How to choose a microphone: a guide for beginner musicians.

We make the right choice the first time.
The microphone directly affects the quality of voice recording, so you need to approach the choice of model thoroughly. From this material you will learn how to choose a microphone for recording vocals and use on stage, how different microphones differ and what their characteristics say.
The quality of the recording is influenced by many factors: performance, editing and mixing, the design of the room and even the mood of the performer. Any of these points can be pumped: performance — through vocal or instrument lessons, acoustic design — through improving the insulation of the room, mixing — through improving your own skills or contacting a professional.
However, none of this makes sense if the wrong microphone is selected for recording. No matter how cool the vocalist sings and the musician plays, the wrong choice will lead to disastrous results — the record simply will not sound as it should. The only way to fix the situation is to rewrite the material with the right microphone.
An important clarification before you go further: no microphone will help if you don't know how to sing.
Choosing a microphone is a task that is solved before recording begins. From this material, you will learn how different types of microphones differ, what characteristics of devices you should pay attention to and how to choose a microphone so as not to waste time and money on an unsuitable device.
How to choose a suitable microphone?
The most important thing to do before choosing a microphone is to decide how and for what you will use it. Are you going to sing on stage or record vocals in the studio? Are you planning to record guitars or sound drums? Or maybe you need something more versatile?
The microphone must solve the tasks that are set before it, and at the same time fit the environment and the available equipment. Buying an expensive Neumann to record demos in an ordinary room is pointless: the acoustics of the room are likely to be imperfect, and the equipment is unlikely to "rock" the device so that it fully reveals its advantages.
The wrong choice will lead to a lot of problems related to both the final quality of the recording and financial issues. The same Neumann, connected directly to the budget interface, will not give the desired quality: to open the microphone, you will need at least an acoustic design of the room, a high-quality audio interface and a good preamp.
In addition, all microphones are unique in sound: some devices color the signal and make it brighter, others, on the contrary, clean up the top, giving a more muffled sound, and others fill the sound with low frequencies. A lot depends on the timbre and features of the voice with which you are going to work.
Blind faith in reviews and reviews on the Internet is likely to lead to the wrong choice, so you need to choose a microphone not so much with your eyes that have looked at the characteristics, as with your ears. Before buying, be sure to listen to how the device sounds and how it transmits your voice. It is quite possible that after the audio test you will buy a completely different microphone.
Despite the fact that microphones differ in appearance, their internal structure is identical. Any microphone consists of:
Diaphragms;
Induction coil (for dynamic microphones);
Magnetic core (for dynamic microphones);
Condenser plates (for condenser microphones);
Capsule;
Boards for installing components;
Enclosures;
Protective grill for capsule;
Output connector.
The diaphragm.
The diaphragm is the most important component of the microphone, directly affecting the sound quality, sensitivity of the device and other characteristics. The diaphragm is a thin membrane made of plastic, metal or other materials.
When we talk to someone, the sound waves created by the voice of the interlocutor fall first on the eardrums. The brain and nervous system read their vibrations, and then convert the received information into sound.
The diaphragm works the same way. The sound waves coming into the microphone hit the diaphragm, which sets it in motion. The vibrations are converted by the microphone into an electrical signal.
Magnetic core.
A component peculiar to dynamic microphones. The core creates a magnetic field for the coil, thanks to which sound waves are converted into electricity.
The coil.
The coil is another component of dynamic microphones. With its help, the device converts sound into electricity.
The coil is attached to the diaphragm and moves with it. The vibrations of the coil in the field of the magnetic core generate electricity, which is eventually recorded on the carrier in the form of recorded sound.
Condenser plates.
In condenser microphones, two condenser plates are used instead of a coil and a magnetic core. The plates are made of metal and differ in thickness.
The first plate is always thinner than the second. It takes on the vibrations of sound waves and works like a diaphragm.
After the signal hits, the plate moves back and forth, which changes the distance between it and the back plate. The movement changes the voltage in the circuit and creates an electric current.
Capsule.
The microphone capsule is the place of the final transformation of air vibrations into an electrical signal. The capsule combines the main components of the microphone and directly affects the sound quality. Depending on the type of microphone, the capsule can work by itself or from a phantom power source (48 V) (more on this below).
The capsule of the dynamic microphone consists of:
Diaphragms;
Conductive coil (attached to the diaphragm);
Magnetic core;
Tension ring;
Enclosures;
Wires.
The capsule of the condenser microphone consists of:
Diaphragm (moving front plate);
Immovable back plate;
The tension ring on which the plates are attached;
Enclosures;
Electrodes and wires.
Manufacturers often equip capsules with additional components that somehow affect the sound of the device. Despite this, its essence remains unchanged — to combine the components responsible for sound conversion.
Grill.
The part of the microphone we're talking into. It is a round or rectangular metal mesh that protects the internal components of the microphone. There may be a wind shield under the grill — a very thin layer of sound-absorbing material that protects the diaphragm from wind and the penetration of ambient noise.
Body.
A metal case, inside which the rest of the microphone components are located. The materials used and the overall build quality do not affect the sound of the device, but affect the service life of the microphone.
Exit.
Output connector for connecting the cable. Most often relies on the XLR standard, although sometimes models with the usual 6.3 mm jack (TRS 1/4") are on sale.
Externally, microphones are very different from the usual speakers of studio monitors and speakers, but there are more internal similarities than it seems.
Inside the speakers, electricity flows through a coil of metal wire wound around a permanent magnet that retains magnetism for a long time. Changing the voltage in the coil creates a magnetic field around it that resists the field of the magnet. Resistance sets the coil in motion.
The coil itself is attached to a large flat disk — a diaphragm (cone). The movement of the coil causes the diaphragm to move, which pushes the air back and forth, thereby creating sound waves that we hear (see Learning Sound Waves: An interactive guide to the Basics of sound physics).
The microphone device is in many ways identical to the speaker — a diaphragm, a coil and a permanent magnet or capacitor plates are also installed here. However, the system works exactly the opposite.
How the dynamic microphone works.
The sound waves created by the voice transfer energy to the microphone. Any sound is energy emanating from the vibrations of air molecules.
Sound waves hit the microphone diaphragm, which causes it to move back and forth. Unlike the diaphragm of the speakers, the diaphragm of the microphone is much smaller and thinner.
The coil attached to the diaphragm moves forward and backward with it. Depending on the microphone, the coil can be located both inside the magnet and next to it.
A permanent magnet creates a magnetic field that "cuts through" the coil. When the coil moves through the field of the magnet, an electric current flows through it.
Electricity flows from the microphone to the amplifier or audio interface. The latter record the voltage of electricity from the microphone, which becomes an audible sound.
How a condenser microphone works.
Condenser microphones do not have a coil and a magnetic core, two metal plates are used instead. The plates accumulate a charge of electricity received from a phantom power source or batteries.
Vibrations of sound waves cause the plates to move, which changes the voltage in the circuit. Indicators of changing voltage eventually become the sound we hear.
Sound waves enter the diaphragm and the front plate of the microphone, which sets them in motion.
The movement of the front plate relative to the immovable rear plate changes the voltage in the circuit.
Voltage changes convert incoming sound waves into electricity.
Types of microphones.
Regardless of the application, globally all microphones are divided into two types:
Dynamic microphones;
Condenser microphones.
Despite the common essence, both types differ in a number of features. For example, dynamic microphones are more reliable than condenser microphones, which makes them more suitable for working on stage. In addition, such devices are capable of operating without an external power source.
In turn, condenser microphones are much more sensitive, thanks to which they transmit sound features more accurately. For this reason, such devices are more often used in the studio. Their operation also requires an external power source — a battery, an external unit or a 48 V phantom power supply.
In addition to dynamic and condenser microphones, there are also tape devices, USB microphones, modeling microphones, shotgun microphones and other types on the market. Despite the separation of some models into separate independent categories, basically these devices still belong to condenser or dynamic microphones.
Dynamic microphones.
The dynamic microphone is based on a coil connected to the diaphragm and located in the field of action of the magnetic core. When a signal is received, the diaphragm moves, which causes the coil to move as well. The movement changes the voltage in the coil, and its shifts form the output signal that we hear.
Such devices do without an external power source: the operation scheme is arranged in such a way that the microphone "feeds itself". Dynamic microphones do not need phantom power, additional units or batteries to work.
One of the advantages of the type is durability and reliability. Most dynamic devices are equipped with an internal anti-vibration mount, which allows you to hold them in your hands when using them without compromising the signal.
As a rule, dynamic microphones have a high level of maximum sound pressure. In addition, their directional pattern is configured to cut off any ambient sounds and receive only what comes directly into the microphone.
In comparison with condenser devices, the sound of dynamic microphones is less bright and detailed. Nevertheless, you should not worry about the signal quality: microphones quite accurately convey all the features of the signal, and reduced detail and brightness are still suitable for many voices.
Another important difference of the type is accessibility. The simplicity of the design allows manufacturers to produce inexpensive devices that provide excellent recording and signal transmission quality at a fairly low price.
All this has made dynamic microphones extremely useful on stage, although a number of devices have confidently settled in recording studios. For example, Shure SM58 and Shure SM7B are equally often used both in the studio and at concerts.
Condenser microphones.
Inside the condenser microphones, a thin electrically conductive diaphragm is used, located next to the metal back plate. Together, such a circuit forms a capacitor.
A small charge of electric current is applied to the diaphragm. When we speak into the microphone, the incoming sound waves cause vibrations of the diaphragm, changing the voltage in the circuit.
The movement of the diaphragm changes the distance between it and the back plate, which eventually leads to a change in the output voltage. Constant voltage changes, in turn, form the signal that we hear.
Due to the fact that without an additional charge of electricity, the diaphragm is not able to vibrate, condenser microphones require an external energy source. This can be a phantom power supply from the input of an audio interface or mixer, a battery or a full-fledged power supply.
Due to the uniform amplitude-frequency response, high sensitivity and absence of distortion, condenser microphones are most often used in studio conditions. The devices capture the signal with high detail and capture even barely noticeable features of the voice. In addition, their sound is much brighter in comparison with dynamic microphones.
At the same time, sensitivity and a large dynamic range can be attributed to the disadvantages of the view. Due to their susceptibility, capacitor devices capture not only the main signal, but also any extraneous sounds and noises, room responses and other surrounding signals. Therefore, it is better to work with condenser microphones in acoustically prepared spaces.
A number of capacitor devices are designed to solve specific tasks in the studio and on stage. For example, condenser devices are actively used to sound choruses, overheads of percussion, percussion, grand pianos and pianos, as well as string instruments and orchestras.
The absence of anti-vibration and shockproof elements inside the housing makes condenser devices more sensitive to external influences. For this reason, they need to be used carefully — falls and bumps can damage the diaphragm, the back plate and other components. Given the higher cost compared to dynamic models, the repair of a condenser microphone is likely to be comparable in price to the purchase of a new device.
Condenser microphones can be very expensive — the cost of some models reaches 300,000 rubles. Recently, many more affordable devices have appeared on the market that repeat the design of expensive microphones, but use simpler components to significantly reduce the final cost.
Condenser microphones are a fairly large layer of various devices that differ in the components used, usage scenarios and cost. Conventionally , such microphones can be divided into several groups:
Microphones with a large aperture. Large devices with a diaphragm diameter from 3/4 inch to an inch. They are characterized by increased sensitivity to the signal, are used together with anti-vibration fasteners of the "spider" type, isolating the microphone from external vibrations that cause signal unevenness. They are considered universal studio instruments for recording vocals and a wide range of instruments. At the same time, their large size makes them inapplicable for tasks such as drumming.
Microphones with a small aperture. Relatively small devices with a diaphragm diameter of up to 1/2 inch. They perfectly cope with the transmission of high-frequency signals and sound sources with a highly variable volume or a particularly sharp attack. A frequent use case is recording overheads of drums, for which microphones are installed above the cymbals of the drum kit.
Side-addressing microphones. Devices with a large condenser and a wide flat grill over the internal components. The diaphragm and the back plate are located perpendicular to the axis of the device: if the microphone is standing vertically, the person speaks into it as if from the side.
Microphones with double aperture. Models with two or four diaphragms pointing in different directions. Effective for recording duets or collectives, perfectly remove the sound of the room. They simplify the balancing of the volume levels of several simultaneously sounding signal sources: instead of tuning the sound of two or four microphones separately, it is enough to correctly adjust one microphone.
Tube condenser microphones. Vintage models with a lamp inside or in a remote unit. Like tube guitar amplifiers, they pleasantly color the signal, giving it additional warmth and roundness. They are appreciated in professional recording studios. For operation, an external power supply is required that maintains the correct voltage throughout the circuit.
Electret microphones. They are positioned as a more affordable replacement for condenser microphones with a large diaphragm. Electret devices are equipped with a smaller, but thicker diaphragm, which makes them less sensitive to the incoming signal. In comparison with full-fledged condenser devices, they have less detail and worse sound quality, but in return they offer low cost and undemanding conditions of use.
Tape microphones.
Tape microphones work the same way as dynamic models. However, instead of a diaphragm inside the microphone, a thin film is used that vibrates when the voltage changes.
Due to its thinness, the tape requires special care: too much exposure or falling of the microphone often leads to damage or rupture of the tape. For this reason, tape models are used mainly in the studio.
"Tape players" perfectly cope with recording voice and musical instruments. The film softens the sound and gives the signal extra warmth and even some gloom.
USB microphones.
The increased popularity of computer home audio recording has led to the emergence of USB microphones that combine a simple audio interface and a microphone in one device. USB microphones greatly simplify the switching and configuration of equipment: it is enough to connect the device with a USB cable to a computer to start recording.
Most USB microphones are electret devices with multiple diaphragms, and manufacturers position such models as universal solutions for recording speech and voice. The electret basis makes USB microphones affordable solutions, the cost of which is comparably lower in comparison with the purchase of a separate audio interface and microphone.
Other types of microphones.
In addition to the above types, manufacturers also produce other types of microphones. In most cases, such devices represent highly specialized versions of condenser and dynamic microphones suitable for solving specific tasks.
Modeling microphones. Condenser or dynamic devices paired with a computer or audio interface, and capable of simulating the sound of other microphones.
Shotgun microphones. They have a very narrow focus. Such microphones are most often used to record sound in cinema and on television. The main advantage of such microphones is the ability to capture specific sound sources at a sufficiently large distance.
Border microphones. Such microphones are useful for sound amplification scenarios that require covering a large area. Usually, edge microphones are placed on flat surfaces — on a table, floor, walls or ceiling. Such devices perfectly collect sound from a variety of sources located within a large space, which is why they are used on the stages of concert halls, during political meetings or conferences.
Percussion and percussion microphones. Due to the fact that each drum and each cymbal produce their own unique sound, microphone manufacturers have created devices for recording barrels, snares, toms and cymbals. Drum microphones are designed to best capture and reveal the sound of the drum they are designed to record. Most often, such devices are sold with a set of four, five or more microphones.
Microphones for wind instruments and strings. Small and lightweight devices whose frequency range is focused on the area of a particular wind instrument. They are complemented by an installation system for mounting on clothing and the body of the tool. They allow you to sound wind, string and other musical instruments without pickups at concerts and in the studio.
What do the characteristics of the microphone say?
The first and main mistake when choosing a microphone is comparing the technical characteristics of different models without understanding them. A direct comparison of figures and indicators on the principle of "where there is more, there is better" leads to the purchase of an unsuitable model.
The characteristics of microphones represent dozens of different parameters describing the capabilities of the device. It is worth noting that not every parameter plays an important role in the selection. Among the really important characteristics that you need to pay attention to before choosing a microphone, there are several parameters.
Directional pattern.
The Polar Pattern of the microphone describes the sensitivity field of the microphone. The diagram shows the directions in which the microphone receives or ignores incoming signals.
There are three main types of this parameter:
Unidirectional diagram, which includes cardioid, supercardioid and hypercardioid. Cardioid microphones pick up the signal in front of the microphone and cut off everything that happens behind and on the sides.
A bidirectional diagram or "Figure eight" (English Figure-8). Bidirectional microphones pick up sound in front of the device and behind it, but ignore everything that comes from the sides.
Omnidirectional diagram, also called circular (English Omnidirectional). Omnidirectional microphones pick up sound from all sides.
Unidirectional microphones are the most popular type of devices on the market. For greater versatility, manufacturers equip such models with a switchable diagram that allows you to choose one of several patterns. Most often we are talking about a cardioid, a supercardioid and a hypercardioid, although there are also models on sale that offer a choice of cardioids, eights and pie charts.
The directional pattern tells you what tasks the microphone is suitable for and exactly how it will "catch" the incoming signal. For example, omnidirectional microphones can be used to record rehearsals or the sound of rooms, and bidirectional microphones can be used to record two signal sources from different sides. Finally, unidirectional devices are useful in situations where you need to focus on a single signal source — a voice, an amplifier or a musical instrument.
The size of the aperture.
The diaphragm is a small membrane inside the microphone, which is initially hit by sound waves. Diaphragms can be large, small and medium.
Microphones with a large aperture are able to withstand signals with a high volume level and refrain from distortion for a long time. Large diaphragms are very sensitive, thanks to which the microphone captures many nuances of performance. At the same time, a large diaphragm picks up more extraneous noise and unwanted sounds, which is why it is better to use them in acoustically prepared rooms.
Microphones with a small aperture, on the contrary, are less sensitive, so they can work with signal sources whose sound is characterized by sharpness, strong volume differences and an incredibly powerful attack. Often, the small size of the diaphragm affects the susceptibility to frequencies — such microphones are better able to cope with one range, for example, riding. The latter makes the small diaphragm an excellent choice for recording drums, percussion or brass instruments, but it is of little use for voice.
Microphones with a medium aperture have appeared on the market relatively recently. Such devices combine the features of both small and large diaphragms. Medium diaphragms are quite sensitive to work with vocals and convey the nuances of performance, and are sufficiently focused on the entire frequency range to make the sound more complete in the spectrum compared to a small aperture.
The size of the aperture is an important, though rather general factor when choosing a vocal microphone. The parameter tells you what signal level the microphone will handle before the incoming sound is distorted.
Frequency response.
The frequency response of the microphone tells you which frequency range the microphone can capture. The range shows the lowest and highest frequency available for recording.
For example, microphones with a frequency range from 80 to 15,000 Hz are suitable for recording vocals — such a spread is enough to cover all the nuances of most voices. For recording instruments, it is better to look for microphones whose range starts lower: for example, for recording a bass drum, the lower limit should be 30-40 Hz, and for recording a working drum - at least 50 Hz.
It is worth noting that the frequency response shows only the total frequency range for recording. The numbers don't say anything about the nature of the sound, that is, how exactly the microphone processes different frequencies.
The nature of the microphone is described by a graph of the amplitude-frequency response of the microphone (frequency response), demonstrating how accurately the device processes frequencies across the spectrum. The curve of the graph shows peaks and dips that give the microphone a certain character and make it more or less suitable for different tasks.
For example, a vocal microphone may have a splash in the upper part of the middle range, so that the voice will sound smoother and more legible. At the same time, an instrumental microphone may differ by a dip in the lower or upper frequency range, which will make the sound more or less bright or bass.
Sensitivity and maximum sound pressure.
The sensitivity of the microphone (Eng. Sensitivity) shows how quiet the sound is picked up by the microphone. The parameter is expressed in decibels per 1 Watt (dBV): the lower the number, the more sensitive the microphone is.
The maximum sound pressure (English Sound Pressure Level, SPL), in a sense, is the opposite of sensitivity. The parameter is expressed in decibels (dB) and shows how loud the incoming signal can be.
At the very beginning of the material, we said that before choosing a microphone, you need to decide on the options for its use. Sensitivity and sound pressure are the characteristics that you need to pay attention to immediately after understanding what the device will be used for.
If the main use of the microphone involves only vocal recording, then it is better to look for models with minimal sensitivity (a lower parameter value). So the microphone will be able to record more nuances: all kinds of pre-breaths, individual features of the voice and performance. For the majority of voices, a maximum level within 100 dB will be quite sufficient.
If the microphone will record shock or loud signal sources, it is better to look for a model with a higher sound pressure level (the more, the better). So the microphone will be able to "withstand" loud signals and not kill the recording with overloads. In turn, for percussion and other instruments, it is better to look at models with a pressure level in the region of 130 dB or higher.
Dynamic range and headroom.
The dynamic range of the microphone shows the difference between the minimum and maximum signal strength that the device can work with. Inside the range, the microphone records the full spectrum of frequencies, outside of it, it skips some of them.
The headroom reflects the dynamic stock of the microphone, in which the device records the signal without overload. Clipping and other artifacts appear outside of it, destroying the signal.
For greater versatility, it is better to choose models with averaged values of dynamic range and headroom.
Before choosing a microphone, decide which signal sources you will work with. If we are talking about recording particularly loud instruments, choose models with a large headroom. For quiet signals, models with a small dynamic margin are suitable.
The proximity effect.
The proximity effect cannot be called a full-fledged technical characteristic of the microphone, but some manufacturers make it a separate line in the description of the models. The effect amplifies the low frequencies as the sound source approaches: the closer the source, the stronger the lower range is manifested.
Condenser microphones have a more pronounced proximity effect compared to dynamic models.
Usually, the value of this parameter is indicated in centimeters, thereby showing at what distance from the signal source the effect will manifest itself in full. Some manufacturers also supplement this information with data on the intensity of low-frequency amplification.
This parameter will be useful for vocalists who want to artificially emphasize low frequencies in their voice. It will also be useful for engineers: with this characteristic, you can understand at what distance it is worth installing a microphone from the signal source to obtain a balanced sound.
What exactly won't the characteristics of the microphone say?
A sheet of parameters and values will never tell you exactly how the microphone sounds with each particular vocalist. The parameters also tell nothing about the quality of materials and components, the quality of soldering and assembly, and the accuracy of manufacturing.
It is worth noting that the cost itself is an important characteristic of the device. It's not so much about the budget, but about the quality of components and manufacturing. More expensive devices can boast of a better selection of components, and therefore a higher quality of work and recording.
However, you should not immediately give thousands of rubles for the most expensive microphone. Remember that listening is still the best, if not the only way to understand the difference between a good and a bad microphone, and at the same time to decide how suitable this or that model is for you.
What to pay attention to when testing and choosing a microphone.
Before choosing a microphone, you need to listen to it. Take a laptop and an audio interface, go to the store and ask the seller to show the models you are interested in.
When testing, use different signal levels: check the microphone operation at low and high gain levels, whisper, speak normally and shout into the microphone, sing something. In general, try to simulate as many different situations as possible that you may encounter when recording.
Pay attention to distortion, detail, the general nature of the sound, as well as the occurrence of sibilants and the manifestation of explosive consonants. Often, the behavior of the microphone will tell you how convenient and comfortable it will be to work with it in the studio.
Take your time with the choice. It is better to listen to ten models ten times and choose the one that suits you by sound, than not to listen to the microphone at all and make an unsuccessful choice.
Distortion, overload and saturation.
A distorted signal is a direct path to terrible recording results. An overloaded signal in most cases sounds too harsh, flat and unprofessional.
There are many nodes in the signal transmission chain that are easy to overload, especially when working with such a dynamic instrument as voice. When testing, make sure that the microphone will not be the main cause of overload.
Remember:
Some voices themselves are so powerful that they can overload the diaphragm and capsule.
Too much gain on the microphone preamplifier will lead to excessive saturation of the signal.
Too high gain level on interface converters adds unwanted clipping.
Compressors and limiters add distortion when used carelessly.
Details.
Signal detailing is all sorts of little things that reveal emotions, depth and individual timbral features of the signal source. Some microphones are good at picking up subtle changes in the voice, breaths, splits and other things, while others overlook them.
Before choosing a microphone, decide how much detail the device should transmit the performance. The detail directly depends on the sensitivity, which, in turn, somehow affects the choice of the device.
Remember: the lack of details cannot be corrected after recording.
If you are going to record punk rock, where energy is important, not beauty of performance, it is better to give preference to less sensitive dynamic microphones. On the contrary, if soft deep vocals with a lot of nuances of performance are planned for recording, then it is better to make a choice in favor of condenser devices.
The nature of the sound.
The nature of the microphone indicates the tonal color of the signal during recording. Each microphone colors the signal in its own way, highlighting some frequency ranges and weakening others.
The main rule regarding the nature of the sound says: you need to choose a microphone for a specific voice. Ideally, the microphone should emphasize the frequency advantages of the vocalist's voice and hide possible shortcomings.
When choosing a device for yourself, listen to exactly how different microphone models transmit your voice. Most likely, it will sound better with some devices than with others.
At the same time, it is better to avoid models that color the signal too actively. No matter how much you disliked the improvements being made, the "repainted" signal is often quite difficult to put into the mix.
Explosive consonants.
Explosive consonants are the sounds "P" and "B". During their utterance, a person releases a strong stream of air from his mouth, sharply cutting into the capsule of the microphone.
In ordinary speech, we practically do not notice such sounds. The interlocutor is far away from us, and the environment softens explosive consonants, which is why they sound ... quite normal for us.
However, imagine how unpleasant the "P" and "B" will sound if the interlocutor is loud enough in our ear. Each utterance of the letters will become like blows on the eardrum.
When choosing a microphone, pay attention to how exactly the device works out explosive consonants. If the "P" and "B" are expressed too strongly, then be sure to supplement the microphone with a pop filter to attenuate these sounds.
Sibilants.
Sibilants are consonant hissing and whistling sounds. In Russian, they appear on the sounds "S", "Z", "T", "F", "X", "C", "H", "Sh", "Sh" and combinations of "TS" and "CS", in English — on the sounds "F", "S", "T", "Z" and combinations of "CH", "SH", "ZH".
Sibilants are individual: in some people they are more pronounced, in others they are weaker. Depending on the frequency response and sensitivity of the microphone, some models strongly distinguish sibilants, while others perceive them less actively.
There are no microphones that do not emit sibilants, so the purpose of the test is to find out how much the device emphasizes hissing and whistling sounds. In the future, this will tell you the degree of processing of the recorded voice by the de-esser.
Microphone options.
The quality of the microphone directly depends on the cost of the device: the more expensive the microphone, the better it writes. Nevertheless, the dependence of quality on cost should not be made absolute. Look at things soberly: focus on the available budget and the tasks that you are going to solve in the studio.
Choosing the first microphone, it is better to adhere to conservatism and give preference to well-known brands that have been producing microphones for decades. Most manufacturers will have inexpensive, but great—sounding models - buying a decent dynamic model for the stage will cost $ 80-100.
With condenser microphones, the situation is somewhat different. Here, the cost directly affects the final quality, so a condenser microphone cannot be completely cheap. When choosing, it is better to cut off everything that is below the $100 threshold. Above this cost, you can find a decent model (capacitor or electret) that can solve most of the problems of a home studio.
Conclusion.
The most useful thing you can do before choosing a microphone is to independently study the reviews of real owners and try out different models. Ask your friends what they use and for what, look at reviews of various models, read reviews on the Internet, take a look at our top microphones.
The microphone must match the quality of the rest of the equipment in the studio. Buying an expensive Neumann will be a waste of money if you work in an unprepared room and record through the simplest audio interface.
In general, whichever microphone you choose, remember that the main thing is to enjoy using the device. If the "piece of iron" does not give joy, then there is no point in it, no matter how much it costs.
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