this case would likely be an issue only in the most demanding recording and broadcast applications.
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Weight for handheld condensers varies from about eight ounces to more than 13 ounces (a Shure SM-58 is 10.5 ounces), so no huge difference here. And maximum SPL is good enough (140 dB is typical) to go head-to-head with dynamics in any likely church vocal applications.
Finally, a note on frequency response. Nearly all condenser microphones can easily achieve response out to 20 kHz, so with few exceptions that spec won’t be mentioned here. That said, some models will have a flatter response, while others may emphasize certain frequencies—for better or for worse. To make judgments on this, you’ll have to consult response curves or, even better, arrange an audition.
What's available? How much?
What follows is a whirlwind survey of handheld condenser microphones that are widely available in North America. I’m limiting the specified models to those with “street prices” between $99 and $999, which covers—I’m sure—more than 99% of church applications. There are a handful of models for less than $99, but I’m wary of listing any here based on my experience with disappointing “studio” condensers I’ve purchased in the past that sold below that threshold. For purposes of meaningful comparison, I’m breaking the lot into three groups: budget (up to $199), step-up ($250 to $500) and premium ($600 and up).
Kicking off the budget category is the no-frills yet creditable Audio-Technica AT2010. The cardioid capsule uses the same 16 mm low-mass diaphragm as A-T’s popular 2020 studio condenser and puts it inside a handsome package. Just a notch higher we find the Lewitt MTP 340CM, also a cardioid, which takes a maximum SPL of 150 dB and offers an alternate version with an on-off switch.
Three microphones cluster around the next price point, and we’ll start with the C5 from Austria’s AKG. Also a cardioid model, the C5 incorporates a 24-carat, gold-sputtered housing to protect the capsule housing from deterioration, plus a “presence boost” adapter (removable) that shapes the frequency response for increased intelligibility with a subtle rise around 9 kHz. The other two in the neighborhood are the supercardioid M2 from Rode (with the funny “o”), which features a lockable on/off switch, and the cardioid SM86 from Shure, featuring a three-point shock mount to reduce handling noise along with a two-stage pop filter.
At the top end of the budget threshold we find the encore 300 from Blue, a cardioid with novel floating capsule “egg-in-basket” design for proprietary acoustical response. (This does put it a bit on the heavy side.) Also here is the ATM710 from Audio-Technica, a cardioid equipped with an integrated 80 Hz high-pass filter and a 10 dB pad. And finally, there’s the RE410 from Electro-Voice (EV), a cardioid model that touts its sweet midrange characteristics and the comfortable feel of its warm-grip handle.
Step up: $300 to $599
Continuing in the EV line, we next encounter the RE510, which features a slightly larger 5/8-inch capsule for added midrange warmth and a supercardioid pattern for greater on-stage isolation and feedback control. Also sharing the same price point are the Audix V5 (only eight ounces and equipped with 10 dB pad and LF rolloff switches) and the stylish H1 from sE Electronics, a cardioid with the same capsule as the sE2a studio mic, wrapped in a multi-stage pop and rubberized grip handle.
Shure occupies this territory with its Beta 87a and 87c siblings, the former designation (curiously) for the supercardioid version with the latter (logically) for the cardioid pattern. Both offer high SPL capability, three-stage pop filters, and magnetic shielding.
Moving up a step we find the E865 from Sennheiser, a supercardioid with response shaped for vocal “punch” and a proprietary pop protection plate to protect against overly aggressive vocalists.
Standing out from the crowd with its eye-catching satin-nickel finish is the S1 from Rode of Australia, a supercardioid that borrows from the company’s studio expertise with things like a larger ¾-inch capsule and very low (18 dB-A) self-noise. Not much more is the impressive Audio-Technica AE5400, the flagship of the Artist Elite Series, which shares the same large diaphragm capsule as the vaunted AT4050 studio condenser. It also offers a 10 dB pad and an 80 Hz rolloff filter.
Topping off this group is the sleek Audix VX10, a highly refined cardioid design with a 21-mm gold vapor capsule that exhibits excellent transient response for detailed vocal reproduction.
Premium Mics - $600 & Up
Opening up this category, and hand-assembled in Nashville, Tenn., the Miktek C5 cardioid is a handsome and skillful repackaging of the company’s PM5 studio condenser, using the same capsule, electronics and output transformer. Another option for about the same cost is the Beyerdynamic TG V96c, a German-made gem with a cardioid pattern, subtle presence boost, and foam-free, five-layer metal pop filter for effortless vocal transparency.
At the next rung of the latter, Neumann and Shure duke it out with their heavyweight (respectively) KSM9 and KMS 104/105. In the Shure corner, the dual-diaphragm KSM9 offers switchable cardioid or supercardioid patterns, allowing you the option to pick the pattern that suits the needs of the moment. Self-noise is low, SPL handling is high, and you can order it in basic black or classy champagne. On the Neumann side, the venerable German maker touts open, transparent, studio-grade sonics and very low self-noise (18 dBA) for impeccable performance in critical applications. You’ll see this one on TV frequently, in black or nickel finish. These are not switchable, so you have to choose either the KSM104 for cardioid or KMS105 for supercardioid.
If you do want switchability in the Neumann/Sennheiser family, you can get it with the dual-diaphragm Sennheiser e965. Made in Germany, it employs a full studio-sized, one-inch capsule and features both a low-cut switch and -10 dB pad.
At the top of the top, we find a pair of exquisite capsules from two of the world’s most highly regarded makers of premium condenser microphones, DPA of Denmark and Earthworks of the USA. Features and specifications really can’t do these justice—you have to hear them (as I could afford to do only at tradeshow exhibits) to appreciate the open, silky-smooth transparency they offer. Granted, the hypercardioid SR40V does publish a frequency response of 30 Hz - 40 kHz (+/- 1.5 dB), which does indicate the extraordinary transient response you can expect. The supercardioid D:Facto II from DPA is in the same stellar region, offering extremely low self-noise (19 dB-A) coupled with 160 dB maximum SPL capability. The package includes adapters for using the capsule on wireless microphone bodies from all major system makers.
That’s the roundup. If you want more air in your worship vocal sound, you have an abundance of options. Check out what’s in your budget, do a bit more research on the details, and then—as always—try to listen to as many as you can.
