![]() Quiet sound sources, accurate high frequencies Narration, voiceover, studio vocals guitar amps complex high frequencies Studio vocals, guitar amps, drum overheads, featured instruments (sax, violin, etc.) Quiet and ambient sound sources strings and piano stereo miking Live vocals, guitar and bass amps, most drums Smooth response with high-frequency trail off Transparent and sensitive, good high frequency response Upfront sound and can lack high frequency accuracy Sensitive to vibration, diaphragm is sensitive to humidityĭelicate ribbon sensitive to wind, plosives, and sibilance some use heavy magnets Sensitive to vibration and handling noise Mechanical design, low handling noise, can handle high SPL (sound pressure level) Moderate to High, but not as expensive as you might think Moderate (can be expensive) the components are small and complexĬan be cheap, but tube and multi-pattern can cost more You won’t have to get these all at once, but you should know the best uses for each mic type. I put together a chart that covers each mic type below at various prices from low to high, and at the end of this article, I’ll suggest the models you need for your home studio. If you don’t want to bother with the details, then here are the 3 basic mic types that you need to know about: In this article, I’ll cover everything you need to know to make you the go-to microphone expert amongst your musician friends and help you outfit your home studio with a few bucks left over for pizza. And, more importantly, which ones do you need. When it comes time to decide what mics are necessary for your home studio, you want to understand the differences in how they sound, look, and cost. ![]() But that experience helped me learn the ins and outs of microphones and the many differences from one mic to the next. I share that story to let you know that I was incredibly overwhelmed by the many shapes and sizes of microphones. “You’ve got a lot to learn, kid.” That was the last thing he said before handing me the broom and telling me to clean up any room far away from him. But, when I asked him to repeat the mics that he needed, his language became colorful. I came back empty-handed, which only got me some dirty looks. Then I heard, “What’s taking the kid so long?” The producer (my boss) was shouting from the control room. I went to the supply room and prayed that these things were labeled-they were not. A few days later, I was asked to go into the supply room and report which models of small-capsule condensers we had. ![]() On my first day, my boss told me about the mic models and that I should commit them to memory. Instead, I was asked to set up some mics, clean messes, and run to the store. I’d tweak the board, save the mix, win a Grammy, and my career would skyrocket. My daydreams included being called into the studio and subbing for the engineer. Still, there was always the outside chance of gaining access to the recording console. ![]() One of my old grammar school teachers got me an intern position in a recording studio cleaning toilets, rolling cable, and getting coffee. Tina Turner was asking what’s love got to do with it, Stevie Wonder was calling to say I love you, Steve Perry went solo, Madonna was still a virgin, and Van Halen was jumping. The year was 1984, and the music airwaves were soaked in synth-driven sounds. ![]()
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