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Large-diaphragm Tube Condenser Microphone
NEUMANN M 149: Extremely sensitive, extremely large, extremely expensive and extremely desirable sums up the category of large-diaphragm tube condenser microphones, of which the Neumann M 149 is a stellar example.
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Condenser Measurement Microphone
EARTHWORKS SR30/HC: Condenser measurement mics are made to capture all the highs and lows, a virtue which makes them prized for accurate and transparent capture of a wide variety of musical instruments.
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Shotgun Condenser Microphone
AUDIO-TECHNICA BP4071: If you want to capture softer sounds at a distance, the right microphone for the job is a shotgun condenser, like this BP4071 from Audio-Technica.
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Large-Diaphragm Dynamic Microphone
AUDIX D6: The “no hassle” champs for handling very loud low frequency sounds are the large diaphragm dynamic microphones like this Audix D6, optimized for kick drum duties.
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Ribbon Microphone
CAD AUDIO A77R: They don’t much go to extremes, but ribbon microphones—like the budget-priced A77R by CAD Audio—certainly sound sweet on vocals and many bright instruments.
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Dynamic Microphone
SHURE SM57: High SPL handling, relatively low cost and never-say-die durability are the hallmarks of quality dynamic microphones like the presidential-podium-topping Shure SM57.
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Dual Capsule Dynamic Microphone
MXL DX2: The unique DX2 from MXL doubles the extreme power-handling advantages typical of dynamic microphones by offering two capsules, a cardioid and a super-cardioid— plus a crossfade knob for selecting either or blending the two.
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Interchangeable Dynamic & Condenser Microphone
GALAXY AUDIO GA64: Both condenser and dynamic technologies have different advantages in vocal applications, and if you can’t make up your mind one option is the Galaxy Audio GA64 with interchangeable dynamic and condenser capsules for mounting on the ergonomic body.
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Headworn Condenser Microphone
Countryman E6: The extremely small condenser capsules in headworn microphones have done wonders for making speech more intimate and intelligible in worship. Model shown above is the Countryman E6.
Are you ready to push microphone technology to its limits? Hmm.
“Why?” you might ask.Good question. Certainly, we don’t want to push to extremes all of the time. But occasionally it helps to investigate the outer edges as a way of understanding concepts that also apply to what happens in the middle ground.That’s the idea here. We may not be seeking the one particular microphone that is absolutely the best at capturing the highest highs, the lowest lows, or the softest and loudest sounds. You may not be shopping for the biggest or smallest mic, or the most or least expensive model. But understanding which types of microphones define the extremes can help in making your choices across a broad spectrum of worship applications.
CPM surveys three technologies currently employed in microphones for live worship: dynamic, condenser and ribbon, along with sub-types thereof. No antique (liquid, carbon, piezoelectric) or exotic (laser, fiber optic) microphones will be considered. However, we will admit high-end models rarely used in worship. Although overkill in common situations, nevertheless you could plug them into any church sound reinforcement system if you wanted to—and could afford to.
For the highest highs…
What microphone is best for capturing extreme high-frequency sounds, such as cymbals, high piano strings, piccolos—perhaps dog whistles and lower bat sonar chirps? Most microphones specify response only to 20 kHz, the upper range of human hearing (when we’re quite young). But a certain class of condenser microphones extends response out as far as 50 kHz.
These are the elongated “pencil” measurement mics that remind me of the otoscope the doctor uses for ear exams. Their tiny, low mass capsule diaphragms (about 6 mm diameter) are responsive to very high frequencies, and they use transformer-less output electronics to maintain flat response through to the XLR connector. The 50 kHz models are omnidirectional, but cardioid and super-cardioid versions are available with slightly more limited ultrasonic response. Originally designed for acoustical measurement, they can also function as superb instrument mics.A select few other condenser designs claim upper response limits between 25 kHz and 30 kHz, including several elite large-diaphragm studio models. But, alas, the laws of mass and magnetic reluctance prevent dynamic and ribbon microphones from vaulting this extremely high bar. A scattered few claim 22 kHz or 25 kHz, but 18 kHz to 20 kHz is typical for dynamics while most ribbons tend to roll off between 15 kHz and 18 kHz.
… and the lowest lows
The competition here is a bit more interesting, because the winner may hinge on just how loud the lows are.If the lows are not extremely loud, then the winner again is the instrumentation-type condenser mic, with one model specified down to a deeply subsonic 3 Hz. But that pricey mic would likely overload in front of a kick drum, so your best choice here would be a large diaphragm dynamic microphone. Some of these models will forestall unacceptable distortion under extreme pressure down to around 15 Hz.
Let’s get loud
It’s outdoor youth festival time. Guitar cabs are raging and drums are hammering. What’s the best mic for handling extreme SPLs without damage or excessive distortion? Well, that depends.
The simple and safe answer is a good dynamic mic. The inherent design of a dynamic makes it less susceptible to damage from extreme levels because resistance of the diaphragm suspension acts like a mechanical compressor to limit overload as levels rise. Consequently, many dynamic microphones do not even specify a maximum SPL limit. Among those that do are kick drum mics, which give reassuring limits as high as 160 dB. (This is beyond deafeningly loud.)
If you want to capture the most delicate nuances of a breathy vocal or the unique character of a vintage mandolin, go for the best large-diaphragm condenser you can find.
A number of condenser microphones also advertise SPL handling above 150 dB, but here dynamics might cry “foul!” That’s because these particular models insert pads between the capsule and built-in preamp, cutting the signal in one or two steps of 10 to 20 dB. But that’s really okay, as the capsule is able to handle those high levels and the preamp won’t distort—if you insert the proper pad.
Ribbons are a special case when it comes to getting loud. They can handle midrange and high frequency sounds at the same deafening levels, and their unique ability to produce a spacious, open sound without a brittle edge make them a favorite for mic’ing electric guitar cabinets. You can also cup a blaring trombone right over a ribbon without a whimper. But you don’t want to put a ribbon smack in front of a kick drum or big bass cabinet. More on this later.
Capturing soft sounds
For effectively capturing soft sounds, you need a microphone with high sensitivity—one that produces the maximum voltage at the output with the minimum variation in air pressure on the capsule diaphragm.
Tracking down mics with high sensitivity was the most frustrating part of my research, mainly because microphone makers can’t seem to agree on how to specify sensitivity. Two methods are acceptable. One specifies the output in millivolts (mV) for a given pressure of 1 Pascal (Pa), while the other gives a decibel figure below a reference level of 1 volt at 1 Pascal. The first is easier to understand (so we’ll use it here), though the second is actually more meaningful. Fortunately, there is an online calculator to translate between the two.
The key is to have a diaphragm (plus attached coil with dynamics) with very low mass coupled with low mechanical resistance in the diaphragm suspension. The winner here is, not surprisingly, the large diaphragm condenser microphone.
If you want to capture the most delicate nuances of a breathy vocal or the unique character of a vintage mandolin, go for the best large-diaphragm condenser you can find. Every whispered sibilant, every delicate hammer-on, will be captured accurately. Many large-diaphragm condensers are specified at 20-25 mV/Pa where a typical dynamic vocal mic will put out only between 1 mV and 4 mV. But again, of course, the condensers are “cheating” with their own built-in, phantom-powered preamplifier stages.Also, there is an important caveat here. Condensers are the clear winner, but the best mic may not always be the most sensitive one. You also have to consider self-noise—the noise generated by the microphone’s own electronics. With low self-noise, anything above about 10mV/Pa is good unless you have poor console preamps. This easily beats any ribbon or dynamic except for a very few high-end ribbons that also “cheat” with their own built-in, phantom-powered preamps.Finally, if you want to capture soft sounds from a distance, your best bet is a highly directional “shotgun” condenser microphone. By focusing sound directly at the diaphragm, some models achieve sensitivity as high as 89 mV/Pa.
Biggest and smallest
Does size matter? If so, what are the biggest and smallest microphones you could plug in for your next worship?
The winner of mega-mic honors would depend on how you measure length and what is included in the weight. If you include a cable hard-wired into the microphone body and a semi-permanent stand mount, then honors go to Audio Engineering Associates’ recreations of the classic RCA 44 series ribbon mics. These behemoths measure nearly a foot high and weigh over three pounds. If you disqualify stand and cable, that might shift the balance to large-diaphragm tube condensers like the Manley Reference, tipping the scales at 2.25 pounds.
Condenser technology easily claims the prize at the other end of the size spectrum. Some miniature condenser capsules on modern headworn microphones are as small as a matchhead, and yet they can produce full bandwidth response at shouting levels with negligible distortion. Dynamics and ribbons didn’t even show up for this round.
Most durable and most fragile
Dynamic microphones are the hands-down winners for durability. Electro-Voice’s vintage 664 dynamic, known for frequent demonstrations of pounding nails into wood, was nicknamed “the Buchanan hammer” in honor of the Michigan town where it was made. Rumor has it that Shure sales reps would counter by doing the same with 545 Unidyne models. I’ve never tried it, but our church still has a (USA-made) 545 equipped with a screw-on, dual-impedance connector that dates back at least to the early 1970s. This veteran remains on reserve in our mic locker, and is occasionally called up for active duty.
Condensers and ribbons are inherently more delicate and prone to failures. True, vintage condensers are still on duty decades later, but only after expensive refurbishing of capsules and electronics. Condenser microphones don’t like moisture on the capsules as it upsets the delicate electric charge on the plates. Mini-condensers are remarkably robust considering their delicate nature, but you don’t want to drop a heavy handheld wireless unit directly on top of the capsule—as did one of our butterfingered volunteers. Fortunately, it was fixed under warranty. And ribbon mics can be damaged by heavy direct blasts of air pressure. Basic rule of thumb: if you can feel the air moving, don’t use a ribbon.
Most & least expensive
At the top end of the scale, condensers again claim extreme honors. It didn’t take much research to find more than a dozen studio condensers topping $5,000, with the Sweetwater web site giving top honors to Sony’s exotic C-800G tube model, discount priced at $9,990.
Thanks to their simple and robust design, dynamic microphones are—for equivalent quality and durability—the least expensive. I’ve had satisfactory results in spoken word use with models in the $40 to $50 range. Very few condensers are available under $75, and I would be suspicious of any. (I bought one once. Never again.) Ribbon options appear to start at $250-plus.
The overall winner is …
Versatile condenser technology, with a boost from advances in circuit miniaturization, takes the gold medal for most microphone extremes. Rugged, no-frills dynamic mics follow with the silver medal. Ribbons lag behind, though perhaps deserving an “Excellence in the Middle Award.” For their unique combination of smoothness and transparency, ribbons are bestowed, well, blue ribbon honors.
Bruce Borgerson operates Strategic & Technical Communications and heads the tech team at the First United Methodist Church, both in Ashland, Ore.
