by Jason Johnston
So you want to record audio and you are smart enough to know that you need a microphone. But you ask yourself, "With So many options, how do I select the right microphone?" You'll want to select the right tool for the job - just like construction: No one paints with a hammer. Maybe I've been watching too many politicians over the last couple of months, but I'm going to answer your question with three questions: What do you want to record? Where do you want to record it? What is your budget?
What do you want to record?
In a broad sweep, engineers tend to use dynamic microphones on louder sound sources, like close micing of drums and guitar cabinets, and condenser microphones on quieter sound sources that need more attention to detail like voices, strings and pianos or on more distant micing, like a room mic, a stereo choir recording or drum overheads. Here are a few typical applications and microphones used:| Source | Usual Type | Our Budget Picks | Our Higher Priced Picks |
| Vocals | Large diaphragm condenser microphone, usually with the cardioid polar pattern. | M-Audio Luna or Solaris, if you want multiple patterns and the Sputnik if you would like the warmer sound of a tube microphone | The new AKG C214 or the top end AKG 414, if you want multiple patterns. |
| Drums | Typically a host of dynamic mics plus two condenser mics for overheads | One of the Drum Mic Kits are probably the best bet - good selection and quality for the price and then add a condenser pair like the M-Audio Pulsar II | We like to mix and match in our studio: current picks - Kick: Audio Technica ATM250
- Snare Top: AKG D5 - Overheads: Se Electronics SE 3 pair |
| Acoustic Guitar | Usually a combo of a large and small diaphragm condenser mics | A combo of the M-Audio Pulsar single and the M-Audio Solaris is nice. | Small diaphragm we like the Se Electronics SE 3 single and for large we like the AKG 414 |
(These are just typical examples - in the end use what sounds good! )
Where do you want to record it?
In a live concert situation, one would typically using dynamic mics, close to their sound sources to avoid picking up background noises, the main speakers or monitors and other instruments (in a multitracking situation). In a more controlled studio room, you have the luxury of using condenser microphones that are more sensitive and will pick up nuances of the source, like a vocal.
What is your budget?
You've heard it said, "You pay for what you get." This is essentially true. Although you may find a few exceptions, a lower price microphone will typically yield less dynamic range (the width of frequency it will pick up), less detail (the clarity of those frequencies) and higher self-noise (the internal noise that every microphone creates to varying degrees). Spending a little more money will gain you the opposite. I say this is "essentially" true because there is also the law of diminishing returns involved. Once you break the $900-$1000 level on a microphone, it will take a lot more money to get noticeable results.
Pick and Pick Again
There is one word we use a lot around the store and studio: "Typically." These mics are just typical suggestions, but in the end you need to use your ears and imagination to get your desired results. Don't be stuck in the idea that "I must have this mic" or this "this mic always works for such and such." Focus on the principals rather than a cookie cutter solution. Use your head and what you have on hand until you can afford more. Because there is another saying we have: You can never own too many microphones!
Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.
