Many times, a person is faced with a lot of unknowns when purchasing a microphone for the first time.
Whether it be for a child joining an orchestra, or for a person fulfilling a lifelong dream of starting a band, there is actually a lot to learn.
For those new to microphone lingo, chances are you are unaware of the many microphone types and the differences between them.
Many of these differences can affect your choice of instrument microphones or any other type, for that matter.
So here is the first in a multiple-part educational series to help you with that decision.
First, we are going to go over a couple important definitions that will be referenced throughout the series.
Hopefully, this will serve as a good introduction to the lingo, as well as give you some basic principles of sound that will serve you well in your musical endeavors.
Transient response - how a microphone reproduces speed of voice/instrument.
If you want a more technical definition, the transient response of a microphone is its ability to respond to rapidly changing sound waves.
Frequency response - how a microphone responds to different frequencies.
Sound Pressure Levels (SPLs) - could be defined as a measure of the strength or intensity of sound.
I could get technical here, but suffice it to say that, for the average person, loudness or volume are good words to associate here.
Now, we first are going to discuss condenser microphones.
These are the most common type of microphone you will find in studios.
Relatively speaking, they have a wide frequency and transient response.
This is part of the reason you do not typically find them outside studios because they are very sensitive to ambient noise (i.
e.
another instrument all the way across the stage).
It is also good to note that they are quite fragile.
As far as their cost, generally condenser mics are rather expensive.
Cheap condenser microphone can be found, but you will most likely hear the "cheapness" in how it reproduces sound.
Condenser mics are great proof of the adage, "you get what you pay for".
Another primary type of microphone is the dynamic microphones.
Compared to condenser microphones, dynamic microphones are much more rugged.
They are quite resistant to moisture, being "dropped", and other forms of abuse, which makes them the typical choice for stage performances.
You will find that most quality rock clubs (or any club featuring live entertainment) will have at least 4 or 5 of these microphones.
Each will probably bear scars from its life (literally) & may even look "worn out"; however, they likely are still fully functional and sound just as they did the day they came out of the package.
Dynamic microphones are also able to withstand high SPLs.
The transient & frequency response is a bit limited, but this actually makes them ideal for rock concerts, live vocals, drums, etc.
A condenser microphone would likely keel over in agony if used in a live rock environment because they are just too sensitive.
Dynamic microphones are not as dependent on the sound-deadening design of studios/recording booths as condenser mics.
It is interesting to note that despite their high durability, dynamic microphones are typically cheaper than their condenser counterparts.
Well, that is probably enough for right now.
There is a lot more to this, but right now it is important to lay some foundation for future releases of this series.
Upcoming articles on the 2 main types of condenser microphones, large diaphragm & small diaphragm, cardioid microphones, recommendations for proper application, and other topics will be forthcoming.
Hopefully, this collection of topics will help inform its readers about microphones and help them select the proper microphone for their needs.
Ron Gadson, C.
E.
O.
Ecommerce International, LLC