In recording circles, you may have heard of the 2:1 rule of ambience when discussing different microphone polar patterns and their sensitivity to room ambience. If you're wondering about this rule, you've come to the right place!

What is the 2:1 rule of ambience? The 2:1 rule of ambience states that a cardioid microphone must be positioned twice as far from a sound source as an omnidirectional microphone in order to capture equal amounts of room ambience. This is due to the microphone polar patterns and the reflections within acoustic spaces.

In this short article, we'll consider this rule, having a look at the cardioid and omnidirectional microphone polar patterns as well as the basics of acoustics.

For more information on microphone placement, check out my article Top 23 Tips For Better Microphone Placement.

A Primer On Acoustics

Acoustics is a deeply complex study of the propagation of sound waves in the natural environment, including gases, liquids and solids.

When it comes to recording audio, we're nearly always dealing with gas (air) and capturing the sound waves that cause vibrations in the air molecules (though we can also record in liquids and solids).

The interactions between sound waves and the “acoustic environment” include the direct sound from the source producing the sound waves to being with along with all the reflections from different boundaries and materials in the environment.

Note that sound energy will be absorbed by the boundaries and the primary medium (i.e., air), and the rate of absorption varies across the frequency spectrum.

When it comes to simple absorption within the medium itself, sound energy follows the inverse-square law, which states that the sound energy will drop by 6 dB for every doubling of distance.

If you're interested in learning everything you need to know about decibels (dB), check out my article What Are Decibels? The Ultimate dB Guide For Audio & Sound.

This is just touching the surface of the complexities of acoustics, but it's important to touch on.

Now if we change our focus to the typical recording environment, at least for music production, we'll have a room. These “live” rooms (as opposed to control rooms) can range from small closets and dedicated vocal booths to carefully designed studio spaces to large cathedrals. The common thread between them is that they are filled with air and have physical boundaries.

The physical boundaries, as we discussed, will reflect sound around the environment, and we will perceive these reflections along with any direct sources in a way that tells us about the acoustic environment we happen to be in.

All else being equal, the further we are from the direct sound source, the greater the reflections to direct sound ratio will be.

When we place a microphone in such an environment, the microphone will pick up the direct sound and the reflections or “ambient sound of the environment” as well. As the microphone is positioned closer to the sound source, it will pick up more direct sound compared to the reflections, and vice versa.

So to sum things up for the purposes of this particular article, we have the direct sound, which travels directly from the sound source to the listener or microphone, and we have the ambient sound (typically “room ambience”), which is made of all the reflections within the space.

This is oversimplified, I know, but it sets the stage for our discussion on the 2:1 rule of ambience.

What Are Omnidirectional Microphones?

Omnidirectional microphones have omnidirectional polar patterns and are equally sensitive to sound from every direction. Unlike their directional counterparts, omni microphone capsules have only one side of their diaphragms open to external sound pressure.

If we were to consider a polar graph with 360° (0° being where the microphone is pointing in 3-space and 180° being to the rear of the mic in 3-space) and concentric circles to represent differences in sensitivity (in dB), we'd have the following polar pattern to represent omnidirectional microphones:

Yes, the solid black line around the circumference of the graph is the polar pattern. That's because an omnidirectional microphone is equally sensitive to sound from every direction.

This trait makes omnidirectional mics except for capturing sounds around a room, but not ideal choices for close-miking sources where having directionality can help to “pinpoint” the capture of those sources.

Now that we understand the necessary info about omnidirectional patterns, let's consider unidirectional or “cardioid-style” patterns.

For more information on omnidirectional microphones, check out my article What Is An Omnidirectional Microphone? (Polar Pattern + Mic Examples).

What Are Cardioid Microphones?

Cardioid microphones have unidirectional cardioid polar/pickup patterns. They're most sensitive to on-axis sounds (where the mics “point” toward). These microphones are generally 6 dB less sensitive to the sides with a null point to their rear. Cardioid mics are revered for their directionality and rejection of rear sounds.

Note that the cardioid polar pattern is sometimes referred to as the unidirectional, kidney or heart-shaped polar pattern.

We can visualize the cardioid polar pattern in the following diagram, where we can concentric circles for sensitivity, a 360° directional graph, and a solid black line to represent the cardioid polar pattern:

So we can see that a cardioid microphone is the most sensitive on-axis (0°), with a null point of no sensitivity to its rear (180°).

It makes sense, then, that cardioid or “unidirectional” microphones are often used to close-miking sources to minimize bleed from other instruments in the same space and the room ambience overall. Let's carry that thought into the next section.

For more information on cardioid microphones, check out my article What Is A Cardioid Microphone? (Polar Pattern + Mic Examples).

The 2:1 Rule Of Ambience With Cardioid And Omnidirectional Microphones

Armed with the information we now know about acoustics and cardioid and omnidirectional microphones, let's revisit the 2:1 rule of ambience, which states that a cardioid microphone must be positioned twice as far from a sound source than an omnidirectional microphone in order to capture equal amounts of room ambience.

First off, we know from the aforementioned inverse-square law that any direct sound source energy reaching a microphone at twice the distance from another will drop by 6 dB. We can use that as a starting point.

So assuming the output levels of the two mics in question are the same, in order to have the same relative level from the direct sound source, the mic positioned at twice the distance (the cardioid microphone) would need to have 6 dB more gain than the other (the omnidirectional microphone).

Amplifying the cardioid microphone by an additional 6 dB would effectively bring the sides information being captured (at 90° and 270° of the polar graph), which are generally about 6 dB less sensitive than the on-axis capture, up to the same level as the omnidirectional pattern. Note that the rear sensitivity (at 180°) will ideally still be a null point.

Of course, there are variations in mic design that will cause this rule to vary, but I'm laying out the theory here.

The reflections within the room will happen everywhere, with different resonances in different locations for different frequencies and varying rates of reflections and absorption across different surfaces.

It's practically impossible to state the 2:1 rule of ambience as a hard rule for these facts, but it's certainly the case that the 360° sensitivity of an omnidirectional microphone will pick up these reflections more than a cardioid microphone, with limited directional sensitivity. The reflections or ambience-to-direct signal ratio will be higher in the omni mic.

If we're pointing a cardioid microphone at the source, we would have to back it up to about twice the distance in order to capture the same relative source-to-ambience ratio as the omnidirectional mic (which, by the way, we don't have to point).

This is a loose rule with difficult proof, but it holds up, more or less, as accurate in practical recording applications.

It's critical to note here that the cardioid microphone is being pointed at the source. If the cardioid microphone, for example, were pointing away from the source (with the source in 180° null point), it would only really be capturing the reflections of the environment with no direct sound.

So that is the “2:1 rule of ambience”. I wish you well in utilizing this knowledge in your recording sessions in the future!

Related Questions

What is the 3:1 microphone rule? The 3:1 rule of thumb states when two mics are capturing a source (or multiple sources in one space), the mics should be separated by a distance 3 times that of the shortest mic-to-source distance. Another 3:1 rule says a distant mic should be at least 3 times farther from a source than a close mic.

How far should stereo microphones be placed? There are 3 styles of stereo miking that affect distance:

1. Coincident pairs are to have their capsules placed as close together as possible.
2. Near-coincident pairs have their capsules placed 6-12 inches apart and angled symmetrically on either side of the centre.
3. Spaced pairs are typically separated by several feet (usually one-third to one-half the width of a sound stage) and point directly at a sound source.

Related articles:
• What Is A Coincident Pair Of Microphones? (With 2 Techniques)
• What Is A Near-Coincident Pair Of Microphones? (+7 Examples)
• What Is A Spaced Pair Of Microphones? (With 3 Techniques)

The post The 2:1 Rule Of Ambience: Improve Your Microphone Placement first appeared on My New Microphone and is written by Arthur Fox.

Since remote work has become the norm in our digitally advanced world, wearing headphones and earphones equipped with microphones has become advantageous. By cancelling out the environment's noise and laser targeting the speaker, it allows for much easier discussion on video calls, virtual meetings, and more.

Do all headphones and earphones have built-in microphones? Not all headphones have built-in microphones. Though many headphones/earphones have a mic installed internally or inline, many budget models do without lowering their cost. Furthermore, professional and audiophile-grade headphones rarely have mics since they're designed specifically as headphones.

Within the headphone industry, there are various upmarket and budget choices you can select from. Therefore, for brands to enter a market, they usually need to add or take away features to suit that price point. Because of this, some cheaper-priced headphones might not include a built-in microphone, so you'll need to check the device's features before purchasing.

How To Identify If A Pair Of Headphones Has A Built-in Microphone(s)

Maybe you've already purchased headphones or earbuds, and you're trying to distinguish whether they have a built-in microphone or not. Luckily, this is easy. To make this straightforward, you'll want to become knowledgeable on the three different types of built-in microphones common to headphones.

1. Internal Microphones

The most common microphone that comes with headphones is a MEMS or ECM. Each of these is positioned around the device and built into the internal case. Since they're located the furthest away from the mouth, the audio on the receiving end isn't the best.

There's usually an indication to identify an internal microphone on headphones. In most instances, it's a small hole (this may or may not have a microphone symbol next to it) located on the bottom of the ear cups. The most optimal position for a microphone is the closest to your mouth, which is generally this part of the device.

2. Inline Microphones

If you're struggling to find an internal microphone on your device, then the next option you'll want to search for is inline. Before doing anything, these are only attached to wired headphones and earphones.

Locating them is straightforward because they're physically added to the cable. By running your fingers down your headphone cable, you should find a rectangle compartment with three buttons: volume up, volume down, and pause. Now you've found this, search for a small hole, as this will be the microphone.

The advantage that inline microphones have over internal types is that they're often closer to the mouth and further from the headphone drivers. This allows for better voice audio. In some higher-budget devices, they might even have a clip that you can attach to the collar of your t-shirt, making the audio even clearer.  

3. Boom Microphones

Additionally, the headphones could also have a boom mic. Undoubtedly, this is the most apparent microphone attached to headphones because of its nature. Boom mics are commonly found on gaming headsets, so you're not muffled. They can be retractable, detachable, and adjustable for optimal comfort.

Understanding the different microphones that circulate the headphone market makes it easier to identify if your device has one attached. However, you should know about the different microphone variations, as these could significantly impact audio quality.

MEMS Vs. ECM

The two different microphone types are called MEMS (micro-electro-mechanical system) and ECM (electret condenser microphone), which are used in headphones because they can be designed remarkably small. Here's what you need to know about them:

To learn more about MEMS mics and electret condenser mics, check out the following My New Microphone articles, respectively:
• What Is A MEMS Microphone? (Micro-Electro-Mechanical Systems)
• The Complete Guide To Electret Condenser Microphones

How To Choose The Best Headphones With A Microphone

Understanding the above is superb, and by developing this knowledge, you can invest in a headphone that'll cater to your microphone needs. However, this isn't the only consideration you should think about when deciding on headphones. To achieve this successfully, you'll want to ask yourself the following questions:

Where Will Phone Calls Be Made?

When searching for your “best” headphone choice, you'll want first to decide where most of your usage will be with them. The two categories you should be thinking about are:  

• Quiet places: With this application, you won’t need any noise-reduction features
• Loud places: In this environment, noise-reduction features are pretty much mandatory for practical audio

As you can imagine, using a headphone microphone in a quiet atmosphere won't need any “special” features to help with the audio output. However, noise-cancelling/reduction features are essential for the recipient to hear you clearly in busy cafes, offices, on the go, and much more.

Noise-cancelling is perfect for reducing background noise and targeting your voice but is known to cause some distortion. Without noise cancelling, the mic will output significant background noise, but the sound quality will be much clearer.

How Vital Is Comfort?

Unquestionably, the more comfortable your headphones are, the more expensive. Therefore, you'll want to understand how long you'll wear these headphones.

If you're going to use these daily for numerous hours, investing in a more expensive and comfortable headphone will be much more beneficial. It'll make long voice calls much more bearable, providing you with better satisfaction with the device.

Is Sound Quality Crucial?

Headphone sound quality isn't as crucial as the mic audio for some users. If you fit into this category, you can undoubtedly save some money by purchasing a lower sound quality headphone equipped with a good microphone. Again, this will depend highly on how you'll use the device, where, etc.

After reading the above, you should have a more comprehensive idea about whether all headphones have a built-in microphone and how to identify them. Hopefully, your existing headphone has one. If not, you have enough knowledge to invest in a pair that will provide you with the ultimate amount of benefits.

Microphones & Noise-Cancelling Headphones

Microphones are not only incorporated into headphones and earphones for telephony purposes. They're also a necessary part of active noise-cancelling (ANC) technology.

Active noise-cancelling utilizes active circuitry (requiring power) to effectively produce an “anti-noise” signal in the headphone driver that cancels environmental noise by means of phase cancellation.

To do so, the ANC circuit must have a microphone. The microphone will capture the environmental noise as an audio signal. This audio signal is then phase-inverted and added to the headphone signal to help cancel out environmental noise.

These mics are typically ECMs, and each earcup generally has its own microphone(s). All active noise-cancelling headphones and earphones have built-in mics, even if none are used for telephony. The positioning of such microphones largely defines the differences in ANC circuits.

Feed-forward active noise-cancelling works with a microphone placed on the outside of the headphones. The mic picks up environmental noise, and the ANC circuit produces the anti-noise signal without ever “hearing” the intended audio being sent to the headphone drivers.

Feedback active noise-cancelling works with a microphone placed on the inside of the headphone ear cup. That way, the mic can hear the intended sound of the headphones along with the environmental noise

To learn more about noise-cancelling headphones, check out the following My New Microphone articles:
• How Do Noise-Cancelling Headphones Work? (PNC & ANC)
• Passive Vs. Active Noise-Cancelling Headphones
• Do Noise-Cancelling Headphones Work With Or Without Music?

Professional & Audiophile-Grade Headphones

Professional and audiophile-grade headphones hardly ever have built-in microphones. They are designed solely for the purpose of monitoring audMicrophone'sy (for mixing and mastering engineerBuyer'seproducing audio in the most musical ways possible (for audiophiles).

The addition of a microphone in such headphones would add complexity to the design and even play a small role in degrading the audio due to the additional microphone signal being carried through the cable.

These headphones, including in-ear monitors, are expensive because they're either very accurate or otherwise awesome-sounding. The price has to do with their sound reproduction rather than their two-way telephony capabilities.

For professional-grade headphones with built-in microphones, look for pro audio (or even aviation) headsets.

The post Do All Headphones & Earphones Have Built-In Microphones? first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which microphone you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about a microphone.

If you've found yourself asking, “Which microphone should I buy?” this extensive resource is for you. Though I will not be offering any specific recommendations, I have included links to check out certain microphone types at some of my favourite affiliated retailers.

With over 9,000 words, this article is rather long. Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive microphone buyer's guide to help you in your next microphone purchase!

Related articles:
• Top 11 Best Microphone Brands You Should Know And Use
• Top 11 Best Microphone Brands You’ve Likely Never Heard Of
• Microphone Database
• Microphone Brands Database
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)

Table Of Contents

• What Is Your Microphone Budget?
• What Is The Intended Application Of The Microphone?
• Dynamic, Condenser & Ribbon Microphones
• Tube Vs. Solid-State Microphones
• Shotgun Microphones
• Lavalier Microphones
• Boundary Microphones
• Wired Or Wireless Microphone?
• USB, XLR & Other Microphone Connectors
• Microphone Polar Patterns
• Microphone Frequency Response
• Other Microphone Specifications Worth Noting
• Microphone Features
• Common Microphone Applications
• Know The Additional Costs Of Microphone Accessories
• Best Microphones By Type, Application & Price Point

What Is Your Microphone Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

Microphones, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

Note that some retailers offer payment plans, which could be an option.

Consider the cost-to-benefit ratio of the microphone purchase. For example, if the microphone is needed for business, perhaps stretching the budget is more appropriate. On the other hand, if you don't plan on making money with the mic, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your microphone.

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

What Is The Intended Application Of The Microphone?

Before deciding on which microphone you should buy, be sure to consider the intended applications of the mic. There are a wide variety of situations that call for the use of microphones and, as a result, a plethora of different microphone types to accommodate.

So, give some thought to the application of the microphone(s) you'll be buying. Though we'll discuss popular mic applications in a later section, here is a short list of typical options for common applications.

Studio vocals & voiceover: consider a large-diaphragm condenser microphone.

Live vocals & voice: consider a dynamic microphone with wireless connectivity.

Film, television, videos, etc.: consider wireless lavalier microphones and shotgun microphones.

Instruments: consider a wide range of dynamic, condenser and ribbon microphones.

Web-based communications: consider a USB microphone.

Back to the Table Of Contents.

Dynamic, Condenser & Ribbon Microphones

Microphones are defined as transducers, which means they convert one form of energy (in this case, sound waves) into another form of energy (in this case, electrical audio signals). There are numerous transducer types found in microphones, but the main 3 worth noting are as follows:

• Dynamic Microphones
• Condenser Microphones
• Ribbon Microphones

Please note that, like many sections of this buyer's guide, I'll be generalizing in the following paragraphs.

Dynamic Microphones

Dynamic microphones (sometimes referred to as moving-coil mics) utilize electromagnetic induction to convert sound into audio. A coil of conductive material is attached to the mic's diaphragm and suspended in a magnetic field. As the diaphragm moves, the coil experiences a changing magnetic field, and an electrical audio signal is produced.

Some dynamic microphones have output transformers, while others don't. The simple design of dynamic microphones is a big part of why dynamic mics are often cheaper than their ribbon and condenser counterparts.

For a complete article on dynamic microphones, check out My New Microphone's The Complete Guide To Moving-Coil Dynamic Microphones.

Generally speaking, dynamic microphones are the least sensitive to sound pressure changes and physical damage.

This makes them great choices for high sound pressure level (SPL) applications like miking kick and snare drums. A lack of sensitivity also works well in noisier environments.

Dynamic mics are also often chosen for live sound reinforcement because they are rugged and generally more resistant to feedback. The durability of dynamic mics extends to physical damage, temperature and humidity (within reason).

The downside to dynamic mics is that they're often “coloured” in frequency response, meaning they don't pick up all frequencies equally. This is particularly true in the high-end.

Also, because they're generally less sensitive, they may not capture all the nuance of a performance like a condenser or ribbon mic would.

• Click this link to check out dynamic microphones at Sweetwater
• Click this link to check out dynamic microphones at B&H Photo/Video
• Click this link to check out dynamic microphones on Amazon

Condenser Microphones

Condenser microphones convert sound to audio via electrostatic principles. A diaphragm and stationary backplate make up a sort of capacitor (aka a condenser). Any diaphragm movement causes a change in capacitance and results in an audio signal at the output.

In order to function, the capacitor of the condenser mic capsule must be charged. This can be done via external power (as is the case with “true condenser microphones”) or can be achieved permanently with electret material (as is the case with “electret microphones”).

Both systems work perfectly well with today's technology, so we won't discuss this difference in detail, though it is something to be aware of.

The signal from the condenser capsule is of very high impedance and needs amplification/impedance conversation. This can be done via solid-state technology (often FETs or JFETs) or vacuum tubes. Tube audio equipment often has a certain warmth, while solid-state equipment is often colder. This is true of microphones as well.

Condenser microphones are more complicated and are, therefore, often more expensive. That being said, many of the cheap mics on the market utilize electret capsules and relatively simple signal paths.

Condensers are often chosen because they're sensitive, have extended and flattened frequency responses, and are more apt to capture the nuances of a performance accurately.

These mics are often chosen for studio applications. They require power (for preamplification and impedance conversion, among other things), which is often supplied via phantom power in the studio or by DC biasing for miniature Cavaliers.

Condenser mics, especially those with tubes, tend to be considered fragile. However, some condensers (like many lavaliers and shotgun mics) are designed to withstand physical abuse along with extreme temperature and humidity.

Beyond electrets vs. true, solid-state vs. tube, phantom power vs. DC bias, etc., there are two main styles of condenser microphones: small-diaphragm and large-diaphragm.

Small-Diaphragm Condenser Microphones

SDCs have diaphragms generally 1/2″ (12.7mm) or less. They tend to be more accurate (frequency and transient response) but a bit noisier than LDCs.

SDCs are often chosen for miking stringed and woodwind instruments, as drum overheads, and for any source where detail is critical. Small-diaphragm condenser capsules are also used in shotgun microphones and, technically, in lavalier mics (though these capsules are often referred to as “miniature”).

• Click this link to check out SDC microphones at Sweetwater
• Click this link to check out SDC microphones at B&H Photo/Video
• Click this link to check out SDC microphones on Amazon

Large-Diaphragm Condenser Microphones

LDCs have diaphragms generally 1″ (25.4mm) or more. They tend to be a bit less accurate (frequency and transient response) than SDC but more accurate than dynamic microphones.

LDCs are often chosen for their character and bigger sound. They are typically chosen in the studio for recording vocals, voiceover, brass, guitar and bass amps, and as room mics.

• Click this link to check out LDC microphones at Sweetwater
• Click this link to check out LDC microphones at B&H Photo/Video
• Click this link to check out LDC microphones on Amazon

To learn more about small and large-diaphragm condenser mics, check out my article Large-Diaphragm Vs. Small-Diaphragm Condenser Microphones.

Ribbon Microphones

Like dynamic mics, ribbon microphone transducers utilize electromagnetic induction. This time, the conductive element is a thin ribbon diaphragm that moves within a magnetic field according to the sound waves around it.

Because the output signal from a ribbon transducer is rather low, many ribbon mics have transformers at the output. Some other ribbon mics, known as active ribbon mics, even use tubes or solid-state preamps to help boost the signal to more appropriate levels.

An output transformer also helps protect the inherently fragile ribbon element from damage due to electrical surges (from abrupt cutting/engaging of phantom power, for example).

For a complete article on ribbon microphones, check out My New Microphone's Complete Guide To Ribbon Microphones (With Mic Examples).

Ribbon microphones are generally highly sensitive to nuances in sound and tend to have a gentle roll-off of high-end frequencies. This combination makes their sound detailed yet warm.

Ribbon mics are notoriously fragile and can be damaged by excessive air movement. That being said, they can handle high SPL and sound fantastic on vocals, horns, drums and guitar cabinets (so long as there is sufficient distance to eliminate any excess air movement at the ribbon diaphragm).

• Click this link to check out ribbon microphones at Sweetwater
• Click this link to check out ribbon microphones at B&H Photo/Video
• Click this link to check out ribbon microphones on Amazon

Back to the Table Of Contents.

Tube Vs. Solid-State Microphones

Let's expand further on the previous conversation about tube and solid-state microphones.

Microphones that require internal preamplifiers and/or impedance converters will typically use either a vacuum tube (often a triode) or a transistor (often a FET or JFET). The mics that utilize tubes are considered “tube microphones,” while those that utilize FETs are considered “FET microphones” or “solid-state microphones”.

Tube microphones are generally more expensive. Tubes are often more expensive than their solid-state counterparts. Additionally, tubes typically require dedicated power supplies with special cables rather than relying on phantom power, which adds to the price.

Tubes are very popular in audio equipment for their “warmth”; that is, their natural tube saturation and gentle high-end roll-off. Speaking of warmth, tubes also run much hotter than solid-state components.

Tube tend to have higher self-noise and are typically more fragile (physically, temperature-wise and humidity-wise). However, their sound makes them superb choices for studio and other safe recording environments.

Solid-state microphones, conversely, are often less bulky and sound cleaner than tube mics. This cleanliness is sometimes unwanted, though technically, the audio captured is more accurate in many cases.

Solid-state mics are generally more robust when it comes to physical handling, temperature and humidity.

So, choosing a tube mic may give the audio more character, while choosing a solid-state mic will typically yield more clinical results.

Back to the Table Of Contents.

Shotgun Microphones

Shotgun microphones, as we've discussed, are often designed with small-diaphragm condenser capsules. They have long interference tubes that effectively filter sound coming at off-angles. The result of such a design is a very directional polar pattern that pinpoints sound directly where the microphone is pointing.

To learn more about shotgun microphones, check out the following My New Microphone article:
• The Lobar/Shotgun Microphone Polar Pattern (With Mic Examples)

Shotgun microphones are used a lot in video applications. They are often attached directly to the camera (to pick up sound in the direction the camera is pointing) or at the end of boom poles (which are then positioned just out-of-frame and pointed at the subject).

Shotgun mics can also be used in tight recording and live environments in an attempt to isolate a particular performer. Finally, shotguns see use in broadcasting, where they can be positioned strategically to pick up sound at key locations (especially in sports).

• Click this link to check out shotgun microphones at Sweetwater
• Click this link to check out shotgun microphones at B&H Photo/Video
• Click this link to check out shotgun microphones on Amazon

Back to the Table Of Contents.

Lavalier Microphones

Lavalier microphones, also known as lapel microphones, are the miniature mics we see (or don't see) that attach to a performer. They often connect to a wireless transmitter and are designed with miniature electret condenser capsules.

To learn more about lavalier microphones, check out the following My New Microphone article:
• How And Where To Attach A Lavalier/Lapel Microphone

Lav mics are used extensively for video content and also for live sound reinforcement in theatre.

Speaking of lav microphones, headset mics are very similar, though they connect to a head-worn apparatus.

• Click this link to check out lavalier microphones at Sweetwater
• Click this link to check out lavalier microphones at B&H Photo/Video
• Click this link to check out lavalier microphones on Amazon

Back to the Table Of Contents.

Boundary Microphones

Boundary microphones, as the name suggests, are placed at boundaries (floors, walls, desktops, ceilings) and are designed to pick up sound in the environment without any reflection from beneath them. Boundary mics are typically built with condenser capsules.

For more information on boundary microphones, check out my article, The Hemispherical Boundary Microphone/PZM Polar Pattern.

Boundary mics are often used as room mics in the studio, conference microphones at roundtables, and environmental mics in broadcasting (against hockey boards, on basketball floors, etc.).

• Click this link to check out boundary microphones at Sweetwater
• Click this link to check out boundary microphones at B&H Photo/Video
• Click this link to check out boundary microphones on Amazon

Back to the Table Of Contents.

Wired Or Wireless Microphone?

When buying a microphone, it's important to ask whether wireless connectivity is a must or not. It's also good to know the basics of wireless microphone connectivity to make a more informed decision regarding your purchase.

Wireless microphone systems can be pricey and are susceptible to dropouts, power issues (most transmitters run on batteries) and interference. On the other hand, the freedom that comes with wireless connectivity can be a major benefit or even a necessity in certain situations that we'll discuss shortly.

First, let's discuss wireless microphones in a bit more detail.

The Transmitter & Receiver

To send audio signals wirelessly from a microphone, a system must have two components: a transmitter and a receiver. The microphone connects (wired) to the transmitter, and the receiver connects (wired) to the mic input. The transmitter encodes the audio signal and sends it wirelessly to the receiver, which decodes the audio signal and sends it to the input.

Some wireless microphone systems will have a single channel, meaning that one microphone plugins into one transmitter that sends audio to one receiver.

Multi-channel systems have multiple transmitters that send audio wirelessly to a single receiver with multiple channels and outputs. These systems are often more economical if you require multiple wireless mics.

The transmitters are set to transmit wireless audio at specified carrier signal frequencies. The receiver channels are set at the same frequencies in order to properly receive the wireless signals.

Wireless Microphone System Diversity

There are three main designs when it comes to how the receiver receives the wireless signal from the transmitter: non-diversity, diversity and true diversity.

Non-diversity system receivers have one antenna to receive the signal from the transmitter.

Diversity system receivers have two antennas spaced a short distance apart. Both are connected to a single receiver. The wireless connection only happens between one transmitter antenna (at the mic end) and one receiver antenna (at the receiver end).

If the signal strength drops below an acceptable level on one antenna connection, the receiver will switch to the other antenna. This switch is done blindly, and it often improves a bad signal connection, but sometimes it makes a bad connection worse.

True Diversity system receivers utilize two separate antennas, with each connected to a separate receiver module. The receiver circuitry reads both antenna signals and selects the better of the two. At least one of the antennae should be receiving a clean signal, creating a clean signal transfer with reduced chances of dropouts.

When possible, go with a true diversity system.

Analog Vs. Digital Wireless Microphone Systems

Like many things audio, wireless microphone systems are either analog or digital. While the wireless carrier signal itself is always analog, the audio (modulator signal) that is carried can be either digital or analog.

Analog wireless microphone systems are generally more susceptible to noise and interference but work on relatively small portions of the frequency spectrum.

Digital wireless microphone systems mitigate noise and interference but introduce latency in the system and work on relatively large portions of the frequency spectrum.

At the high end of wireless systems, both types are designed to perform incredibly well. However, it's important to understand the pros and cons of these systems.

Legal Wireless Transmission Spectrums

As technology evolves, more and more of the wireless frequency spectrum is taken up by certain devices.

Wireless microphone systems are designed to operate within a specific spectrum of frequencies, whereby a single carrier frequency is chosen to allow for communication between the transmitter and receiver.

Depending on location and restrictions, the wireless microphone system may be unable to function. If the frequency options in the wireless system are not part of the allotted wireless microphone frequency spectrum, then the wireless mics won't work.

Though many new systems comply with regulations, the narrowing of the wireless microphone frequency spectrum has made some older systems obsolete.

To make things worse, the restrictions on the wireless microphone frequency spectrum aren't necessarily the same from country to country.

It's also worth noting that some countries require licenses for wireless microphone operation in certain frequency ranges. Be sure to do your due diligence before buying a wireless system, especially if the manufacturer is from a different country.

Be sure to select the option (if there are multiple options) that operates within the legal boundaries of your own country and those of the countries you plan on operating the wireless microphones.

Other Important Wireless Microphone System Specifications

Along with the microphone's specifications (frequency response, polar pattern, form factor), there are several specs to consider when choosing a wireless mic system. These specifications include:

• Operational range: how far can the receiver and transmitter be spaced apart before connectivity suffers? Does proper operation depend on line-of-sight?
• Frequency selection: do the transmitters and receivers of the system automatically sync, or is manual frequency selection required?
• Transmitter form factor: what are the dimensions of the transmitter, and how does it connect to the microphone?
• Receiver form factor: what are the dimensions of the receiver? Desktop and rackmount form factors are common.
• Battery type and life: what type of batteries does the transmitter require, and what is the expected battery life?

Wireless Microphone System Applications

Let's consider a few common wireless microphone system applications:

• Handheld Microphones With Built-In Transmitters
• Lavalier Microphones With Bodypack Transmitters
• Headset Microphones With Bodypack Transmitters
• Clip-On Instrument Microphones With Bodypack Transmitters

Handheld Microphones With Built-In Transmitters

These microphones are great for vocalists and public speakers.

The transmitter typically connects directly to the microphone capsule, forming the body of the mic. The microphone and transmitter, therefore, form one piece without any cable between them. They're ergonomic and aesthetically pleasing.

• Click this link to check out wireless handheld microphone systems at Sweetwater
• Click this link to check out wireless handheld microphone systems at B&H Photo/Video
• Click this link to check out wireless handheld microphone systems on Amazon

Lavalier Microphones With Bodypack Transmitters

These microphones are great for actors (video and theatre), other people on video, and public speakers.

Lavalier mics, as previously discussed, are miniature mics that can be clipped to clothing or hidden entirely on a person. These mics are nearly always wireless, allowing those who wear them the freedom to move around.

Lav mics typically connect to bodypack transmitters, which are also easily hidden on an individual via a short cable.

• Click this link to check out wireless lavalier microphone systems at Sweetwater
• Click this link to check out wireless lavalier microphone systems at B&H Photo/Video
• Click this link to check out wireless lavalier microphone systems on Amazon

Headset Microphones With Bodypack Transmitters

These microphones are great for singers with choreography, presenters who make many hand gestures, or anyone else who needs to move around with a hands-free microphone.

Sure, these mics aren't easily hidden, but the fact that the mic is out in the open also reduces the noise associated with the movement of clothing and other materials.

• Click this link to check out wireless headset microphone systems at Sweetwater
• Click this link to check out wireless headset microphone systems at B&H Photo/Video
• Click this link to check out wireless headset microphone systems on Amazon

Clip-On Instrument Microphones With Bodypack Transmitters

Miking instruments such as woodwinds, brass and acoustic strings with wireless microphones offer musicians a certain level of freedom to move around. Musicians can move themselves or their instruments without affecting the mic positioning if the wireless mic is clipped on.

These mics clip onto the instruments and connect to a bodypack transmitter on the musician.

• Click this link to check out wireless clip-on instrument microphone systems at Sweetwater
• Click this link to check out wireless clip-on instrument microphone systems at B&H Photo/Video
• Click this link to check out wireless clip-on instrument microphone systems on Amazon

For more information on wireless microphones, check out my article How Do Wireless Microphones Work?

Back to the Table Of Contents.

USB, XLR & Other Microphone Connectors

Now that we've discussed wireless microphones, let's discuss physical/wired connectors found in microphone design.

It's important to note the connection type to ensure compatibility between the microphone and the rest of your system. Fortunately, the connection types are limited, and the largest variety of connectors have to do with wireless transmitters and lav mics.

The majority of microphones have 3-pin XLR outputs and connect to 3-pin XLR cables. This system carries balanced audio, which allows for minimal noise and interference over long cable runs. It also allows the transmission of phantom power for those microphones that need it.

Some microphones utilize XLR connections with other pin counts. Stereo microphones, for example, often have 5-pin outputs but typically come with a Y-splitter cable that branches out into two 3-pin connections. Older tube microphones with dedicated power supplies may have 6, 7 or 8-pin connectors for audio signal, power, shield and other necessities.

USB microphones are also popular for non-professional applications. These mics have built-in analog-to-digital converters (audio interface) and connect directly to computers. Many USB mics even have built-in headphone amps for latency-free monitoring.

When considering purchasing a USB microphone, be sure to check the specifications of the DAC and headphone amp. Ensure the system requirements, bit-depth, and sample rate are compatible with your system. If applicable, consider the headphone amp's output, frequency response and total harmonic distortion.

• Click this link to check out USB microphones at Sweetwater
• Click this link to check out USB microphones at B&H Photo/Video
• Click this link to check out USB microphones on Amazon

Mini-XLR-type connectors such as TA3, TA4 and TA5 are commonplace among lav microphones. The pins in these connections may vary from manufacturer to manufacturer, so be sure to choose compatible mics and transmitters.

2501, Nexus, and Tuchel are outdated, but it's worth knowing they exist.

Finally, TS, TRS, and TRRS connectors (of varying sizes) are used in some consumer-grade microphones, such as karaoke and earphone mics.

For further reading on microphone connections, check out my article, What Do Microphones Plug Into? (Full List Of Mic Connections).

Microphone Polar Patterns

One of the most critical specifications of a microphone is its polar pattern. The polar pattern of a microphone refers to its directivity, in which direction(s) is the mic most sensitive to sound and in which direction(s) is it least sensitive to sound.

The typical microphone polar patterns are listed below:

• Cardioid
• Bidirectional (Figure-8)
• Omnidirectional
• Hypercardioid, Supercardioid & Subcardioid
• Multi-Pattern
• Boundary Microphone Polar Patterns
• Shotgun Microphone Polar Patterns

Before we get into each of the aforementioned polar patterns, let's discuss the point of origin for microphone directivity. Microphones are generally either top/end-address or side-address.

Top/end-address microphones have the centre-axis of their polar patterns pointing out the “top” or “end” of the microphone. This is typical of small-diaphragm condenser mics and handheld mics.

The Shure SM58 is an example of a top-address microphone:

Side-address microphones have the centre-axis of their polar patterns pointing out of the “side” of the microphone. This is typical of large-diaphragm condenser mics and ribbon mics.

The Neumann U 87 is an example of a side-address microphone:

Cardioid

The ideal cardioid microphone polar pattern is a directional pattern that is most sensitive in the mic’s on-axis direction with a null point in the exact opposite direction and a gradual attenuation in between that reaches -6 dB at 90° and 270°. The cardioid pattern is the most common polar pattern.

Cardioid microphones are unidirectional and are superb choices in most applications. The frontward directivity is wide enough that mic placement doesn't need to be perfect, and there can be movement of the sound source (a huge benefit when it comes to expressive vocalists).

The rear null point makes cardioid mics great for on-stage and other sound reinforcement situations where feedback may be an issue. Pointing a cardioid mic away from a monitor, for example, allows a performer to hear themselves without the mic picking up the monitor sound.

Cardioid mics are great for miking instruments that are close together while achieving some amount of isolation (individual drums of a kit, for example). Conversely, they also excel and capturing a group of instruments from a distance.

Cardioid mics naturally possess the proximity effect, which effectively increases the bass response as the sound source gets closer to the mic. This can be particularly useful in voiceover recording.

• Click this link to check out cardioid microphones at Sweetwater
• Click this link to check out cardioid microphones at B&H Photo/Video

To learn more about the cardioid polar pattern, check out my article What Is A Cardioid Microphone? (Polar Pattern + Mic Examples).

Bidirectional (Figure-8)

The bidirectional (figure-8) microphone polar pattern is equally sensitive to sounds from the front and the back, with a ring of silence at its sides. Bidirectional mics are the truest form of pressure-gradient mics and exhibit the most proximity effect. Nearly all ribbon mics are bidirectional.

Bidirectional microphones are useful when recording two individuals sitting across from each other with a single mic. They're also great for capturing the sound of a room as they pick up the source(s) in the front and the reflections in the rear.

This microphone polar pattern exhibits maximal proximity effect.

Note that ribbon microphones are naturally bidirectional, though, through acoustic design, they can be made to be other polar patterns as well.

• Click this link to check out bidirectional microphones at Sweetwater
• Click this link to check out bidirectional microphones at B&H Photo/Video

To learn more about the bidirectional polar pattern, check out my article What Is A Bidirectional/Figure-8 Microphone? (With Mic Examples).

Omnidirectional

A microphone with an omnidirectional polar pattern, in theory, is equally sensitive to sound in all directions. It is the polar pattern of the pressure principle, whereby only one side of the microphone diaphragm is exposed to sound waves.

In general, omnidirectional mics yield the most natural sound of all microphone polar patterns. They're often chosen as room mics and on single sources in iso-booths because of this natural sound.

Omnidirectional microphones do not exhibit the proximity effect because of the pressure principle (where only one side of the diaphragm is exposed to sound). This is part of what makes them sound more natural, especially in close-miking applications. This factor (or lack thereof) also plays a role in omni mics sounding more natural in windy output environments while also helping to reduce handling noise.

Many lavalier microphones are omnidirectional. This all-direction pickup pattern is ideal for these on-person mics when it comes to capturing a consistent and natural sound. Similarly, many conference mics utilize omnidirectional capsules to capture sound equally around the room.

Omni microphones are less than ideal in sound reinforcement applications since they pick up sound from all directions, making them more prone to feedback. They are also avoided in noisy locations where close-miking and source isolation are necessary.

• Click this link to check out omnidirectional microphones at Sweetwater
• Click this link to check out omnidirectional microphones at B&H Photo/Video

To learn more about the omnidirectional polar pattern, check out my article What Is An Omnidirectional Microphone? (Polar Pattern + Mic Examples).

Hypercardioid, Supercardioid & Subcardioid

The hypercardioid polar pattern is a highly directional mic polar pattern. Ideal hypercardioids are a 3:1 ratio of bidirectional to omnidirectional patterns. They are more directional than cardioids and supercardioids, with a larger rear lobe of sensitivity and null points at 110° and 250°.

Hypercardioid microphones, like supercardioid mics, are often chosen for close-miking sources in noisier environments.

This polar pattern also works well when dual foldback monitors are set up, facing the null points of the pattern. However, the rear lobe of sensitivity makes hypercardioid mics more prone to feedback when positioned directly in front of monitors.

• Click this link to check out hypercardioid microphones at Sweetwater
• Click this link to check out hypercardioid microphones at B&H Photo/Video

To learn more about the hypercardioid polar pattern, check out my article What Is A Hypercardioid Microphone? (Polar Pattern + Mic Examples).

The supercardioid polar pattern is a highly directional microphone polar pattern. Ideal supercardioids are a 5:3 ratio of bidirectional to omnidirectional patterns. They are more directional than cardioids but have a rear lobe of sensitivity with null points at 127° and 233° (cone of silence).

Supercardioid microphones, like hypercardioid mics, are often chosen for close-miking sources in noisier environments.

This polar pattern also works well when dual foldback monitors are set up, facing the null points of the pattern. However, the rear lobe of sensitivity makes supercardioid mics more prone to feedback when positioned directly in front of monitors.

• Click this link to check out supercardioid microphones at Sweetwater
• Click this link to check out supercardioid microphones at B&H Photo/Video

To learn more about the supercardioid polar pattern, check out my article What Is A Supercardioid Microphone? (Polar Pattern + Mic Examples).

The subcardioid/wide cardioid polar pattern is a broad, unidirectional pattern. Subcardioids have no null points and a 3-10 dB drop in sensitivity to the rear. They can be thought of as a superposition of omnidirectional and cardioid patterns.

Subcardioid microphones are best used in situations that require slightly more directionality than an omnidirectional mic. They're great as room mics, in iso-booths, and sound very natural (in general).

Like omnidirectional mics, subcardioid mics aren't the optimal choices in live sound reinforcement situations or in noisy environments that demand close-miking and isolation.

• Click this link to check out subcardioid microphones at Sweetwater
• Click this link to check out subcardioid microphones at B&H Photo/Video

To learn more about the subcardioid polar pattern, check out my article What Is A Subcardioid/Wide Cardioid Microphone? (With Mic Examples).

Multi-Pattern

There is a good variety of multi-pattern microphones on the market. These mics, as their name would suggest, allow users to select from several polar pattern options. These mics are typically large-diaphragm side-address condenser microphones with two diaphragms positioned back-to-back.

By altering the phase and amplitude of the capsules in relation to each other, various polar patterns can be selected.

Some multi-pattern microphones have switches that toggle between set polar patterns, while others may be continuously variable.

Other multi-pattern mics may achieve this feat via acoustic/physical means.

• Click this link to check out multi-pattern microphones at Sweetwater
• Click this link to check out multi-pattern microphones at B&H Photo/Video

Boundary Microphone Polar Patterns

The boundary/PZM microphone polar pattern is a sort of hemispherical pattern. It requires a flat surface (boundary) to eliminate rear reflections and work properly. This specialized pattern can have a capsule with any standard polar pattern.

Boundary microphones are niche in their applications. They're chosen to record the environment from a surface. These mics are often chosen in studio recordings as room mics, in broadcast applications as ambient mics, and on stage as supplementary mics.

Shotgun Microphone Polar Patterns

The lobar/shotgun polar pattern is the extremely directional polar pattern found in shotgun mics. Lobar patterns are often based on hyper or supercardioid patterns and require interference tubes to achieve their directionality. They have side and rear lobes of sensitivity.

With the tightest, most directional polar pattern, shotgun mics are often chosen when isolation is necessary. They're often found camera-mounted to capture the audio on-screen. They're also commonly mounted to boom poles for film/video production, where they are dynamically positioned and pointed at the subject just out-of-frame.

Shotgun mics should be avoided for recording natural ambience. Due to the inherent rear lobe of sensitivity, they're also less-than-ideal for positioning directly in front of foldback monitors.

Back to the Table Of Contents.

Microphone Frequency Response

Another of the most critical specifications of a microphone is its frequency response. The frequency response of a microphone refers to its frequency-specific output sensitivity of a microphone. In other words, it's a measure of how sensitive the microphone is to certain frequencies relative to other frequencies.

The frequency response range of a microphone depicts the range of frequencies it will effectively pick up. These ranges are usually set at some decibel range (±3 dB is common).

However, these ranges can easily be exaggerated to make the microphone seem more capable than it is. The frequency response range also tells us nothing about how the mic reacts to frequencies within its range.

Rather, the more critical frequency response measure is the frequency response graph. These graphs show us frequencies (in Hertz) along the x-axis and relative sensitivity (in decibels) along the y-axis.

If the microphone brand's testing methods are reputable, this graph should give us a great idea of the mic's actual frequency response.

Human hearing is universally defined between 20 Hz – 20,000 Hz. Microphones can have frequency response ranges smaller or larger than this defined range.

Microphone frequency responses are often categorized broadly into two camps:

• Flat Microphone Frequency Response
• Coloured Microphone Frequency Response

Flat Microphone Frequency Response

A flat microphone frequency response means the microphone will be equally sensitive to all audible frequencies of sound (20 Hz – 20,000 Hz) along its primary axis (where the microphone “points”). Flat mics sound very natural since they do not accentuate any particular frequencies over any others.

A truly flat microphone frequency response is the result of superb design and is typically only found in high-end measurement microphones.

Flat frequency responses, more generally, then, are often only “almost” flat. They sound more natural and do not exaggerate any particular frequencies.

Flat microphone frequency responses are most often found in small-diaphragm condensers and less commonly in large-diaphragm condensers.

Here's an example of a flat frequency response graph (featuring the DPA 4006A):

Coloured Microphone Frequency Response

A coloured microphone frequency response means the microphone will be more sensitive to some audible frequencies than it will be to others. Coloured microphones can be thought of as having their own characteristic “EQ” in that sense.

Dynamic microphones and ribbon microphones are often coloured. Condensers may also have coloured frequency responses.

For instance, ribbon microphones tend to have a gentle roll-off of their high-end frequencies. Since they are less sensitive to the brilliance range, they are “coloured”. Similarly, many dynamic microphones have rather sharp roll-offs at some point in the high-end frequencies.

Other microphones may boost and/or cut certain frequency ranges within their overall response. This “EQ” of the microphone may not sound the most natural when compared to flatter mics. However, for some instruments and some acoustic environments, it may help to accentuate the character of the sound.

For example, a microphone with exaggerated bass and scooped mids may be the ideal choice for a kick drum. Conversely, a microphone with less low-end and a boosted presence could work great for a guitar.

Here's an example of a coloured frequency response graph (featuring the Shure SM57):

For more information, check out my article Complete Guide To Microphone Frequency Response (With Mic Examples)

Back to the Table Of Contents.

Other Microphone Specifications Worth Noting

Though the polar pattern and frequency response specifications are among the most important aspects of a microphone, it's worth noting a few more specifications when making a purchase decision. These other specifications include:

• Sensitivity
• Impedance
• Maximum Sound Pressure Level

Note that, for the most part, microphones will be designed with appropriate specs in these three areas for compatibility with most equipment and sufficient performance in the majority of applications.

Sensitivity

Microphone sensitivity measures a microphone’s efficiency as a transducer (how well it converts acoustic energy to electrical energy). A microphone’s sensitivity rating is determined by its output voltage (audio signal strength) relative to the sound pressure level it is subjected to.

Microphones with higher sensitivity ratings (often those with built-in FET or tube preamps) will output higher signal levels given the same sound level. Therefore, higher sensitivity mics are less reliant on microphone preamp gain at the preamp stage.

To learn more about microphone sensitivity, check out my article What Is Microphone Sensitivity? An In-Depth Description.

Impedance

Microphone signals are AC voltages. Impedance is the “AC resistance” of audio signal voltages. Impedance controls the flow of the audio signal. For a mic signal to travel optimally, the microphone output impedance must “match” or “bridge” the input impedance (load impedance) of its mic preamp.

Generally speaking, a microphone with a nominal output impedance below 600 ohms will work with most preamplifiers without issue. High-impedance microphones, like most cheap karaoke mics, for example, will generally be designed with their own gain staging and aren't meant to be compatible with typical microphone preamplifiers.

To learn more about microphone impedance, check out my article Microphone Impedance: What Is It And Why Is It Important?

Maximum Sound Pressure Level

The maximum sound pressure level of a microphone is not the pressure level that will destroy the microphone. Rather, max SPL is the sound pressure threshold at which a microphone’s output signal begins to distort.

Microphones with high max SPL ratings are better suited for loud environments (like in front of a kick drum or trumpet). However, be sure the mic's diaphragm can withstand the bursts of air that often, but not always, accompany high sound pressure levels. This is especially important with ribbon microphones.

That being said, most microphones will have max SPL ratings higher than almost any application they'll be subjected to (unless you plan on recording a jet engine at one metre or something similarly loud).

To learn more about maximum sound pressure level specifications in microphones, check out my article What Does A Microphone’s Maximum Sound Pressure Level Actually Mean?

Back to the Table Of Contents.

Microphone Features

Let's now consider a few common features that may or may not be part of a microphone design:

• Pad
• High-pass Filter
• Other EQ Switch
• Polar Pattern Switch

Pad

A “PAD” stands for Passive Attenuation Device. The circuitry in active mics may overload if the incoming signal from the capsule is too strong, causing audio signal distortion. Pads reduce signal levels before the active amplification process to avoid overloading the microphone circuitry.

Choosing a microphone with a pad option (or multiple pad options) can help us achieve the desired input level at the microphone preamp and avoid clipping in high SPL situations.

For more information on attenuation pads, check out my article What Is A Microphone Attenuation Pad And What Does It Do?

High-pass Filter

A high-pass filter effectively cuts out the frequency response of a mic below a certain set point, allowing only the frequencies above this point to “pass” through as the audio signal. High-pass filters remove unwanted and excess low-end energy that otherwise degrades the audio signal.

The advantage of a microphone with a built-in high-pass filter switch is that we can remove low-end information at the source. This can ultimately lead to a cleaner microphone signal with more appropriate signal levels as opposed to high-passing the signal with EQ processing later.

High-pass filters can be engaged on those microphones that offer them to reduce proximity effect, low-end environmental rumble, handling noise, and electromagnetic interference.

It can also improve the isolation of the source against low-end frequencies of other sources (so long as the source itself doesn't produce critical information in the low end).

For more information on high-pass filters, check out the following articles:
• What Is A Microphone High-Pass Filter And Why Use One?
• Audio EQ: What Is A High-Pass Filter & How Do HPFs Work?

Other EQ Switch

Though not as common as high-pass filters, some microphones offer other “EQ” switches, such as presence boosts. Again, these switches effectively alter the microphone's frequency response and act to “equalize” the mic signal at the source.

Polar Pattern Switch

As discussed in the section on multi-pattern microphones, some microphones have switched or dials that allow users to alter the polar pattern discretely or continuously, respectively.

Back to the Table Of Contents.

Common Microphone Applications

To add even more value to you, let's consider some common microphone applications and what type of microphones best suit them. In this section, we'll be discussing the following common mic applications:

• Vocals: Singing
• Vocals: Speaking
• Drums
• Guitar Amps
• Bass Guitar Amps
• Strings
• Brass Instruments
• Woodwind Instruments
• Piano

Vocals: Singing

The quality of singers' voices ranges wildly from singer to singer. This is partly why so many microphones are considered to be good vocal mics.

When it comes to live vocal performances, dynamic cardioid microphones are often the choice of performers and engineers. They're robust and resistant to feedback thanks to the often-coloured frequency response and cardioid polar pattern.

Wireless microphones are also common for live singers.

In the studio, singers are often positioned in front of large-diaphragm condenser microphones. Both solid-state and tube microphones are commonplace studio vocal microphones.

Scream-style vocals often sound best through dynamic microphones on stage and in the studio. Rap vocals sound great through dynamic mics live and LDCs in the studio.

In cramped rooms and stages, shotgun, hypercardioid and supercardioid condensers are sometimes used, though care must be taken to mitigate feedback.

Vocals: Speaking

When setting up a public address (PA) system for public speaking, the microphone of choice is often a dynamic handheld wired or wireless mic. Podium microphones are also common, which are typically miniature condenser microphones. To avoid feedback, these mics will generally have a cardioid polar pattern.

Wired and wireless handheld microphones are common in broadcasting. These mics often have either dynamic or condenser capsules with an omnidirectional polar pattern, especially in interview situations.

In the studio, whether it's recording a podcast, audiobook, or voiceover, large-diaphragm condensers are typically the go-to choice for engineers.

When recording ADR (automated dialogue replacement) in the studio, it's often ideal to use the same microphones that were used on the actor during the filming. This most often means a shotgun microphone and a lavalier microphone.

When it comes to acting, lavalier microphones are the choice for sound recording and reinforcement. Lav mics are also used extensively in video/film/television production to capture the sound of the actors, interviewers, etc.

When speaking over the internet via video and/or audio conferencing applications, a good USB microphone will do wonders in improving sound quality on your end. That being said, other microphones, when combined with an audio interface, will likely yield even better results.

Drums

Drums are rather diverse instruments. Drum kits will have multiple different drums to capture the sound of.

When capturing the full drum kit with a room mic or multiple room mics, large-diaphragm condensers and ribbon microphones are popular choices.

PZM/boundary mics are fairly common for capturing the sound of the full kits and the room.

Kick drums are most often close-miked with one or more dynamic microphones. It's important to choose a microphone that can effectively capture the low-end thud of the kick while also picking up the high-end thack of the beater. Ensure the mic can handle the amount of air movement in and around the kick without getting overloaded.

Snare drums are typically miked with one or more unidirectional (cardioid, hypercardioid, supercardioid) dynamic microphones. The same is true of toms.

Drum overheads are often small-diaphragm or large-diaphragm condenser microphones.

The hi-hat, when miked, is often done with an SDC.

Guitar Amps

Guitar amps are often close-miked live with dynamic or ribbon microphones. In the studio, a variety of mics can be used to capture the sound of a guitar amp at varying distances from the cabinet.

Bass Guitar Amps

Guitar amps are often close-miked live with dynamic microphones if they're miked up at all. Dynamic mics are often used close up in the studio, while ribbon mics can be used at a distance.

Strings

Acoustic strings often sound best when miked with condenser or ribbon mics. Small-diaphragm condensers are common when close-miking, while large-diaphragm and ribbon microphones are popular when miking at a distance or miking an ensemble of string players.

Miniature condenser microphones are common when clip-on mic options are used on stringed instruments. Note that acoustic stringed instrument pickups are most often piezoelectric.

Brass Instruments

Brass instruments, when close-miked, are generally done so with cardioid dynamic or condenser mics. Clip-on mics are typically either dynamic or condenser.

When recording in the studio at a distance, ribbon microphones can sound incredible on brass instruments.

Woodwind Instruments

Like brass instruments, woodwind instruments are often close-miked with cardioid dynamic or condenser mics. Clip-on mics are typically either dynamic or condenser.

Also, when recording in the studio at a distance, ribbon microphones can sound incredible on woodwind instruments.

Piano

Pianos of all types and sizes are often miked with large-diaphragm condenser microphones. This is true of close-miking and distance-miking. Cardioid mics are often used when other instruments accompany the piano.

If the space is acoustically pleasing (which is often the case with pianos), then perhaps an omnidirectional LDC microphone would be a better choice.

Small-diaphragm condenser microphones are also fantastic choices for miking pianos.

Back to the Table Of Contents.

Know The Additional Costs Of Microphone Accessories

• Interchangeable Microphone Capsules
• Microphone Clips
• Microphone Shock Mounts
• Boom Poles
• Windscreens
• Pop Filters
• Microphone Stands
• Microphone Cases
• Microphone Cables
• Microphone Preamplifiers

Interchangeable Microphone Capsules

Some microphones are modular. That means that the microphone capsule and circuit (preamp, processing and output) are interchangeable.

When buying a modular microphone, it's often the case that a single preamp will have multiple interchangeable capsules (typically with different polar pattern options).

Though many of these modular mics can be purchased with all the capsules, it could be the case that additional capsules will cost extra after the initial purchase.

• Click this link to check out interchangeable microphone capsules at Sweetwater
• Click this link to check out interchangeable microphone capsules at B&H Photo/Video

Microphone Clips

A microphone clip is a physical device that holds the microphone in place and connects to a mic stand. These typically do not provide any mechanical isolation but work to hold the mic in its designated position.

• Click this link to check out microphone clips at Sweetwater
• Click this link to check out microphone clips at B&H Photo/Video
• Click this link to check out microphone clips on Amazon

Related My New Microphone article: What Is A Microphone Clip? (Physical And Electrical)

Microphone Shock Mounts

A microphone shock mount effectively holds a microphone in place while isolating it from the stand or boom it is attached to. This isolation provides protection from shock (mechanically transferred noise) and safely mounts the microphone to its stand or boom arm.

• Click this link to check out microphone shock mounts at Sweetwater
• Click this link to check out microphone shock mounts at B&H Photo/Video
• Click this link to check out microphone shock mounts on Amazon

Boom Poles

A microphone boom pole is a long pole that effectively holds a microphone steady at one end and allows the boom operator to dynamically position the microphone from a distance.

Boom poles are essential in video/film as the subjects on screen move around. The boom operator and microphone can move along with the action while staying out-of-frame, thanks to the proper use of a boom pole.

• Click this link to check out microphone boom poles at Sweetwater
• Click this link to check out microphone boom poles at B&H Photo/Video
• Click this link to check out microphone boom poles on Amazon

Related My New Microphone article:
• Top 11 Best Microphone Boom Pole Brands On The Market

Windscreens

Windscreens come in a variety of form factors from simple spongy foams that slip directly over a microphone grille/cap to blimp-style windscreens with built-in shock mounts that encompass the entire microphone.

Windscreens are designed with soft perforated material that reduces wind noise by absorbing plosive and wind energy while maintaining acoustic permeability to allow sound waves to pass through with minimal effect on frequency response.

• Click this link to check out microphone windscreens at Sweetwater
• Click this link to check out microphone windscreens at B&H Photo/Video
• Click this link to check out microphone windscreens on Amazon

Related My New Microphone articles:
• Why Do Microphones Have Screens? (Pop Filter, Grille, Windscreen)
• What Are Dead Cats And Why Are Outdoor Microphones Furry?

Pop Filters

A microphone pop filter is a device used to protect mic capsules from plosive energy. A pop filter helps to eliminate the popping sound associated with gusts of air from the human voice and other sources. Pop filters work by dissipating transient sound energy between a sound source and a mic capsule.

• Click this link to check out microphone pop filters at Sweetwater
• Click this link to check out microphone pop filters at B&H Photo/Video
• Click this link to check out microphone pop filters on Amazon

Related My New Microphone article:
• What Is A Microphone Pop Filter And When Should You Use One?

Microphone Stands

In conjunction with mic clips or shock mounts, microphone stands are used to hold microphones in place for proper microphone positioning.

Mic stand types include desktop stands, low profile stands, tripod stands, round base stands, tripod boom stands, and overhead stands.

• Click this link to check out microphone stands at Sweetwater
• Click this link to check out microphone stands at B&H Photo/Video
• Click this link to check out microphone stands on Amazon

Related My New Microphone articles:
• How To Attach A Microphone To A Microphone Stand
• Top 8 Best Microphone Stand Brands

Microphone Cases

A microphone case is a soft or hard case that fits and protects a microphone when the mic is not in use.

• Click this link to check out microphone cases at Sweetwater
• Click this link to check out microphone cases at B&H Photo/Video
• Click this link to check out microphone cases on Amazon

Microphone Cables

Microphone cables (often XLR cables) connect the microphone to its preamplifier and carry the mic signals to the preamp.

• Click this link to check out microphone cables at Sweetwater
• Click this link to check out microphone cables at B&H Photo/Video
• Click this link to check out microphone cables on Amazon

Related My New Microphone articles:
• Why Do Microphones Use XLR Cables?
• Top 11 Best XLR Cable Brands In The World

Microphone Preamplifiers

A microphone preamplifier is a type of amplifier with the purpose of bringing mic level signals up to line level for use with professional equipment. Microphones output mic level signals and need preamps if they are to be used with mixing consoles, recording devices or digital audio workstations.

• Click this link to check out microphone preamplifiers at Sweetwater
• Click this link to check out microphone preamplifiers at B&H Photo/Video
• Click this link to check out microphone preamplifiers on Amazon

Related My New Microphone articles:
• The Ultimate Microphone Preamplifier Buyer’s Guide
• What Is A Microphone Preamplifier & Why Does A Mic Need One?
• Complete Guide To Microphone Preamplifier Specifications
• Top 13 Best Microphone Preamplifier Brands In The World

Back to the Table Of Contents.

The post The Ultimate Microphone Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

If you are an avid fan of live music performances, you may have noticed how some singers' mouths will regularly touch their respective vocal microphones. Some artists have picked up the habit by observing their peers, while others do so for specific performance-enhancing purposes.

Why do singers put their mouths on the microphone? The primary reason singers put their mouths directly on microphones is for an improved signal-to-noise ratio. By keeping the mic at the mouth, the microphone will effectively pick up more of the voice and less of the background instruments/noise, thereby improving vocal intelligibility.

This article will go over 5 reasons why singers benefit from holding their microphones up to their mouths. We'll also consider the situations where this proximity may not be the best method of capturing vocals.

Related My New Microphone articles:
• Top 11 Best Online Resources To Learn How To Sing
• Why Do Singers Use Microphones? (On Stage And For Recording)

Improved Signal-To-Noise Ratio

As discussed in the opening paragraphs, the primary reason a singer will hold the microphone to their mouth is to improve the signal-to-noise ratio.

The signal-to-noise ratio (or simply SNR) is the ratio of the power of the intended signal level to the power of the noise level. Here, “signal level” refers to the intended sound source (the singer's voice), while the “noise level” refers to everything else.

Noise level refers to a part of an electric signal that includes any miscellaneous sounds, such as other instruments and crowd noise. To get some separation between your voice and other sounds, you need to raise the amount of “good” signal in the mic's output versus the “bad” signal.

For the singer, this often means putting the mic as close to the lips as possible without overloading the mic and causing distortion.

The average rock concert generates 120-129 decibels of noise. Crowd noise, coupled with the music, makes it very difficult for the singer to hear his voice. A singer can increase their volume to match the crowd's noise by putting their mouth on the microphone.

Note that microphones also inherently have a signal-to-noise ratio specification (before any environmental noise is taken into consideration). To learn more about this mic spec, check out my article What Is A Good Signal-To-Noise Ratio For A Microphone?

Reducing The Chance Of Microphone Feedback

By improving the signal-to-noise ratio, the overall level gain of the microphone signal chain can be lowered. Having the microphone closer to the mouth will cause the microphone to output a stronger signal, which may overload the mic and cause distortion, so it's a good idea to bring the level down anyway.

By reducing the gain and the overall capture of background noise, the microphone will be much less likely to cause a feedback loop with the loudspeakers/public address system.

A feedback loop happens when the microphone picks up the sound of the loudspeakers, which is then amplified back into the loudspeakers in a positive feedback loop. The result is the screeching/squealing noise we're likely all familiar with.

Holding the microphone to the mouth and keeping it away from the loudspeakers will help tremendously in the fight against feedback.

To learn more about microphone feedback and how to eliminate it, check out my article 12 Methods To Prevent & Eliminate Microphone/Audio Feedback.

Uniform Sound

Live performers are paid to entertain. For some singers, this means pacing around the stage, interacting with the audience and being as animated as possible.

It's not easy to keep a mic steady while you are constantly on the move. Keeping the mic on the mouth/chin helps the singer stabilize the microphone and allows for a more uniform sound throughout the performance.

Many singers (and rappers, in particular) grip the mic just below the grille while allowing the thumb to touch the top of the mic.

The top of the thumb rests on the chin, allowing the mic to remain near the mouth, which helps the singer produce consistent sound for loudspeakers in concerts and live performances.

To learn more about mic positioning for live performance, check out my article How To Hold A Microphone When Singing Live.

The Proximity Effect

Live vocal microphones are nearly always directional, generally having a cardioid polar pattern. The popular cardioid pattern picks up sound in the direction the mic is pointing and rejects sound from the back of the microphone.

Directional microphones exhibit a phenomenon known as the proximity effect.

This effect essentially states that as the distance between a sound source and a directional gets smaller, the bass response of the microphone will become stronger relative to the high-frequency response. This has to do with the fact that lower frequencies have longer wavelengths than higher frequencies.

So by holding the microphone to the mouth, a singer can exploit the proximity effect to give their voice a “bass boost”.

For more information, check out my article In-Depth Guide To Microphone Proximity Effect

Aesthetics

A fifth, less technical reason why singers hold their mics to their mouths is for the aesthetic. Sometimes, it's about looking cool.

Whether the singer is just employing the techniques they have learned from their favourite singers or are well aware of the benefits of holding the mic close, aesthetics may certainly play a role.

Why Singers Pull The Mic Away From Their Mouth

Of course, some situations or portions of a vocal performance are best captured by a microphone at some distance from the mouth.

You may notice some singers back away from the mic as they sing a high/loud note. This ties into utilizing techniques for a more uniform sound in the vocal performance.

If the vocal becomes louder, moving away from the microphone can produce a more consistent response in the playback and/or recording system.

Situations Where Distance Between The Singer And Microphone Is Preferred

Thus far, we've focused our discussion on live performance, where maintaining a consistent and close microphone position greatly benefits singers.

However, in many recording studio situations, it's actually best to keep some distance between the vocalist and the microphone.

Studio environments offer the benefit of isolation/vocal booths, which provide an acoustically dead environment with little to no background noise (except for perhaps some headphone bleed of the reference track).

The studio monitors are typically positioned in another room, meaning there is virtually no risk of feedback, either.

So, in these situations, we can afford to have the vocalist further from the microphone. Having some distance between the singer and the mic has several benefits.

Having physical space between the vocalist and the mic reduces the chances of overloading the microphone with plosives (energy from hard consonants). A pop filter can be positioned between the signer and mic to improve plosive protection further.

The vocal sound waves can develop more naturally before reaching the mic. A microphone positioned at the mouth will tend to sound like having your ear at the singer's mouth. Having some distance produces a more optimal/natural result.

If the vocalist moves slightly, the difference in the bass response due to the proximity effect will be less than if the singer was closer.

Positioning the microphone away from the vocalist on a mic stand means that the singer will not be holding the mic. This offers the benefit of reduced mechanical noise (as the grip changes) and ensures there's no obstruction to the mic grille and capsule (due to potentially incorrect grip positions).

For more information on microphone placement, check out my article Top 23 Tips For Better Microphone Placement.

The post Why Do Singers Put Their Mouths On The Microphone? first appeared on My New Microphone and is written by Arthur Fox.

Chromebooks are slowly gaining popularity these days as a cheaper and lighter alternative to a Windows or Mac computer. Chromebooks are lightweight devices that support Chrome OS, Android, and Linux. They are not as feature-heavy as a normal PC, but they can get the basic jobs done.

How do I connect an external microphone to a Chromebook? A microphone can be connected to a Chromebook via the USB port or the headphone jack. “Plug and play” mics (those that do not require drivers) are preferred since some drivers are incompatible with Chromebooks. Once connected physically, set the mic as the input audio source in the Audio Settings.

Whether you are into media consumption, web browsing, or basic gaming, a Chromebook can be your device. When it comes to audio and content creation, a Chromebook might be a good secondary device.

Its Linux support means you can download programs such as the well-known open-source digital audio workstation Audacity. Aside from Linux, you can also download different audio apps on the Google Play Store.

A Chromebook can be a good device for listening to music, editing songs, and creating podcasts. If recording audio is something you find interesting, a Chromebook may work for you.

Here is a guide on how to use an external microphone on your Chromebook.

Related articles:
• How To Connect A Microphone To A Computer (A Detailed Guide)
• How To Connect A Wireless Microphone To A Computer (+ Bluetooth Mics)
• How To Connect An External Microphone To A Smartphone

How To Connect An External Microphone To A Chromebook

These days, most Chromebooks come with a selection of ports. Usually, they can either have a USB port or a headphone jack. Most of the time, Chromebooks come with both.

Microphones that come with a USB or a 3.5 mm jack can be easily plugged into a Chromebook. There should be no drivers necessary for the microphone to work. The step-by-step process of connecting your external microphone to your Chromebook goes as follows:

1. Turn your device on and log into your Chromebook.
2. Plug your microphone through the appropriate port. Your Chromebook will give you a notification in the bottom right-hand corner.
3. Click on your settings panel.
4. Click the arrow next to your volume. It should take you to the audio settings.
5. You will find your microphone in the input section of the audio settings. You can choose between using your internal microphone or your external microphone. Clicking your external microphone will give you a check sign.

You have now successfully connected your external microphone to your Chromebook.

How To Use Your Microphone In Google Chrome

You can use your external microphones for websites such as Skype, Messenger, and Google Hangout. Whether you are sending voice messages or are going on a conference call, you can use your external microphone with Google Chrome.

Websites ask permission before you can use cameras or microphones by default. You can change this through the website's settings.

• Open Chrome and go to the website.
• Open the lock icon on the navigation bar. It should take you to the site information.
• On the drop-down menu, you will see an option to allow or block microphone usage. Choose to allow if you want to use your microphone. You can also turn this option off later.

How To Use Your Microphone In Different Programs

You can record your voice using different programs on your Chromebook. You can easily download these through the Linux terminal or the Play Store.

Once you have set up your microphone, it will usually default as the audio recording device for Android apps. Just speak through your microphone, and you should be able to record your own voice.

For programs such as Audacity, you might have to adjust some settings. You can set your microphone on the program's main menu.

Underneath the record button, you should see an icon of a microphone and a drop-down menu. Clicking on it will allow you to choose which microphone you want to use.

Related articles:
• How To Record Audio On A Chromebook
• How To Fix Web Browser Audio (Chrome, Safari, Firefox, Etc.)

Which Microphone Is The Best For Chromebook?

Choosing the right microphone is important if you want to get quality results. Some microphones may not work with Chromebooks. But generally speaking, anything with a USB should be able to connect with a Chrome device.

Be cautious of devices that require drivers. Drivers are mostly reserved for Windows and Mac and will not work on Chromebooks. If you are buying a microphone specifically for a Chromebook, it's highly advised that you use something plug-and-play.

Buying a microphone for your Chromebook can be tricky, but some articles can help you make a good purchase. Try to look for products that come with a “Works With Chromebook” logo.

There are plenty of headphones that include built-in microphones that connect via 3.5mm TRRS connections (headphone jacks). These are fairly good options for improving the audio quality of the built-in Chromebook microphones.

However, I'd personally recommend going with a USB microphone if at all possible. These mics are generally designed with decent electret condenser capsules (rather than the tiny unbalanced ones used in headphones). They are better suited to convert sound waves into analogous audio signals.

As an added bonus, USB mics will also often have built-in headphone amplifiers that will help to improve headphone quality in addition to microphone quality.

Related articles:
• How Do USB Microphones Work And How To Use Them
• How Do Headphone Jacks And Plugs Work? (+ Wiring Diagrams)
• The Complete Guide To Electret Condenser Microphones
• What Is A Headphone Amplifier & Are Headphone Amps Worth It?

There are plenty of USB microphones on the market. For Chromebooks, I'd recommend the following 3 options (none of which require drivers):

Rode NT-USB

The Rode NT-USB is a top performer in the family of USB microphones. This small-diaphragm side-address condenser mic sounds great, is easy to use, and has a zero-latency headphone output.

• Sample rate: 48 kHz
• Bit-depth: 16-bit
• Monitoring: Zero-latency monitoring headphone output
• Connector: USB-B to USB-A
• Frequency response: 20 Hz – 20,000 Hz

Audio-Technica AT2020USB+

The Audio-Technica AT2020USB+ is a very popular USB microphone for a good reason. It sounds great on a variety of sources and makes for an excellent introductory microphone.

• Sample rate: 44.1 or 48 kHz
• Bit-depth: 16-bit
• Monitoring: Zero-latency headphone output
• Connector: USB-B to USB-A
• Frequency response: 20 Hz – 20,000 Hz

Blue Yeti

The Blue Yeti is arguably the flagship microphone of Blue Microphones and is certainly one of, if not the most, popular USB mics on the market.

• Sample rate: 48 kHz
• Bit-depth: 16-bit
• Monitoring: Internal headphone output
• Connector: Micro-USB to USB-A
• Frequency response: 20 Hz – 20,000 Hz

Troubleshooting

You might run into issues when using your microphone with a Chromebook.

Microphones that are plugged through the headphone jack may or may not work, depending on the program. Cheaper microphones may also sound bad when paired to a Chromebook.

And as mentioned earlier, some microphones might not work without a driver. If yours isn't working with your Chromebook, you might have to install a driver for it. That's why it's highly advised to research your products before buying.

If recording audio is the main reason you want to use an external microphone, Android apps are the best option for Chromebooks.

Linux is currently still in beta for Chromebooks, so there might be some bugs and glitches when using desktop programs.

Android apps run smoother with Chromebooks because they are relatively easy to use and require little processing power.

Some Android apps work better than others. Some apps only work as voice recorders, while others are full-blown audio editors. I recommend checking out the Lexis Audio Editor and Music Maker JAM, as they offer more functionality than most.

Tips For Using Your Microphone With Your Chromebook

• Read your microphone's requirement. Some microphones might need the latest update of Chrome OS to work. It's also a good idea to read your microphone's instructions.
• Use your microphone in a quiet room for the best quality audio. Don't speak too close or too far from your device.
• If your Chromebook does not recognize your microphone, a simple reset can fix it. Alternatively, you can unplug and re-plug your microphone.
• Keep your microphone clean and store it in the appropriate place.
• Finally, if your microphone is incompatible with a program (even after troubleshooting), try using a different program. There are different apps and programs online that you can use.

Conclusion

Chromebooks have gotten better and more efficient than they were years ago. These days, you can easily plug most accessories into your Chromebook, and it will work.

You can now find different microphones that can work with your Chromebook seamlessly. Plug-and-play microphones are the best options if you want to broadcast and record audio through your Chrome device.

Microphones are easy to use with Chromebooks. You can simply plug them into your device and start working. External microphones can work on almost all websites, programs, and apps as long as they are compatible.

The post How To Connect An External Microphone To A Chromebook first appeared on My New Microphone and is written by Arthur Fox.

Singers use microphones in many situations. Microphones are generally a necessary part of capturing singers' voices, and in this article, we'll look at why.

Why do singers use microphones? Singers will use microphones to capture their voices as audio for sound reinforcement or recording. By using microphones (in addition to other audio equipment such as amplifiers and loudspeakers), singers can effectively increase the perceived volume of their voice during live performance and audio playback.

We should all be thankful for the technology of microphones and their role in helping singers be heard. From live concerts to recorded audio (on the radio, on vinyl, on our devices, etc.), microphones allow singers to be easily heard while performing naturally.

Related My New Microphone article:
• Top 11 Best Online Resources To Learn How To Sing

A Primer On Microphones

Let's begin with a brief description of a microphone.

What is a microphone? A microphone is a transducer that converts mechanical wave energy (sound waves) into electrical energy (mic/audio signals). There are many types of mics, and they nearly all utilize a diaphragm (reacts with sound), transducer element (converts energy), and circuitry (carries/outputs mic signal).

In other words, a singer can sing into a mic, and the mic will turn the sound into an audio signal that represents the singer's voice.

This audio can then be amplified, played back, and recorded as audio. The audio signal (recorded or live) can also be amplified further and turned back into sound waves via headphones and loudspeakers.

For more information on microphones, check out the following articles:
• What Is A Microphone? (Mic Types, Examples, And Pictures)
• How Do Microphones Work? (The Ultimate Illustrated Guide)

Different Roles Of A Microphone

The role a microphone will fulfill with a singer will vary depending on the situation. The ultimate purpose of a microphone on stage is slightly different than in a recording studio. 

In any situation, as previously mentioned, microphones convert sound waves into audio signals (electric energy). These signals can be eventually sent to speakers or other output systems optimally with minimal feedback and background noise being collected. 

Of course, microphones are used for many different purposes, such as amplifying instruments or background vocals, recording voiceovers, etc. Let's consider the main purpose of a microphone on stage versus in a recording environment. 

On Stage

When using a microphone on stage, singers need their voices to be amplified and projected as far and as loud as possible while still maintaining sound quality. This is usually necessary due to the fact that the voice can’t physically be projected clearly for everyone to hear in the listening environment (think of busy clubs or festivals).

This allows everyone in the room to hear the singer, even with ambient background noise, which is extremely necessary when in a large room with thousands of people.

A major part of a live mixing engineer's job is to ensure that the microphones pick up minimal feedback, interference, and extraneous/background noise.

Note that the singer is also partially responsible for mitigating feedback and mechanical noise (by staying behind the PA system speakers and refraining from banging the microphone).

Of course, there are some instances where microphones aren't absolutely necessary (think small coffee shops or campfires). Some large productions in theatres with superior acoustics, like orchestral or operatic performances, do not use microphones.

However, the audience understands the importance of remaining quiet throughout in order to hear the performance clearly.

Recording

The audio signals captured by a microphone can be recorded for later playback. This is as true on stage as it is in cell phones and large-scale professional recording studios.

You may have seen some singers recording songs with their mouths extremely close to the microphone and wondered why they do that. The closer you are to the microphone when you sing, the less time the audio waves have to spread out and lengthen, therefore changing their pitch and tones.

You want the cleanest sounds you can get, so putting your mouth closer to the microphone allows for that to happen.

Getting closer to directional microphones also increases the bass response of the microphone, thanks to the proximity effect.

This is also where pop filters come into play. You have probably seen filters in front of microphones when someone is recording; this is called a pop filter. It helps filter out the plosive energies from the singer's mouth that could easily overload the microphone.

In addition to plosives, recording engineers and singers must also be aware of sibilance and the potential for clipping distortion.

Recording vocals in a studio is as much an art as singing itself. There's a lot to know about using microphones to record vocals.

Related article: Top 23 Tips For Better Microphone Placement

Handheld Microphone Vs. Head Worn Microphone

You may have seen people use both handheld and head-worn mics, maybe even in the same show. Perhaps you’ve wondered why they don’t just use one or the other.

In most cases, using a head-worn mic is less desirable than using a handheld mic.

However, sometimes it's necessary for hands-free action due to difficult costume changes, high-energy choreography, or playing instruments while singing.

“Handheld” mics, whether they're physically held in the singer's hand or attached to a mic stand, are far more desirable when high-quality sound is needed because they are often more controllable and offer superior audio characteristics/specifications.

Characteristics To Look For In A Microphone

When looking to purchase a microphone for singing, some options are better than others. Budget and application are perhaps the two biggest factors in choosing the “best” vocal microphone for you.

For example, a robust Shure SM58 is an affordable, practically indestructible option for live performance. Still, it won't sound nearly as good as a Sony C-800G large-diaphragm tube condenser in an acoustically treated vocal booth for professional recordings.

Each microphone has its own set of specifications, and even if there are only minor differences, they can be noticeable. 

Things you want to look for in a microphone are (I've included links to in-depth articles on each specification):

• Sensitivity
• Frequency response
• Cost
• Directionality (polar pattern)
• Robustness
• Appearance
• Fidelity

Related articles:
• Full List Of Microphone Specifications (How To Read A Spec Sheet)
• Top 5 Microphone Specifications You Need To Understand

If you are playing live, appearance probably matters much more than if you were using it for recording.

Costs may not be a factor for you, but if it is, it is entirely possible to purchase a cheaper microphone that works well. That being said, as a singer, you likely won’t regret getting a high-quality microphone, and I suggest getting your mic anyway for hygiene reasons. 

Best Types Of Microphones

For singers, the best type of microphone depends on the style of voice and the application.

Professional audio engineers in both live and studio environments will often have a selection of vocal microphones to accommodate different singers in different styles and different sound reinforcement and/or recording environments.

Dynamic microphones are generally preferred for live sound vocal applications, and large-diaphragm condensers are preferred in studio vocal recordings. But again, these are only generalities.

Related articles:
• What Microphones Types Are Best For Singing? (Live & Studio)
• Full List Of Microphone Types And Sub-Types (With Mic Examples)
• The Complete Guide To Moving-Coil Dynamic Microphones
• Large-Diaphragm Vs. Small-Diaphragm Condenser Microphones

There are a few brands that are well-known for their vocal microphones. Consider the following mic brands (all of which are featured in My New Microphone's Top 11 Best Microphone Brands You Should Know And Use):

• Shure
• Neumann
• Sennheiser
• Rode
• AKG
• Danish Pro Audio (DPA)
• Electro-Voice

In reality, the best microphone is the one that works the best for what you need it for. Thousands of people can rate a microphone incredibly high, but it may not be the right choice for you as a vocalist.

Final Thoughts

Microphones are wonderful pieces of technology that help singers put less strain on their voices while (in conjunction with amplifiers and loudspeakers) filling large acoustic spaces with the clarity of sound people are there to hear.

Whether you are on stage or in a recording studio, microphones are essential for audio clarity.

The post Why Do Singers Use Microphones? (On Stage And For Recording) first appeared on My New Microphone and is written by Arthur Fox.

The way in which audio is sent to or sent from headphones and microphones will vary between different devices and different connectors (jacks and plugs). When learning about all the different audio connectors, there may be confusion about the differences between headphone jacks and microphone jacks.

Are headphone jacks the same as microphone jacks? Although microphone jacks and headphone jacks may use the same size connectors or combine into the same connector, the actual connections and signal flow are different: Headphone jacks send audio signals to a headphone plug; Mic jacks receive incoming audio signals from a microphone plug.

The main difference between headphone jacks and microphone jacks is that one sends audio signals, whereas the other receives audio signals. In this article, we'll consider the differences between headphone jacks and mic jacks with regard to their function and structure.

Are Headphone Jacks The Same As Microphone Jacks?

To understand the differences between headphone jacks and microphone jacks, we need to establish some identifying criteria and assess the differences. These criteria will strictly be based on the function and structure of each type of jack. 

There is a wide variety of audio connectors. The design's shape, size, and the number of conductive pins will complement the audio requirements of the connected devices in question.

In the era of wireless internet, audio jacks are becoming less popular but are still relevant when transferring audio signals in many professional and consumer systems.

By answering the following questions, we can establish some criteria for differentiating headphone jacks from mic jacks: 

• What is the structure of an audio jack?
• How do microphone jacks work?
• How do headphone jacks work?

Identifying the differences and similarities in the responses for each of these questions will provide a clearer picture of what makes headphone jacks distinct from microphone jacks. Before that, we will provide a brief overview of the structure and design of audio jacks.

What Is The Structure Of An Audio Jack?

Before we can fully understand how headphone jacks and mic jacks differ, we need to understand the structure of audio jacks. Audio jacks generally share the same components and features. There are different-sized jacks and variations in how the jacks are constructed and manipulate audio signals.

Typical audio jacks and plugs are composed of three main conductive connections: tip, ring, and sleeve.

The sleeve of a jack generally acts as ground and can sometimes act as a return path of mono unbalanced signals (when there is only a sleeve and tip in the connection).

The tip and ring(s) of the jack/plug are designed to carry audio signals. The number of rings of a given microphone or headphone jack will depend on the specifics of the audio being transferred.

Let us consider the two most common jack configurations we'll find:

• TRS: As the acronym suggests, TRS jacks are composed of three main conductors, including tip, ring and sleeve. This is a stereo cable where the tip transfers the left stereo channel, and the ring is responsible for the right stereo channel. The sleeve grounds the cable.
• TRRS: These jacks are composed of four main parts, including a tip, ring, ring, and sleeve in this respective order.

TRS jacks/cables/plugs can carry balanced audio (a method where a mono audio signal is carried on both signal wires – the tip and ring – for improved noise cancellation/isolation). This is useful for microphone audio.

TRS jacks/cables/plugs can also carry unbalanced stereo audio (where the left channel would be carried on the tip and the right channel would be carried on the ring).

TRRS cables can carry unbalanced audio (on the tip and first ring) while also carrying mono unbalanced audio (on the second ring).

The sleeve would act as a ground and also as a return for the unbalanced mono signal. This design can effectively combine a headphone jack and microphone jack into a single jack. It is how many stereo headsets and earphones with built-in mics are wired.

Generally speaking, smartphones and computers have TRRS connectors that are used as the output of a microphone or to transfer video signals.

Unlike TRS or TS connectors, TRRS connectors send and receive signals, which is a necessary feature for headphones with built-in mics and headsets since they are often used as input and output audio devices.

Additionally, there are three diameters used to classify headphone/microphone jacks: 2.5 mm, 3.5 mm, and 6.35 mm.

Related My New Microphone articles:
• Do Microphones Output Balanced Or Unbalanced Audio?
• Do Microphones Output Mono Or Stereo Signals?
• Differences Between 2.5mm, 3.5mm & 6.35mm Headphone Jacks
• Are Microphones Input Or Output Devices?
• Are Headphones Input Or Output Devices?

How Do Microphone Jacks Work?

Microphones are responsible for reacting to sound waves and outputting electrical audio signals to their output plugs. Mic jacks, then, receive their microphone audio signals. Audio signals flow from the mic plug to the connected mic jack.

These output plugs usually take the form of male XLR cables, phones, or other connectors. Though XLR is most common, some microphones utilize the aforementioned “headphone-style” phono connectors (TS, TRS, etc.).

The audio signals pass through connections in a specific sequence: 

• Mic signal flows from the microphone plug to the microphone jack 
• From the microphone jack, the signal then flows to the mic input 

In the case of connecting a microphone to a microphone preamplifier, you would be using an XLR output. The XLR output would mediate the flow of the audio signals from the microphone to the preamplifier.

With microphones, something to keep in mind is that the XLR plug always sends audio signals to the XLR or microphone jack. The XLR plug is usually referred to as the male connector, whereas the XLR jack is called the female connector. This arrangement for microphone connections is alterable with adapters.

Regarding microphones that use phone connectors or multi-connectors, the mic cable is usually part of the microphone design.

Assuming the mic input is correctly wired, this makes connecting the microphone a simple process. As for microphones using phone connectors or multi-pin connectors, the mic cable is often part of the mic design. 

Related My New Microphone articles:
• What Do Microphones Plug Into? (Full List Of Mic Connections)
• How To Connect An External Microphone To A Smartphone
• How To Connect A Microphone To A Computer (A Detailed Guide)

How Do Headphone Jacks Work?

Before you can understand how headphone jacks work, we need to understand the underlying technology. Your headphones are a pair of transducers that convert electrical audio signals into sound waves.

These transducers are connected via wire to a headphone jack to receive the necessary current. This current sent to the headphone transducers is transformed into air pulses in your ear by interacting with a magnet.

The headphone jack facilitates this process by connecting to the current source of your smartphone or computer to complete the circuit and produce the sound output.

This may sound simple on the surface, but headphone jacks have a complex design and play a unique role in the circuit. 

You can think of your headphone jack as a connector, which transfers audio signals from your headphones to a computer (and vice versa in the case of headsets).

This means that your jacks allow for the transmission of audio signals in two directions: the jack transfers signals from your headphones to your computer and from the computer back to your headphones (again, if the headphones/headset have a built-in microphone).

Related My New Microphone articles:
• Are AUX (Auxiliary) Connectors & Headphone Jacks The Same?
• How Do Headphone Jacks And Plugs Work? (+ Wiring Diagrams)
• Why & How Do Headphones Use Magnets?
• How Do Speakers & Headphones Work As Transducers?

The Difference Between Headphone Jacks And Microphone Jacks

The main difference between headphone jacks and microphone jacks is the way they transfer audio signals. Both types of audio jacks may use XLR, phono or other connectors to mediate this transfer. 

Headphone jacks allow for the flow of audio signals to your headset and audio source, with the signals going in both directions. This multi-directionality of audio signals is necessary to complete the circuit and produce sound waves in your ears through your headset and allow you to speak through your headset mic. 

Alternatively, microphone jacks strictly rely on the flow of audio signals from mic plugs to mic jacks and then to the mic input. This is a linear process, which makes sense considering there are only audio signals on the receiving end when speaking into a microphone. 

Conclusion

Although microphone jacks and headphone jacks share a similar structure, they both serve unique functions when it comes to sending and receiving audio signals.

The main function of a headphone jack is to send audio signals to your headphone plug (and, ultimately, the headphone transducers). In contrast, mic jacks receive signals from the mic plugs (and, ultimately, the audio device). 

To make things simple, you can think of headphone jacks as the sender of audio signals and microphone jacks as the receiver of signals. Headphone jacks and mic jacks serve the opposite function, just as headphone plugs receive and microphone plugs send audio signals. 

Related Questions

What Is The Difference Between A Microphone Plug And Jack? A jack is a receptacle into which a plug is inserted. A mic jack is a female-type connector in a mic or mic cable. A mic plug is a male connector that is inserted into the jack. The XLR output of a professional mic is a mic plug. A mic preamplifier input is considered a mic jack.

Related article: What Is The Difference Between A Microphone Plug And Jack?

What are the differences between 2.5mm, 3.5mm & 6.35mm headphone jacks? The primary, most obvious difference is size. The numbers given refer to the diameter of the jack, but the lengths of the connectors are also different. Certain applications have certain standard sizes. In terms of wiring, various standards can be applied to each size jack.

Related article: Differences Between 2.5mm, 3.5mm & 6.35mm Headphone Jacks

The post Are Headphone Jacks The Same As Microphone Jacks? first appeared on My New Microphone and is written by Arthur Fox.

Microphones are a staple tool within the music industry. They amplify voices, record instruments, and make it possible to combine different sounds into one song. But even though microphones are essential in producing music, are they considered actual instruments?

Is a microphone considered a musical instrument? Technically, microphones are not musical instruments; they are transducers. Transducers refer to any appliance that converts the input into electrical currents; in the case of a microphone, the sound is the input being converted. However, some believe the microphone is an instrument based on its looser definitions.

In today’s musical world, the definition of what constitutes a musical instrument is more flexible. Microphones could become musical instruments depending on what kind they are and how they are being used. Let’s look into all the different ways microphones can be used to blur the line between musical tools and musical instruments.

For in-depth discussions on microphones, check out my articles:
• What Is A Microphone? (Mic Types, Examples, And Pictures)
• How Do Microphones Work? (The Ultimate Illustrated Guide)

Is A Microphone A Type Of Musical Instrument?

Anything could “technically” become a musical instrument as long as it emits a sound. Knuckles tapping on a door, a creaking chair, or a barking dog can all be considered instruments by this definition.

Consequently, a microphone makes and magnifies sound. Therefore, it can easily be labelled as a type of musical instrument.

However, if you want to be truly technical about it, a microphone started as a transducer, not as a tool for music itself. In other words, although the microphone may be considered a musical instrument today, that was not what it was primarily invented for. 

So, how did the microphone come to be? When did it transform from a technical tool into a fundamental part of the recording and performance of music? 

The Original Purpose Of A Microphone

If we are going to delve into the varying ways in which a microphone can be used, then it is necessary to learn what it was originally used for.

Microphones were invented as a way to magnify the volume of sounds while transmitting them simultaneously. They were developed to convert sound waves (mechanical wave energy) into audio signals (electrical energy).

Related article: What Is The Difference Between Sound And Audio?

The inventor of the telegraph, “Sir Charles Wheatstone, was one of the early scientists to figure out that sound is transmitted through waves within a medium,” which, in turn, led to the invention of the very first microphone.

The basis of its invention proves that the microphone’s original purpose was rooted in the science of sound transference instead of music. 

When the microphone was first invented, it was mostly utilized to advance telephone technology. The microphone has gone through many iterations and modifications and has expanded its possibilities over the years.

To learn more about the history of the microphone, check out my article Mic History: Who Invented Each Type Of Microphone And When?

How Microphones Are Used Today

Today, the microphone is used in many everyday settings. They are attached to podiums in lecture halls to make it easier for students seated in the back to hear the professor.

They can be minimized and fastened to musician’s faces to perform more dynamic choreography on the stage. They are even installed in our phones to record our voices and listen to others speak in real-time despite being miles away.

Also, technology is constantly advancing and improving, with the microphone being no exception. Musical artists and producers have also become increasingly creative with the methods and techniques they utilize with microphones.

Because of this concurrent development, both sound as a concept and music as a genre are expanding exponentially.

When Can Microphones Be Considered Instruments?

Microphones can be considered instruments when connected to other instruments and add a filter or effect to the original recorded sound.

For example, if the microphone is routed to a Vocaloid, it would technically be an instrument. A Vocaloid is software that can put words to an automated melody and voice with just a few clicks on a keyboard.

In fact, there are sold-out concerts for these Vocaloid artists. Despite there not being an actual person behind Vocaloid voices, companies and labels will usually formulate whatever image they want to pair with the AI.

In Japan, these Vocaloids can even be projected as holograms onto the stage so the audience can get the full experience. 

That being said, it can be argued that, in the case of the Vocaloid, for example, the software is the “instrument,” and the microphone still acts solely as the transducer that feeds into the instrument.

Although the ability to meld a computer into any type of artist you could possibly want is convenient, this also brings into the debate whether or not computerized musical programming counts as an instrument. 

There are sound libraries within the music editing software programs available today. Users can choose from thousands of premade loops and instruments to add to their songs in countless combinations. This accessibility and range of tools at people’s fingertips make it simple for more people to make music. 

I suppose this is a long-winded way of saying there's no strict answer.

Microphones That Are Used In Music

Within the world of audio and sound recording, music is most likely the first industry that comes to people’s minds when thinking of the functions of a microphone. There are several different types of microphones with specific factors they specialize in.

What makes them different from each other? Which one is the best pairing for certain instruments? 

Dynamic Microphones

Dynamic microphones are often preferred when capturing louder, more powerful sounds that ordinary microphones are usually overwhelmed by. Instruments like drums and bass go well with dynamic microphones.

What is a dynamic microphone? A dynamic microphone converts sound to audio via electromagnetic induction. It does so with a cartridge/element with a conductive coil attached to a movable diaphragm that vibrates within a magnetic structure. The diaphragm movement causes a coinciding audio signal to be produced.

To learn more about dynamic microphones, check out the following My New Microphone articles:
• The Complete Guide To Moving-Coil Dynamic Microphones
• What Is A Dynamic Microphone? (Detailed Definition + Examples)

The Shure SM57 is a well-known dynamic microphone.

Large-Diaphragm Condenser Microphones

What is a large-diaphragm condenser microphone? A large-diaphragm condenser microphone generally has a diaphragm diameter greater than 1″. LDCs are often quieter and have more character than their small-diaphragm counterparts.

These types of microphones are typically found in recording booths in the studio. They are great for capturing vocals and creating higher-quality sounds due to their increased sensitivity. Moreover, this microphone is very diverse and can be used for pretty much anything when placed at the center of a recording session. 

This type of microphone is also a good fit for certain drums. Their delicate nature makes it easier to decrease the popping mentioned in the previous section.

Related article: Large-Diaphragm Vs. Small-Diaphragm Condenser Microphones

The Neumann TLM 102 is a well-known large-diaphragm condenser microphone.

Small-Diaphragm Condenser Microphones

What is a small-diaphragm condenser microphone? A small-diaphragm condenser microphone generally has a diaphragm diameter under 1/2″. SDCs typically benefit from more accurate/consistent frequency, transient, and polar responses over their large-diaphragm counterparts.

Small diaphragm condenser microphones are just like the microphone mentioned above but in a smaller form. Rather than vocals, these microphones are best when used to record acoustic instruments. They are great for curating that raw, real sound of emotional ballads with very few instruments and a singular voice. If you enjoy the echoey sound your bathroom provides, then this is the microphone for you.

An even smaller version of this microphone can be attached directly to instruments for optimal sound quality. Some examples of suitable instruments for this kind of microphone are violins, cellos, trumpets, saxophones, and cymbals.

Related article: Large-Diaphragm Vs. Small-Diaphragm Condenser Microphones

The AKG C 451 B is a well-known small-diaphragm condenser.

Ribbon Microphones

What is a ribbon microphone? A ribbon microphone has a thin, often corrugated, electrically conductive ribbon-like diaphragm and acts as a transducer, converting sound waves into audio signals. Ribbon mics work on the principle of electromagnetic induction, making them “dynamic” just like their moving-coil counterparts.

Out of all the microphones previously listed, ribbon microphones are the most sensitive. This is because of the way they are structured. Ribbon microphones got their name because there is an extremely fine strand of electrically conductive material suspended between the poles of a magnet to generate their signal”.

The fragility and bidirectional polar pattern of ribbon microphones make them most suitable for recording two sounds simultaneously. Some ideal examples would be recording two vocalists on one track or making a song with a singer who plays an instrument at the same time.

Related article: The Complete Guide To Ribbon Microphones (With Mic Examples)

The Royer R-121 is a well-known ribbon microphone.

Final Thoughts

Because the definition of what makes something an instrument is getting blurred, the lines of what makes a musician a musician are also becoming smudged.

Is a microphone really an instrument if it isn’t producing the sound itself? Can a musician be considered a musician if they aren’t playing those instruments themselves?

Ultimately, the answer to this loaded question lies within the opinions of the people who regularly consume music.

What genre of music do most people listen to? How are the most popular songs of today produced?

The fact of the matter is that the majority of today’s popular music is produced using sound editing programs and computer software.

It is rare to find songs played all the way through by real-life people and instruments nowadays. However, there is a certain instrumental piece of equipment that all music needs to be made: the microphone.

Related Questions

Why are microphones called microphones? The term ‘microphone’ can be broken into ‘micro’ and ‘phone.’ Micro (from Greek mikros) means “small,” and phone (from Greek phone) means “sound” or “voice.” Microphone translates to “small sound,” which is accurate, as the microphone deals with small audio signals.

Related article: Why Are Microphones Called Microphones?

Does a microphone change your voice? Microphones, like all audio equipment, will alter the sound of your voice. Some microphones capture voice more accurately than others, but all do alter sound in one way or another. On top of that, how you hear your own voice is different from how your voice actually sounds.

Related article: Does A Microphone Change Your Voice? (Natural Hearing Vs. Playback)

The post Is A Microphone Considered A Musical Instrument? first appeared on My New Microphone and is written by Arthur Fox.

There is seemingly no end to the things you can do on your cell phone today. In fact, some people earn their entire living by logging into and posting on smartphone apps.

Yet, for all of this technological advancement, it still seems that the most basic function of a cell phone—to place a call—is underwhelming due to bad microphone sound quality. Why is this the case?

Why do cell phone/telephone microphones sound so bad? The sound quality on cell phones is poor due to their small, omnidirectional microphones that must be operated within strict confines for “optimal” sound quality. It is possible that sound quality could improve using specialized directional microphones, but users would have to give up a few features on their devices.

While the quality of cell phone microphones may leave a lot to be desired compared to professional studio microphones, they actually do an amazing job considering the design restraints. Below, we’ll cover the reasons why cell phone microphones have poor sound quality and the options users have to improve it.

A Brief History On Telephone Sound Quality

The range of human hearing is widely accepted to be between 20 Hz and 20,000 Hz, while the range of the human voice, in general cases, will range between roughly 80 Hz and 14,000 Hz.

In the early days of telephone audio transmission, the audio signals transmitted over telephone lines were band-passed in what is known as the “Voiceband” or “Narrowband”.

This effectively filtered out all audio frequencies outside the range of 300 – 3,400 Hz. Using this band, much of the speech intelligibility could be transmitted with rather low signal information, allowing for easier transmission.

For more information on band-pass filters, check out my article Audio EQ: What Is A Band-Pass Filter & How Do BPFs Work?

As technology advanced and further studies were conducted on the harmonic contents of human speech, the Wideband (50 Hz – 7,000 Hz) was developed and, later, the Superwideband (50 Hz – 14,000 Hz).

Today, some cell phone standards utilize Wideband “HD Voice” codecs, though many transmission standards continue using the relatively low-information “toll quality” Narrowband. 

This confine, along with mass-production of cost-affordable microphones and audio circuits, plays a huge role in determining the overall audio quality of telephone/cell phone audio.

Interference and other transmission issues will also affect the audio quality of such phones.

So, then, with these limitations, there's really no need for a high-end studio-grade microphone, anyway. That being said, let's move on with this article to understand better why telephone/cell phone microphones sound so bad.

Causes Of Poor Sound Quality In Cell Phone Microphones

Cell phones use small, omnidirectional electret condenser microphones confined in less-than-ideal housings or MEMS microphones. These minute microphones are designed to operate under very little power and fit nicely into the cell phone’s circuitry. 

As omnidirectional microphones, they are capable of picking up sound equally from all directions. This works great when the only sound is that of your voice. However, when the microphone detects other strong sounds, such as heavy winds or loud music, coming from another direction, your voice can become lost in an assortment of noise.

To expand on this, a few other factors may cause poor results in a cell phone microphone. 

Distance From Microphone

Cell phones are engineered to expect the speaker to be a certain distance away from the microphone. For example, when the phone is in handset mode, it expects that the phone will be held next to the speaker’s face.

When it is in hands-free mode, it expects the microphone to be about 25 centimetres away from the speaker’s face.

When these distances are compromised, the microphone will not function as intended. If you slide the phone too far down your face when talking, it may sound like you are talking from the bottom of the barrel.

If you are too far from the microphone in hands-free mode, it may detect a closer sound source as the dominant recording input. 

Frequency Of Speaking

Just as cell phone microphones are engineered with certain distances in mind, they are also designed to record the frequency of a normal human voice. The microphone will do its best to record when you talk in a normal voice range. 

Many users are tempted to raise their voices and start talking forcefully directly into the microphone when they realize that the receiver is not hearing them well, but this can actually lead to increased distortion and cause the sound quality to worsen.

Limited Fidelity Capacity

Audio fidelity refers to how accurately an audio signal reproduces its source. So, in the case of cell phone microphones, the fidelity would be measured by how accurately the voice heard by the receiver reflects what you actually sound like.

When dealing with cell phone microphones, their minuscule size and cheap materials limit the fidelity that can be achieved. 

Cell phone carriers use software known as codecs to take the recorded sound from the microphone, store it digitally, and transmit it back to sound via the receiver’s speaker.

The advanced multi-rate codecs used by most cell phone carriers top out at 12.2 kilobits, limiting the amount of fidelity that can be achieved when storing sound digitally. This ties back into the transmission issues mentioned in the second A Brief History On Telephone Sound Quality.

Microphone Obstructions

While the small size of the omnidirectional microphone limits cell phone audio quality, there is a chance that the microphone itself is not causing the issues and that dust or other buildup is blocking the audio intake. 

Check the microphone intake and see if there is any visible blockage. The microphone intake is located along the bottom edge of the phone and usually consists of five or six dots or dashes in a row.

Take a small toothbrush and gently clean away any buildup. If the cell phone is in a protective case, remove the phone from the case and clean the case’s interior to ensure that there are no obstructions on that end.

While dust buildup may affect the audio intake and worsen the sound quality, the microphone itself is typically protected by a fine, mesh-like membrane that prevents foreign particles from entering the phone’s interior.

If a grain of dirt or sand were to bypass this membrane somehow, a larger issue would be at hand that could require replacing the microphone altogether. 

Issues With The Sound Transmission Process

The microphone recording your voice is just one step in the sound transmission process. The typical journey of sound from sender to receiver goes something like this:

1. Sound waves travel from your mouth to the microphone.
2. The microphone converts these sound waves into an electrical signal.
3. Your carrier’s codec converts the electrical signal to a digital signal.
4. The digital signal is processed, compressed, and transmitted to the receiver.
5. The receiver converts the compressed digital signal back to an electrical signal.
6. The electrical signal is converted by the speaker back into sound waves.

As you can see, even in this simplest of scenarios, there is a lot that can go wrong that is not necessarily the microphone's fault. Throw in Bluetooth, which adds an additional layer of conversion and transmission, and even the highest-quality microphones will likely experience some kind amount of distortion.

Why Not Switch To Directional Microphones?

The omnidirectional microphones used in cell phones can provide poor sound quality when recording conditions are not ideal. This may leave you wondering why cell phone engineers don’t convert to a directional microphone to channel and transmit the human voice more effectively.

After all, directional microphones, such as cardioids, hypercardioids, and supercardioids, more effectively reject ambient noise than omnidirectional microphones.

There are a few reasons why directional microphones do not make a good choice for cell phones:

• Although they do a good job of blocking out ambient noise, there is very little placement flexibility when working with directional microphones. If the microphone is not properly situated, the microphone can actually block out the speaker's voice. Low-quality sounds from an omnidirectional microphone are better than no sound at all.
• It is important to remember that voice recordings are only one function of the modern cell phone/smartphone. A directional microphone would not be a strong choice for recording live events in which you want to capture all sounds or use sound recognition apps such as Shazam. 

Conclusion

With all of the advances in cell phone technology, it is a bit frustrating that something as basic as a phone call can be a bit underwhelming due to the poor recording quality of the cell phone microphone. 

The cause of the inferior sound stems largely from the small size of the cell phone’s omnidirectional microphone, which must be used within strict confines for optimal functionality.

However, there may be secondary issues, such as a dirty audio intake or issues with the sound transmission process, that could be negatively impacting sound quality, as well.

Related Questions

Does a microphone change your voice? Microphones, like all audio equipment, will alter the sound of your voice. Some microphones capture voice more accurately than others, but all do alter the sound in one way or another. On top of that, how you hear your own voice is different from how your voice actually sounds.

Related article: Does A Microphone Change Your Voice? (Natural Hearing Vs. Playback).

How do I reduce microphone noise? There are plenty of noise sources that can add unwanted noise to a microphone signal. Luckily, there are methods of reducing the noise caused by nearly every one of these sources. Here are just 15 methods to reduce microphone noise:

1. Choose A Condenser Or Active Mic With Low Self-Noise
2. Choose A Dynamic Mic With A Humbucking Coil
3. Place Mics Closer To The Sound Source
4. Use A Shock Mount
5. Use A Pop Filter
6. Record In Quiet Or Soundproof Environments
7. Use Balanced Mic Cables
8. Do Not Run Mic Cables Alongside Power Cables
9. Use An RF Filter
10. High-Pass Filter The Mic Signal
11. Use A Pad When Approaching The Max SPL
12. Plug The Mic Into A Mic Input
13. Use Clean Preamps
14. Use An In-Line Preamp Before The Mic Preamp
15. Use A Noise Suppression Plugin In Your DAW

To learn more, check out my article 15 Ways To Effectively Reduce Microphone Noise.

The post Why Do Cell Phone/Telephone Microphones Sound So Bad? first appeared on My New Microphone and is written by Arthur Fox.

As we go further into the digital age, webcams are becoming a necessary tool for many individuals for professional and recreational purposes. Aside from its video-related performances, many people begin to rely on a webcam's audio capabilities and features.

Do webcams have built-in microphones? Webcams come with built-in microphones. The microphones in webcams that you purchase separately from computers are built into the webcams. Laptops, phones, and tablets have a built-in webcam and microphones of their own.

The guide will highlight several top-quality webcams on the market that have exceptional audio capability. This includes the Logitech C920, Razer Kiyo Pro, Microsoft LifeCam HD 3000, Mevo Start, and the Logitech Brio. Additional information related to webcams will also be discussed.

Knowing The Built-In Microphones In Your Webcams

In most cases, when you purchase a webcam, the packaging will specify what kind and the number of built-in microphones it has. Most webcams have a single built-in microphone, while others have two built-in microphones for improved audio quality.

However, despite the type or number of built-in microphones you have, the majority of webcams on the market are barely above average in terms of performance. This is also true with the built-in microphones in other devices, including laptops. 

The audio quality of microphones built into webcams will get the job done for the most part. However, they won't be good enough for professionals or any individual who requires top-of-the-line audio quality.

Therefore, many who need a higher-quality audio capability would most likely purchase their webcams and an external mic or headphones with mic capabilities.

With that being said, let's still consider a few examples of webcams with built-in microphones to get a sense of what's available on the market.

The People's Choice: Logitech C920

The Logitech C920 is considered one of the, if not the best, webcam on the market. Since its release in 2012, the Logitech C920 has been consistently ranked over its rival products. 

The Logitech C920 has two built-in microphones that are fitted on either side of the camera. The Logitech C920's audio capabilities and performance are considered above average for webcam standards due to the double microphones. Most webcams would only have a single-built-int microphone, so Logitech C920 has the advantage in webcam audio.

The Logitech C920 is still the best overall achiever across the board for its reliability, cost, quality, and overall performance. The Logitech C920 is currently priced at approximately $79.99. Below are the specifications of the Logitech C920 and why it makes it incredibly popular:

• 1080p HD Resolution
• Supports 720p/60FPS Streaming Video
• Background Removal Features
• Low-Light Correction Capabilities

With top-quality features and specifications at an affordable price, the Logitech C920 webcam will likely remain a top-rank webcam in the market for a while.

The Professional: Razer Kiyo Pro

Another popular choice for high-quality webcams is the Razer Kiyo Pro, the Razer Kiyo's “older sibling” and the latest addition to the Razer's webcam family. Just like its webcam counterparts on the market, the Razer Kiyo Pro has an omnidirectional microphone.

Based on several reviews, its built-in microphone performs on a standard level.

Compared to the top-tanked Logitech C920, the Razer Kiyo Pro does not come cheap. However, the Razer Kiya Pro reportedly delivers an overall performance that is worth its price. 

There are several reasons that the Razer Kiyo Pro is priced significantly higher than its other counterparts and ranked as one of the most popular webcams out there. Currently, the Razer Kriyo Pro is priced at $199.99. Below are the advantages of owning the Razer Kiya Pro:

• Incredible Resolution of 60FPS 1080P
• Ring Light with Smart Exposure, Focus, and Easily-Adjustable
• Built-In Tripod Mount
• High Definition Image with Great Contrast
• Detachable Cable

Using the Razer Kiyo Pro while live streaming, it also has the feature to choose between three fields of view for different scenes.

Further, you can also select a very clean and smooth 1080p 60FPS or an “HDR mode” for high-resolution and improved video quality during video call sessions.

The Affordable: Microsoft LifeCam HD-3000

The Microsoft LifeCam HD-3000  is considered one of the most popular webcams out there. This is true primarily because of its incredibly affordable price compared to the other webcams in the market.

Although, a webcam's quality will usually depend on the price you pay. Allegedly, the Microsoft LifeCam HD 3000’s mic does not have the best audio system. Some complain that the webcam’s built-in mic would sometimes make disruptive noises, such as:

• Echoes/latency
• Buzzing sound
• Static sound

Related article: How To Fix Microphone Echo And Latency In Your Computer (7 Methods)

Therefore, some people may recommend purchasing the Microsoft LifeCam HD 3000 alongside a mic or an ear/headphones with a built-in microphone.

The Microsoft LifeCam HD 3000 is designed for users who need an overall good-performance webcam at a competitive and affordable price. These are usually people who need a webcam to conduct simple web calls and not necessarily for work.

For its affordable cost and overall good performance, here is the list of features it has:

• Color Correction Feature
• 720P Resolution
• 360 Degrees Rotation
• Microsoft's TrueColor System Feature

Despite its average-quality features, the Microsoft LifeCam HD 3000 gets the job done. If you do not have any intricate or complicated tasks at hand involving webcams (maybe just for the daily video call with the family), the Microsoft LifeCam HD 3000 is likely the webcam for you.

On The Go: Mevo Start

Due to its being mobile and not being constrained in enclosed environments like most webcams, the Mevo Start has an overall better audio quality than some webcams because it has 3 built-in internal microphones. 

While many choose the Razer Kiyo Pro for work-related purposes in the office, the Mevo Start is considered one of the top-line mobile live-streaming webcams. Mobile does not necessarily mean using your phone (although many do), but just the ease of carrying the Mevo Start webcam around with you.

Below are some of the features the Mevo Start has:

• Multiple Audio Options, Including 3 Internal Built-In MEMS Microphone or External 3.5mm Input and USB-C Input
• 1080P Resolution
• Bluetooth or Wifi Connectivity Technology
• Smartphone Compatible
• Dedicated iOS and Android Mevo Camera App
• Live-Editing Features
• Over 6 Hours of Built-in Battery Life

Furthermore, the Mevo Start is incredibly popular for people who have professions requiring them to live stream while mobile. These professions include:

• Journalists
• Streamers (Twitch, Youtube, Facebook)
• Vloggers

However, the webcam is not only limited to the professions mentioned above. If you want a top-quality webcam with mobile features, pick up the Mevo Start, as it might be a great choice.

But with the extra features comes extra pricing, making Mevo Start a webcam with a significantly higher price and more expensive than other webcams on the market.

Resolution In 4K: Logitech Brio

Just like most of the higher quality webcams out there, the Logitech Brio double built-in microphone performs a little bit on the above-average level due to its noise-cancelling capability.

However, external audio systems are still recommended when purchasing this webcam. 

Although most video call apps, such as Skype, Zoom, or Google, do not support 4K video quality, the Logitech Brio's webcam already has the capability to do so.

With its superior video quality performance, the Logitech Brio is able to show every detail of an image, making it very sharp on its display.

Below are the other great features that the webcam is known for:

• Dual Built-In Noise Cancelling Omnidirectional Microphones
• Recording and Streaming up to 4K Ultra HD Resolution
• 1080P Full HD
• USB Connection-Powered (Must use USB 3.0 for 4K)
• Durable Metal Casing
• Built-in Autofocus
• 5X Zoom-In Feature in Full HD
• Auto Light Correction

If you are willing to wait for the video call applications to support 4K and are looking for a webcam capable of 4K HD resolution, then the Logitech Brio is the webcam for you.

Professions That Rely On Webcams With Built-In Microphones

As mentioned, many professions all over the world are digitizing. This evolution means that an increasing number of professions need to rely on tools that give them digital access.

Many professionals who rely on high-quality webcams for their jobs choose webcams include:

• Video Game Streamers
• Remote Workers
• Online Tutors
• Job-Provider & Recruiting Agencies

Conclusion: Webcam Audio Capabilities Are Average At Best

Almost all webcams on the market come with a built-in microphone. Although the built-in microphones are great for a webcam's standard, built-in microphones on webcams are subpar or average at best.

You can get much better audio quality with external microphones or earphones with built-in microphones, as they are made precisely for audio-based purposes.

A Note On USB Microphones

For those who are not overly confident with audio, a USB microphone can be a simple and effective solution to improve the audio. USB mics generally sound much better than the built-in microphones of webcams, laptops and cameras.

Many USB mics have automatic driver downloads and are designed to be “plug and play”. This means that users can plug the USB mic into their computer and instantly access improved audio. This is certainly worth considering if the webcam audio is not up to your standard.

Related article: How Do USB Microphones Work And How To Use Them

Related Questions

Do cameras have microphones? Many modern DSLR cameras and video cameras will have internal microphones. These cameras will also generally have microphone inputs to connect higher-quality microphones for improved audio.

Are microphones built into laptops? Many modern laptops will have internal microphones. In fact, they will have multiple microphones for noise-cancellation and improved audio quality. However, connecting a professional USB or XLR microphone to the laptop will nearly always improve the audio quality.

Sources

• https://www.phone.com/phone-support/kind-camera-microphone-speaker-can-use-video-conferencing/
• https://yourbusiness.azcentral.com/telephone-headset-work-16404.html
• https://www.techradar.com/news/computing-components/peripherals/what-webcam-5-reviewed-and-rated-1027972
• https://wistia.com/learn/production/gear-review-microphone-webcam-affordable-setups

The post Do Webcams Have Built-In Microphones? (With Examples) first appeared on My New Microphone and is written by Arthur Fox.

USB microphones are a popular alternative to typical XLR microphones due to their ease of use and relatively low price points. For this reason, many people opt for these inexpensive plug-and-play mics.

How do USB microphones work? USB microphones, as transducers, work the same as any other mic by converting sound (mechanical wave energy) into audio (electrical energy). Analog audio signals are then amplified and converted into digital signals within the USB mic's built-in audio interface and outputted via a USB connection.

If that short answer was not enough, fret not! This article will go into detail about USB microphones to explain the technology behind how these easy-to-use microphones work (and how to use them).

Table Of Contents

• What Is A USB Microphone?
• How Do Microphones Work?
  • Moving-Coil Dynamic Microphone Transducers
  • Condenser Microphone Transducers
  • Ribbon Microphone Transducers
• The Analog To Digital Converter
• The USB Microphone Output
• USB Microphones As Audio Interfaces
• Using A USB Microphone
• The Headphone Amplifier
• A Question On The Quality Of USB Microphones
• Pros And Cons Of USB Microphones
• Can I Use 2 Or More USB Microphones At The Same Time?
• USB Microphone Examples
• Related Questions

What Is A USB Microphone?

A USB microphone, in the simplest sense, is a microphone with a USB output.

This tells us a few things.

First, it is a microphone. Microphones are transducers that convert sound waves into analog audio signals. They do so with a transducer element (known as a capsule, cartridge or motor) that features a moveable diaphragm.

Second, the device has a USB output which means that the output is digital. More specifically, the output is a digital audio signal.

Therefore, the USB microphone must have an analog-to-digital converter built into its design to convert the analog signals from its transducer element into digital signals for its output.

So then, a USB microphone can be thought of as a microphone with a built-in digital audio interface that may connect directly to a computer (or any digital audio device) via a USB connection.

Back to the Table of Contents.

How Do Microphones Work?

So USB microphones are largely the same as other microphones, with the major difference being they have built-in audio interfaces. Therefore, to understand how USB mics work, we should know how ‘typical' microphones work.

However, there are no ‘typical' microphones. Rather, there is a multitude of different microphone transducer types in the world that convert sound into audio in different ways.

For an in-depth guide on how all microphones work, check out my article How Do Microphones Work? (The Ultimate Illustrated Guide).

The 3 most common microphones transducer types (and the ones we'll discuss in the article) are:

• Moving-coil dynamic microphone transducers
• Condenser microphone transducers
• Ribbon microphone transducers

Before we get started in the descriptions of these transducer types, it's important to note that a USB microphone could utilize any of these transducer elements. That being said, most USB microphones use electret condenser capsules, which we'll discuss below.

Back to the Table of Contents.

Moving-Coil Dynamic Microphone Transducers

Moving-coil dynamic microphone transducers convert sound into audio via electromagnetic induction. Their transducer elements are typically called cartridges though the term ‘capsule' also works.

The moving-coil cartridge consists of 5 key components:

1. Diaphragm
2. Conductive “moving” coil
3. Magnets and pole pieces
4. Housing
5. Electrical leads

The sound waves cause varying amounts of pressure on either side of the diaphragm, causing it to move back and forth in proportion to the sound waves.

As the diaphragm moves, so too does the attached conductive coil.

A proportional alternating electrical current is induced through the oscillating coil due to electromagnetic induction.

Electromagnetic induction is a natural phenomenon that causes a magnetic field to be produced around an electrically conductive material as electrical current flows through it. Conversely, it's responsible for the induction of electrical current through a conductive material as that material experiences a change in the magnetic field around it. The moving-coil dynamic microphone cartridge utilizes the latter case.

This induced AC voltage across the coil is tapped and eventually outputted from the moving-coil dynamic microphone.

For more information on moving-coil dynamic mics, check out my article Moving-Coil Dynamic Microphones: The In-Depth Guide.

Back to the Table of Contents.

Condenser Microphone Transducers

Condenser microphone transducers convert sound into audio by means of electrostatics. Their transducer elements are essentially designed as parallel-plate capacitors and are referred to as capsules.

For more information on microphone capsules, check out my article What Is A Microphone Capsule? (Plus Top 3 Most Popular Capsules).

The condenser capsule consists of 4 key components:

1. Diaphragm (front plate).
2. Back plate.
3. Housing.
4. Electrical leads.

Before describing the inner workings of the condenser capsule transducer, we must address a key point: the capacitor-like transducer must hold an ideally constant charge across its plates.

This can be achieved by an electrical DC bias voltage via phantom power, an external power supply unit, internal batteries.

It can also be achieved by the use of electret material in the capsule. Electret condensers typically have a thin film of electret material on their backplate though other designs are possible.

The +5 VDC provided by the USB connection is not generally enough to polarize a condenser capsule, so condenser USB mics typically use electret capsules.

To learn specifically about electret microphones in great detail, check out my article The Complete Guide To Electret Condenser Microphones.

In order to hold its constant charge and work properly, the condenser capsule must have an incredibly high impedance. This characteristic helps keep the electrical charge from dissipating from the capsule and allows the capsule to work properly.

The issue is that the outputted audio signal from the capsule will degrade quickly as it travels through any significant length of wire/cable. Therefore, an impedance converter is required immediately after a condenser capsule.

These impedance converters used to only be achievable with vacuum tubes, and many tube mics are still being made today. However, more common now are transistor-based impedance converters (this is especially true of USB condenser mics).

To learn about the differences between solid-state and tube condenser mics, check out my article What Are The Differences Between Tube & FET Microphones?

As their name would suggest, these impedance converters drop the capsule's output signal impedance and make it usable. In the case of the USB mic, the converted low-impedance signals are sent to the digital-to-analog converter (ADC).

Note that the impedance converters, like the capsules, are active and require power to function. In USB microphones, this power is typically supplied via the +5 VDC of the USB connection.

As for the capsule itself, it works like this.

Sound waves cause varying amounts of pressure on either side of the diaphragm (the “front plate” of the capacitor-like capsule). This causes the diaphragm to move.

As the diaphragm moves back and forth, the distance between the two plates changes.

As the distance between the plates oscillates, so too does the capacitance of the capsule's plates.

The charge on the plates is constant (ideally). Therefore, any change in capacitance causes an inversely proportionate change in voltage.

This AC voltage is applied to the active impedance converter, and a usable audio signal to outputted.

For more information on condenser microphones, check out my article What Is A Condenser Microphone? (Detailed Answer + Examples).

Back to the Table of Contents.

Ribbon Microphone Transducers

Ribbon microphone transducers, like dynamic transducers, convert sound into audio via electromagnetic induction. Their transducer elements are typically called ribbon ‘motors' with the “ribbon” being the movable diaphragm.

The ribbon element/baffle consists of 4 key components:

1. Diaphragm
2. Magnets and pole pieces
3. Housing
4. Electrical leads

As sound causes varying pressure between the front and back sides of the ribbon, the ribbon will move. It moves proportionally to the sound waves that interact with it.

A voltage is induced (via electromagnetic induction) across the electrically conductive ribbon as it vibrates in the magnetic field supplied by the magnetic baffle/housing.

This voltage produces an AC electrical current that effectively becomes the output signal of the ribbon microphone.

Note that there aren't very many ribbon USB microphones on the market.

For more information on dynamic ribbon mics, check out my article Dynamic Ribbon Microphones: The In-Depth Guide.

Back to the Table of Contents.

The Analog-To-Digital Converter

So far, we've described, in brief detail, how microphone transducers function. Specifically, we've talked about the 3 most common microphone types: moving-coil dynamic, condenser and ribbon.

USB microphones can have any of the transducer types mentioned above. In fact, I've included examples of each in the later section USB Microphone Examples.

However, due to the digital nature of the USB output, all USB microphones have internal analog-to-digital converters (ADCs).

ADCs do exactly as their name suggests: convert analog audio signals (produced by the transducer) into digital audio signals for the USB microphone to output.

Note that ADCs are required to connect any microphone to a digital audio device (including all computers). These ADCs can be found in standalone audio interfaces, in-line converters, inside headphone and audio jacks, and, of course, within USB and other digital microphones.

The way in which the ADC converts the audio signals is defined by its design. Different ADCs will convert audio at different resolutions.

Digital audio is made of samples and effectively represents the analog audio waveform digitally. The sample rate and bit-depth define the resolution of digital audio.

The sample rate, measured in Hertz, is the number of times the audio is sampled a second. Common sample rates include:

• 44.1 kHz (44,100 samples per second)
• 48 kHz (48,000 samples per second)
• 88.2 kHz (88,200 samples per second)
• 96 kHz (96,100 samples per second)

Bit-depth refers to the number of potential amplitudes each sample can have. Bit depth is measured in bits, and common bit depths include:

• 16-bit (65,536 possible amplitudes)
• 24-bit (16,777,216 possible amplitudes)

So then, an analog signal with a waveform that resembles the following:

Can pass through an analog-to-digital converter and become the following:

Back to the Table of Contents.

The USB Microphone Output

Perhaps this part goes without saying, but USB microphones have a USB output. It's in their name.

There are a variety of different USB connections. Common USB microphone connections include:

• USB-B
• Micro USB-B
• USB 3.0 B-Type
• USB 3.0 Micro B

On the other end of the cable (what the USB microphone plugs into), there could be, and often is, a different type of connector. These connectors include but are not limited to the following:

• USB A-Type
• USB C-Type
• USB 3.0 A-Type
• USB 3.0 Micro B

As we've mentioned previously, the audio signal output of the USB microphone is digital and has a defined resolution.

On top of these, USB carries digital audio in a specific manner. Though this isn't an in-depth article on USB itself, it's worth knowing how digital audio is transferred through USB. Most manufacturers will not mention any of this stuff in their marketing or even in their product specifications.

The ways in which USB can carry digital audio are defined in 3 different classes named Class 1, 2 and 3.

Class 1 can send up to a maximum of 24-bit 96 kHz, while Class 2 can support up to 24-bit 192 kHz. Class 3 simply uses less power and is less susceptible to jitter and data loss.

USB audio data transmits information as packets rather than a continuous stream of PCM audio (like much other digital audio transferring). USB requires a clock signal to keep everything in time, and the choice of clock system is actually very important for USB audio.

USB audio utilized isochronous transfer mode for its real-time characteristics at the expense of error recovery.

Isochronous mode trades a fully guaranteed bandwidth and cyclic redundancy checking (CRC) of data transmission errors for the downside of there being no packet acknowledgement or retransmission in the event of an error.

There are 3 sub-modes within isochronous mode:

• Adaptive: the peripheral sink or source adapts to a potentially varying sample rate of the host.
• Asynchronous: the sink or source determines the sample rate, and the host accommodates.
• Synchronous: a fixed number of bytes is transferred to each SOF period. The audio sample rate is effectively derived from the USB clock.

Back to the Table of Contents.

USB Microphones As Audio Interfaces

As mentioned, USB microphones effectively connect to computers (or other digital devices) and act as their very own audio interfaces.

An interface is effectively a shared hub where various components of a computer system can share information.

An audio interface, then, is a device that allows for communication between audio devices (whether microphones, speakers, headphones, instruments, etc.).

Audio interfaces are often thought of as being standalone devices, and this is perhaps the best way to understand them. The popular Focusrite Scarlett 2i2 pictured below is one example of an audio interface.

The Scarlett 2i2 is an interface that connects to a computer via USB and allows for digital communication between the computer and the following:

• 2 – microphones/instruments (combo inputs)
• 1 – headphone (stereo output)
• 2 – monitors (left and right line outputs)

Note that, in this relatively simple example, the inputs pass through an ADC before being sent to the computer. Conversely, the headphone and speaker outputs have DACs between them and the computer. The headphone has a direct monitoring option which allows the inputs to pass directly to the headphones, along with the computer's output.

When connected, we must choose the Focusrite Scarlett 2i2 as our computer's input and output audio device if we want to actually use it fully as our input and output audio interface, respectively.

For more information on audio interfaces, read My New Microphone's What Are Audio Interfaces & Why Would A Microphone Need One? and Best Microphone Audio Interfaces.

So what does this have to do with USB microphones?

USB microphones act as their own audio interface, removing the need for anything but the microphone itself and the computer.

Simply plug the microphone into the computer and choose the microphone as the audio input device. If the USB mic has a headphone output, we can also choose the “mic” as our computer's output audio device and monitor through the headphone output.

This makes USB microphones incredibly easy to use but somewhat uncooperative when attempting to connect more than one USB mic at a time. A computer can really only connect with a single input and output device at a time. We'll discuss this in detail in the upcoming section titled Can I Use 2 Or More USB Microphones At The Same Time?

Back to the Table of Contents.

Using A USB Microphone

Using a USB microphone can be as easy as plugging it into your computer device.

This is the case if the computer and USB will automatically communicate via drivers, and the computer will automatically choose the microphone as its input device (and output device if applicable).

Sometimes this isn't the case, though. So in this section, we'll go through how to use a USB microphone.

I'll begin by stating that the actual ways you use the USB microphone are up to you. This is true of all microphones.

If you'd like tips and techniques for using microphones, consider reading any (or all) of the following My New Microphone articles:
• Top 23 Tips For Better Microphone Placement
• What Is Ambient Miking & What Is An Ambient Microphone?
• What Is Spot/Accent Miking? (Why And How It Is Done)
• Top 4 Best Surround Sound Miking Techniques (With 3 Extras)
• Top 8 Best Stereo Miking Techniques (With Recommended Mics)
• How To Use A Microphone (Connections, Applications, Miking Technique)

So, then, this section is more about how to connect a USB microphone to a computer device and have it work properly. This can be done by following some or all of the following steps:

• Plug the USB microphone into the computer with the proper USB cable.
• Download the proper driver(s) to allow digital communication between the USB microphone and the computer. This may happen automatically or the computer and USB mic may already have the proper drivers.
• Open the computer's audio input/output and select the USB microphone to be the computer's input audio device.
• Open the computer's audio input/output and select the USB microphone to be the computer's out audio device if you want headphone monitoring from the mic.
• Unmute the microphone if it is muted.
• Turn up the volume of the mic if need be.
• If using a digital audio workstation, arm a track with the USB microphone as the input.

You should be able to test the USB microphone levels in the computer's audio input/output window (in both Windows and Mac operating systems).

For specifics on using individual USB microphones, please read the user's manual published by the manufacturer.

Once again, in most cases, the USB microphone will work simply by plugging it into the computer.

To learn more about connecting microphones to computers, check out the following My New Microphone articles:
• How To Connect A Microphone To A Computer (A Detailed Guide)
• How To Connect An External Microphone To A Smartphone

For more general information on using microphones, check out my article How To Use A Microphone (Connections, Applications, Miking Technique).

Back to the Table of Contents.

The Headphone Amplifier

Many USB microphones on the market have built-in headphone amplifiers for direct monitoring via headphones.

These headphone amplifiers aren't what we would traditionally think of when thinking about standalone headphone amplifiers.

Rather, they are internal amplifiers that allow for zero-latency monitoring of the microphone signal.

Latency is a byproduct of a digital system. It is the time it takes for digital data to be processed.

A great amount of latency can happen as the USB microphone's signal travels from the mic's ADC/interface, into the computer, through all the digital signal processing, out of the computer, back to the mic, and through the DAC (digital-to-analog converter).

The typical USB microphone headphone amplifier/output works as an output interface.

It takes the digital signal from the computer and converts it to analog audio for monitoring. In other words, it acts as an output device for the computer.

The amplifier/output also works to output the signal from the microphone itself directly. The “live” microphone signal is effectively timed to match up with the output of the computer/digital device the USB mic is connected to.

This allows the microphone's headphone output to provide zero-latency monitoring.

Back to the Table of Contents.

A Question On The Quality Of USB Microphones

USB microphones notoriously get a bad wrap from professionals and audiophiles for their seeming lack of quality. Why is this?

Well, I'd argue that USB microphones are not aimed at that demographic. Rather, they are easy-to-use microphones for mobile and beginning recordings. They're simply not meant for high-end recordings (though I'd certainly use them if they were all I had). Actually, now that I think of it, I've actually used a Blue Yeti USB microphones professionally to record closed captioning before.

Many USB microphones sound great and yield high-quality results. That being said, there are plenty of high-end analog microphones (and preamps) that will blow USB mics out of the water.

However, that's not the target market for USB mics. They are easy-to-use with computers and provide high enough quality while remaining affordable.

Of course, like anything, there are some poor-quality USB microphones, but these are often easy to pick out when doing your due diligence (testing or reading reviews, for example).

Back to the Table of Contents.

Pros And Cons Of USB Microphones

The pros and cons of USB microphones are summed up in the following table:

Unfortunately, I believe there is more bad than good in USB microphones. Let's discuss each of the pros and cons in more detail.

Pros Of USB Microphones

Low Cost

A major advantage of USB microphones is that they are typically very affordable. Unfortunately, you often get what you pay for.

However, for beginners or folks who only need one microphone channel, an inexpensive USB microphone can be the best choice!

Related article: How Much Do Microphones Cost? (With Pricing Examples)

Simplicity

The simplicity of a USB microphone is its primary selling point. In the majority of cases, using a USB microphone is as easy as plugging it in. If there are extra steps, they are relatively easy to implement and do not require added hardware.

Click here to revisit the section on Using A USB Microphone.

Portability

Having a single microphone and a signal USB cable makes USB microphones relatively portable when compared with analog mics and their need for interfaces/preamps, etc.

For simple mobile recording, a USB microphone could be a great way to consolidate gear.

Cons Of USB Microphones

Poor Economy

Many, but not all, USB microphones are made somewhat cheaply to keep their prices low.

Buying a USB microphone may very well be the best choice for you, but please ensure you purchase a durable model or else you may end up spending more money on a replacement. Oftentimes a full-out replacement will be more cost-effective than a repair, which is a sign of poor economy.

At the higher end of the USB microphone price range, a decent analog microphone and an interface would cost the same amount and give you a more versatile and durable package.

Single-Channel Interface

As has been stated several times in this article, USB microphones act as their own audio interfaces. This allows them to be easily used by themselves.

However, having the single-channel interface built into the microphone means that the computer's input (and output in certain situations) will only communicate with the microphone and no other source.

This is a severe limitation if we want to use two or more microphones at once.

Compatibility

Compatibility between the microphone and the computer is not typically an issue. However, because the USB mic acts as its own interface, it opens up the possibility for compatibility issues with the computer's operating system.

Latency

All digital audio signal paths create some latency. USB microphones are no exception.

That being said, the cheap nature of USB microphone components will often present more latency than higher-end standalone interfaces. This can show up as a significant delay in monitoring that will affect the performance of the microphone user.

Fortunately, many USB microphones have built-in zero-latency headphone amplifiers to mitigate the effects of their inherent latency.

Related article: How To Fix Microphone Echo And Latency In Your Computer (7 Methods)

Lower Digital Resolution

Honestly, the digital resolution isn't an overly big deal. For example, the CD standard is 16-bit 44.1 kHz and sounds great.

However, higher resolutions do, in theory and practice, sound better (even if we can't exactly hear the difference).

All interfaces, ADCs, and DACs are limited to a certain digital resolution. USB microphones typically have lower resolutions than high-end standalone interfaces.

Less Control/Versatility

The trade-off for having simplicity is the lack of control and versatility.

USB microphones will generally have a gain control and perhaps controls for muting; monitoring level (for the headphone output), polar pattern selection (in multi-pattern models).

That doesn't leave much room for control. Professional standalone interfaces often provide many more options for controlling analog microphones (high-pass filters, phase flips, passive attenuation devices, etc.).

Back to the Table of Contents.

Can I Use 2 Or More USB Microphones At The Same Time?

A major issue with USB microphones is that they act as their own interfaces and, therefore, can only be used one at a time. Or can they?

Is there a way to use two USB microphones at once?

Yes, it's absolutely possible to record and/or monitor two (or more) USB microphones simultaneously on one computer. However, it's not optimale and requires a workaround.

As you may have guessed, this workaround requires a new interface that can combine the signals from each USB mic. This new interface then communicates with the computer (rather than the built-in interfaces of each mic) and allows the computer to see both mic signals.

This is done with computer software.

Before we get into some option of software to use, allow me to state that this is not optimal, and I would never suggest using two USB microphones to record/monitor at once. Not only are they typically lower-quality mics, but the workarounds can get glitchy and frustrating.

But if you're dead set on using two USB mics or you're limited in your equipment, there is a way! In fact, there are many ways in which we can work around this issue. I'll discuss 3 here:

• Combine USB mic interfaces in ASIO4ALL (Windows)
• Combine USB mic interfaces in Audio Aggregate Device (Mac)
• Use multiple computers

ASIO4ALL (Windows)

ASIO4ALL (ASIO stands for Audio Stream Input Output) is a free audio driver for Windows.

With ASIO4ALL, we can effectively combine two USB microphones into a single audio interface.

In this workaround scenario, using two of the same USB microphones (2 Blue Yetis, for example) may cause issues as the ASIO4ALL utility may not see them as being different. Some duplicate microphones may not have this issue. It just goes to show how glitchy this process may be.

Note, too, that some digital audio workstation (DAW) programs (like Audacity) will not communicate with ASIO4ALL and will not record ASIO signals. Once again, it's less than ideal.

To combine USB microphones into the ASIO4ALL driver, start by opening a compatible DAW. Next, open up the preferences and select ASIO4ALL as the DAW's interface.

Open up ASIO4ALL Settings and select the USB mics in the WDM (Windows Driver Model) Device List to activate them.

From here, the DAW should recognize each activated mic from within the ASIO4ALL driver/interface. Simply choose each mic to be the track's input, arm the track, and start recording!

Download ASIO4ALL here.

Audio Aggregate Device (Mac)

Mac OS comes with its own utility to combine different audio devices into a single interface/driver. This utility is called Audio MIDI Setup.

Utilities > Audio MIDI Setup

In this utility, create an aggregate device (this will have both inputs and outputs). Then, under the Audio devices tab, select the connected USB mics (they'll be listed as having inputs and potentially outputs) you'd like to combine within the aggregate.

Once set up, open your DAW or your computer's Sound settings (System Preferences > Sound) and select the aggregate device to be the input and/or output.

In the DAW, you can then select individual USB mics to record on each track.

Use Multiple Computers

Perhaps the most straightforward way to use multiple USB microphones is with multiple computers (one USB mic per computer).

This may seem like the easiest way at the moment, but I assure quantum laziness will be a pain in the end when it comes time to consolidate the files, line them up and produce your final mix.

The bottom line, I suppose, is that getting a multi-channel interface and using analog microphones will save you time, energy and frustration. I would not recommend using multiple USB microphones at once.

Back to the Table of Contents.

USB Microphone Examples

To further our understanding of USB Microphones, let's have a look at 4 examples.

The 4 USB mics we'll discuss are:

• Blue Yeti
• Rode Podcaster
• Shure MV5
• MXL UR-1

Blue Yeti

The Blue Yeti is quite possibly the most popular USB microphone ever and is the flagship microphone from Blue Microphones. The Yeti's tri-capsule electret condenser design allows the user to choose between cardioid, bidirectional, omnidirectional and stereo pickup patterns.

• Sample rate: 48 kHz
• Bit-depth: 16-bit
• Monitoring: Internal headphone output
• Connector: micro-USB to USB-A
• Frequency response: 20 Hz – 20,000 Hz

Blue also has the Yeti Pro that includes an XLR output as well as a USB output, along with other improvements.

Rode Podcaster

The Rode Podcaster is a moving-coil dynamic USB microphone (most USB mics are electret condensers). As the name suggests, it works very well for podcasting, especially on a budget and in less-than-ideal (noisy) recording environments.

• Sample rate: 8-48 kHz
• Bit-depth: 18-bit
• Monitoring: zero-latency headphone output
• Connector: USB-B to USB-A
• Frequency response: 40 Hz – 14,000 Hz

Shure MV5

The Shure MV5 is a standalone USB electret condenser microphone with a 16 mm capsule and cardioid polar pattern. It outputs digital audio up to 24-bit/48 kHz.

• Sample rate: Up to 48 kHz
• Bit-depth: Up to 24-bit
• Monitoring: real-time headphone output
• Connector: Micro-B-to-USB or Micro-B-to-Lightning
• Frequency response: 20 Hz – 20,000 Hz

MXL UR-1

The MXL UR-1 is the world's first USB ribbon microphone. It features a 1.8-micron aluminum ribbon and a classic ribbon bidirectional (figure-8) polar pattern.

• Sample rate: 44.1 & 48 kHz
• Bit-depth: 16-bit
• Monitoring: zero-latency headphone output
• Connector: mini-USB to USB-A
• Frequency response: 18 Hz – 18,000 Hz

Back to the Table of Contents.

Related Questions

What is the best USB microphone? The term “best” is subjective and dependent on situations. That being said, there are a few standout USB microphones on the market worth mentioning. Notably, the Rode Podcaster and the Audio-Technica AT2020USB+.

What do microphones plug into? Other than USB connections, microphones may use XLR, phone (TS, TRS, TRRS), wireless, and other connections to move their audio signals. Microphones generally plug into preamplifiers (standalone or part of mixers, recorders, interfaces, etc.) or other in-line devices and cables between the mic and preamp.

Related My New Microphone articles:
• What Do Microphones Plug Into? (Full List Of Mic Connections)
• How To Use A Microphone (Connections, Applications, Miking Technique)

The post How Do USB Microphones Work And How To Use Them first appeared on My New Microphone and is written by Arthur Fox.

Though tubes have largely been replaced by transistors in the vast majority of electrical circuits, they are still sometimes used (and often cherished) in the audio industry and in microphones. In fact, many of the greatest microphones to ever be produced are tube condenser microphones!

What is a tube condenser microphone? A tube condenser microphone is an active mic transducer that converts sound (mechanical wave energy) into audio (electrical energy) via a condenser capsule and vacuum tube electronics. Tube mics are loved for their warm character and accurate sound pickup and are sought after in studios around the world.

In this complete in-depth guide to tube condenser microphones, we'll discuss everything you need to know about tube mics and, hopefully, answer any questions you have along the way!

Table Of Contents

• What Is A Tube Condenser Microphone?
• A Bit Of History On Tube Condenser Microphones
• How Do Tube Condenser Microphones Work?
  • The Condenser Capsule
  • The Vacuum Tube
  • The Printed Circuit Board
  • The Power Supply Unit
  • The Output Transformer
  • A Note On Transformerless Tube Condenser Microphones
  • The Output Connector
• Multi-Pattern Tube Condenser Microphones
• General Characteristics Of A Tube Condenser Microphone
• Applications Of Tube Condenser Microphones
• Tube Condenser Microphone Examples
• Differences Between Tube And Solid-State Condenser Microphones
• Differences Between Dynamic And Condenser Microphones
• Related Questions

What Is A Tube Condenser Microphone?

The definition of a tube condenser can be as easy as unravelling its name: a tube condenser microphone is simply a condenser microphone with tube electronics. That's too easy, though, so let's dive into each of these descriptions in more detail.

What Is A Condenser Microphone?

A condenser microphone is an active mic (it requires power) that converts sound into audio via electrostatic principles and a capsule that acts as a parallel-plate capacitor.

There are many types of condenser microphones (including tube condensers). The key component that makes a microphone a “condenser” is the capsule, so let's discuss the condenser capsules here.

The condenser capsule is effectively a parallel-plate capacitor. One plate is a movable membrane (known as the front plate or the diaphragm), and the other plate is stationary (known as the backplate).

The condenser capsule must hold a permanent electrical charge. In the case of tube microphones, this charge is supplied by an external power supply. The charge may be supplied via phantom power in other mics, or the capsule may even be permanently charged with electret material.

To hold the fixed charge necessary for proper capsule functioning, the capacitor must have an incredibly high impedance so that the charge doesn't drain away.

As the diaphragm moves back and forth, the capacitance of the capsule changes. When the capacitor holds a fixed charge, this change in capacitance causes an AC voltage (mic signal) to be produced.

What Are Tube Electronics?

Tube electronics involve a vacuum tube (otherwise known as a valve, thermionic tube or electron tube). A vacuum tube is a device that controls the flow of electric current in a vacuum between electrodes when a voltage has been applied. The term “tube” comes from the fact that the device looks like a sealed ceramic or glass tube.

In tube microphones, the basic tube is a triode tube which means the tube has three distinct electrodes. Triodes are famously known for their amplification abilities, as we'll find out soon.

Remember how the condenser microphone capsule has an incredibly high impedance and outputs a signal with high impedance? Well, the vacuum tube is used primarily to drop (convert) this signal impedance so that the mic signal can be properly used. The vacuum tube also acts to amplify the signal level.

The tube is heated up via the external power supply unit and begins emitting an electrical current. This electrical current is effectively modulated by the capsule's high-impedance, low-level output signal. The modulated low-impedance high-level current/voltage ultimately becomes the outputted microphone signal.

Tube electronics are cherished for the colour they add to audio signals. A tube will naturally compress the audio signal and add slight harmonic saturation/distortion that is sonically pleasing to the ear.

Recap On The Definition Of A Tube Condenser Microphone

Now that we know what a condenser microphone is and what tube electronics are, we have a good idea of what a tube condenser mic is.

A tube condenser microphone acts as a transducer, converting sound into audio via an electrostatic condenser capsule. This audio signal is then sent to a vacuum tube to convert the impedance and boost the signal level.

To reiterate, the 2 key takeaways here are that tube condenser microphones have:

• Condenser capsules.
• Tube electronics.

We'll discuss the inner workings of tube condenser microphones in the section How Do Tube Condenser Microphones Work? but first, let's go over a bit of the history of tube condensers. It wouldn't be a complete guide without history, would it?

A Bit Of History On Tube Condenser Microphones

Let's start at the very beginning with the invention of the vacuum tube.

Brief History Of The Vacuum Tube

In 1904, Sir John Ambrose Fleming, an English electrical engineer and physicist, invented the first vacuum tube. This tube was a diode which means it had two electrodes.

In 1905, Lee De Forest, an American inventor, came up with the first triode vacuum tube (with three electrodes, including the control grid). The triode design allows the tube to act as an amplifier and is, to this day, the basic tube type used in microphones. This patent was awarded in 1906.

By the 1920s, vacuum tubes had become widely used in electrical circuits and technology. Microphone manufacturers had begun experimenting with vacuum tubes in their microphone designs.

Brief History Of The Condenser Microphone

In 1916, Edward Christopher Wente, an American physicist, invented the first-ever condenser microphone while working at Western Electric.

This microphone was designed with two plates: the front plate/diaphragm was thin and movable, and the backplate was thicker and stationary. The two plates formed a capacitor (then referred to as a “condenser,” hence the name). A consistent voltage was applied across the plate to hold a fixed charge.

As the diaphragm moved, the distance between the plates changed, which altered the capacitance of the parallel-plate capacitor.

By maintaining a fixed charge across the plates, any change in capacitance caused an inversely proportional change in voltage. Therefore, the moving diaphragm caused a coinciding AC voltage (mic signal) to be outputted from the mic.

Brief History Of The Tube Condenser Microphone

In 1928, Georg Neumann made microphone history (as he and his company, Neuman GmbH, often do) when they released the first-ever commercially available condenser microphone.

This microphone was the CMV3, better known as “The Bottle.”

The CMV3 featured interchangeable capsules to achieve different polar patterns. It was designed with RE084 triode-based tube electronics.

Since then, microphone manufacturers around the world have been producing high-quality tube condenser microphones for the audio industry.

A Brief History Of Transistors

Vacuum tubes remained incredibly popular in electrical circuits until they were largely replaced by cheaper, smaller and more efficient transistors.

In 1947, American physicists at Bell Laboratories (John Bardeen, Walter Brattain, and William Shockley) invented the first-ever point-contact transistor.

Field-effect transistors would not show up practically in microphone technology until the mid-1960s but have become standard in condenser microphone design ever since their introduction.

Many modern condenser microphones are solid-state. In other words, they use transistor-based electronic circuits rather than tube-based electronic circuits. As mentioned, transistors are cheaper, more efficient, smaller, and as an added bonus, they often sound “cleaner” than tubes.

With that being said, tube microphones remain highly sought after for their wonderful characteristics and sound quality.

For a detailed account of microphone history, check out my in-depth article Mic History: Who Invented Each Type Of Microphone And When?

How Do Tube Condenser Microphones Work?

In the section on What Is A Tube Condenser Microphone? we went over the basics of condenser capsules and tube electronics.

This section will go through the inner workings of a tube condenser microphone in greater detail.

Of course, no two tube microphone models are the same, but most follow a general pattern of components. These components are shown in the simplified diagram below:

The main components in a tube condenser microphone are as follows:

• Condenser capsule
• Vacuum tube
• Printed circuit board
• Power supply unit
• Output transformer
• Output connector

Let's go through each of these components more comprehensively, shall we?

The Condenser Capsule

The condenser capsule is the transducer element of the tube condenser microphone. Transducers are devices that transform one form of energy into another. The capsule, then, is the part of the tube condenser mic responsible for converting sound waves (mechanical wave energy) into audio signals (electrical energy).

In order to convert sound into audio, the condenser capsule relies on electrostatic principles. In fact, condenser microphones were, and sometimes still are, referred to as “electrostatic microphones.”

For more microphone terminology, check out My New Microphone's Glossary Of Microphone Terminology.

With that in mind, let's discuss the structure of the condenser capsule. The typical capsule is made of the following components:

• Diaphragm (front plate)
• Backplate
• Tensioning ring
• Spacers
• Electrical lead wires
• Housing

Note that some capsules have two diaphragms and even two backplates in their design—more on these designs in the Multi-Pattern Tube Condenser Microphones section.

To better visualize the condenser microphone capsule, let's take a look at a simple diagram that shows the essentials:

• Diaphragm: the diaphragm acts as the movable front plate of the parallel-plate capacitor. It is a thin membrane often made of gold-sputtered Mylar.
• Backplate: the backplate is the second plate of the capacitor and is stationary. It is often made of brass and is typically perforated with through-holes that allow sound to reach the rear of the diaphragm.
• Tensioning Ring: the tensioning ring effectively holds the diaphragm in place while applying the appropriate tension.
• Insulated Spacer Ring: the insulated spacer ring is designed to keep some space between the two plates while also providing insulation between them. This is required to maintain the capacitor design.
• Backplate Mounting Ring: the backplate mounting ring holds the backplate in place.

The entire capsule is then housed in an outer shell, and two electrical lead wires are taken from the capsule: one from the diaphragm (front plate) and the other from the backplate. These lead wires complete a circuit with the impedance converter (the vacuum tube in the case of tube condenser microphones).

How Does The Condenser Capsule Work?

Now that we know the basic design of the condenser capsule, we can get into how it works.

Sound waves cause localized pressure variation in the medium they travel through. The capsule's diaphragm reacts to the difference in pressure between its front side and its rear side caused by these sound waves.

As an aside, directional condenser capsules work on the pressure-gradient principle, which has both sides of the diaphragm exposed to sound pressure variation. Conversely, omnidirectional condenser capsules work on the pressure principle and only have their front sides exposed to sound pressure variation.

To learn more about pressure and pressure-gradient mics and directional and omnidirectional mics, check out the following My New Microphone articles:
• Pressure Microphones Vs. Pressure-Gradient Microphones
• A Complete Guide To Directional Microphones (With Pictures)
• What Is An Omnidirectional Microphone? (Polar Pattern + Mic Examples)

So how does this diaphragm movement translate to a microphone signal? To answer this question, let's have a look at two critical electrostatic equations:

V=QC

C=ε_0(\frac{A}{d})

V = Q • C

The voltage across a parallel-plate capacitor is equal to the product of the electrical charge across the plates and the capacitance of the capacitor itself.

• V = voltage across the plates.
• Q = electrical charge between the plates.
• C = capacitance of the parallel-plate capacitor.

Note that this equation is an ideality and that certain inefficiencies cause losses of voltage, charge and capacitance. However, this equation, in theory, holds true.

So the condenser capsule (parallel-plate capacitor) must be electrically charged in order to function properly.

To hold a charge, the plates of the capacitor must be electrically conductive. As mentioned, the diaphragm is often made of gold-sputtered Mylar. The Mylar is very reactive to sound pressure, while the gold is conductive. The backplate is often brass, which is conductive. These plates must be insulated from one another.

To be more specific, the condenser capsule must hold a fixed electrical charge to function properly. Therefore, the capsule is designed with an incredibly high impedance to mitigate any leakage of electrical charge.

This, unfortunately, also means that the mic signal (AC voltage) across the plates will also have an especially high impedance. The vacuum tube is put there, in large part, to drop the impedance of the signal so that the signal may be sent out of the microphone without severe degradation.

A high signal impedance will critically deteriorate an audio signal through any significant length of cable. This is why the vacuum tube impedance converter is designed to fit immediately after the capsule in tube condenser microphone design.

This charge (aka “polarization”) in tube condenser microphones is supplied via the external power supply unit (PSU). A portion of the power sent to the microphone is used to charge up the capsule for proper functioning.

As we can see from the equation, V = Q • C, a fixed charge (Q) means that any change in capacitance will cause an inversely proportional change in voltage across the plates. This changing voltage will effectively be the mic signal. This brings us to our second electrostatic principle/equation.

C = ε₀(A/d)

The capacitance of a condenser capsule is equal to the product of the dielectric constant, and the quotient of the area of the plates and the distance between the plates.

• C = capacitance of the parallel-plate capacitor.
• ε₀ = dielectric constant.
• A = area of the plates.
• d = distance between the plates.

This equation is also an ideality, so inefficiencies cause losses in some of the factors.

The dielectric constant and the area of the plates are both constant. Therefore, we can simplify the equation to state that the capacitance of the mic capsule is inversely proportionate to the distance between the plates.

Combining the two electrostatic equations, we infer that the voltage across the capsule depends on the distance between the capsule plates. Further inference tells us that a moving diaphragm will cause a proportionate change in voltage across the plates.

As discussed, the diaphragm moves according to sound waves. Thus the microphone represents the sound waves as an AC voltage (aka audio signal). This is how the capsule works as a transducer.

My New Microphone has plenty of articles on condenser capsules and diaphragms. Consider reading any of the following articles for more information:
• What Is A Microphone Capsule? (Plus Top 3 Most Popular Capsules)
• What Are Centre And Edge-Terminated Microphone Capsules?
• Why Are Condenser Microphone Diaphragms Gold-Sputtered?
• Large-Diaphragm Vs. Small-Diaphragm Condenser Microphones

The Vacuum Tube

It wouldn't be a tube condenser microphone with a vacuum tube. Let's discuss how vacuum tubes work in the context of microphones.

We'll start with a simple diagram of a triode tube. Triode tubes have 3 electrodes and are the simplest form of a microphone vacuum tube:

Note that many tubes with greater electrode counts are only configured as triodes when used in tube condensers.

• A: Anode (plate)
• K: Cathode
• H: Heater
• G: Grid

The power supply unit of the tube condenser microphone causes the heater of the tube to heat up. This is why tube condensers get so warm when they are in use.

Note that the tube must hold a vacuum (no air). Otherwise, the heat, combined with oxygen, would burn up the elements. Any air in a vacuum tube would also interfere with electron movement and make the tube much less efficient.

The power supply also applies a positive voltage to the anode (plate).

As the tube heats up, the cathode (electron donor) begins shedding electrons via thermionic emission. These negatively charged electrons are repelled by the negatively charged cathode and attracted to the positively charged anode (plate).

Since the tube contains a vacuum, the electrons flow unimpeded between the cathode and anode. This flow of electrons is better known as an electrical current.

Once heated and powered, the vacuum tube will effectively “output” a voltage.

The grid electrode is where things get really interesting for the microphone design.

The control grid acts as a sort of mesh between the cathode and anode. Its holes allow electrons to pass through it. By adjusting the voltage applied to the grid, we control the number of electrons flowing from the cathode to the anode and modulate the voltage across the vacuum tube.

The control grid effectively accepts the high-impedance signal from the condenser capsule. This AC signal at the grid modulates the stronger signal at the plate.

This makes the triode tube invaluable not only as an amplifier but also as an impedance converter. With a triode, we use the high-impedance capsule signal (at the “input” or grid of the tube) to modulate a stronger low-impedance signal (at the “output” or plate of the tube).

The Printed Circuit Board

The printed circuit board of the condenser tube microphone is designed to send electricity where it needs to go effectively. There are specific paths the mic signal must take and other paths for the polarization voltage and positive anode voltage from the power supply. A printed circuit board also provides a proper grounding path and ground potential.

Additionally, the PCB may also feature switches in its circuitry. These switches may include pads, filters, polar pattern changes, etc. Depending on the microphone, these switches may also be part of the power supply unit, which brings us to our next section.

The Power Supply Unit

Each tube microphone has its own power supply unit. These PSUs plug into the wall and provide their tube condenser with the appropriate voltages for proper functionality.

As mentioned above, the PSUs are essential to polarize the condenser capsule, charge the anode (plate) positively and heat the vacuum tube heater.

Note that the +48V DC from phantom power is incapable of running the tube electronics of tube condenser microphones. It does not supply enough voltage.

As we'll get to shortly in The Output Connector section, the PSUs often connect to the microphone via the output connector of the mic. This means that the PSU will oftentimes (but not always) also receive the mic signal. In this case, the PSU will have a balanced mic output to connect the microphone to a mic preamplifier effectively.

In the above-picture AKG C 12 power supply unit, we see the power switch, and two dials used to remotely change the microphone's high-pass filter and polar patterns.

The Output Transformer

Many (but not all) tube microphones utilize an output transformer in their design.

Transformers are passive electromagnetic devices that transfer energy from one circuit to another by means of inductive coupling.

Basically, each circuit has its own conductive winding (wire) that wraps around a common magnetic core. This effectively couples the two circuits.

Inductively coupled circuits, like those in transformers, are configured, so a change in current through one circuit’s conductor/winding induces a voltage across the other circuit’s conductor/winding.

Most transformers used in tube condensers are step-down transformers. These transformers fulfill the following roles:

• Decrease/convert the output impedance.
• Block DC voltage from entering the sensitive microphone components.
• Balance the tube's outputted audio signals.
• Colour the microphone’s output signal.
• Decrease the output voltage.

Here is a simple diagram of a step-down transformer. We will use this diagram to explain tube condenser output transformers in greater detail:

• P = primary winding: the primary winding creates a circuit with the vacuum tube and printed circuit board. This means the capsule's converted signal affects the primary winding.
• S = secondary winding: the secondary winding creates an open circuit with the microphone output. This circuit is completed when the tube condenser microphone is plugged in.
• MC = common magnetic core: in order for inductive coupling to work, we need electromagnetic induction. The voltage across the primary winding causes a changing magnetic field within the magnetic core which then induces a voltage across the secondary winding.

In the step-down transformer, we have more turns in the primary winding than in the secondary winding. This does a few things:

Drops the voltage:

V_s = (\frac{N_s}{N_p})V_p

Increases the current:

I_s = (\frac{N_p}{N_s})I_p

Decreases the impedance:

Z_s = (\frac{N_s}{N_p})^2•Zp

So, basically, a voltage across the primary winding (due, ultimately, to the mic capsule) causes a change in the magnetic core’s magnetic field. This change in the magnetic field then induces a voltage across the secondary winding. This is all due to electromagnetic induction.

Transformers are used primarily to balance the inherently unbalanced signal from the tube and PCB. The transformer's secondary winding effectively “outputs” a positive polarity AC signal on one pin and that same signal in negative polarity on another pin when connected to the microphone's output.

This causes a balanced audio signal which is resistant to electromagnetic interference and capable of travelling long distances through balanced cable without degrading significantly.

To learn more about balanced audio and microphones, check out my article Do Microphones Output Balanced Or Unbalanced Audio?

Another big effect of the step-down transformer is that it acts as a second impedance converter stage. With a transformer, we can take some of the load off the tube electronics and still achieve a usable output impedance in our tube condenser mics.

Note that transformers only pass alternating current and block direct current. This is known as DC isolation and helps protect the tube electronics from stray DC voltage on the audio signal lines.

Yet another characteristic of transformers is their colouration. The inductive coupling is not perfect and actually adds colour and distortion to the mic signal. In cheap transformers, this colouration can sound absolutely awful. However, the effect is actually quite pleasing to the ear with expensive transformers commonly used in tube condensers.

For more information on microphone transformers, check out my article What Are Microphone Transformers And What Is Their Role?

A Note On Transformerless Tube Condenser Microphones

There have been many advancements in electrical circuit theory since the invention of the transistor. Since then, it has become possible to design microphones that would normally require an output transformer with a transformerless output circuit instead. These transformerless outputs act to balance the signal and adjust the output impedance.

Many solid-state condenser mics have transformerless outputs, but it is less common in tube condenser microphones.

A modern example of a transformerless tube condenser microphone is the Neumann M 150 Tube.

The Neumann M 150 Tube uses an op-amp-based output circuitry (with transistors) to balance and convert the impedance of its output signal.

The Output Connector

Most professional microphones have XLR output connectors. This is not the case with tube condensers.

Tube condenser microphones have all sorts of different output connectors. The connectors typically connect the microphone to its dedicated power supply unit, and most tube mic manufacturers design mic-specific connections to fulfill this purpose.

The 7-pin XLR is a common output connector choice for tube microphones. Tuchel connectors have also been used regularly throughout the history of tube condensers.

With 7 pins, we could have the following configuration:

1. Audio (positive polarity)
2. Audio (negative polarity)
3. Heater Send
4. Heater Return
5. Anode (plate) DC bias
6. Plate return
7. Ground

This is only one potential way a cable could be wired. Not all tube condenser output connections are wired the same. In fact, it's a safe bet to assume that any two tube condenser microphones will have differing output wiring schematics.

To learn more about microphone output connections, check out my article What Do Microphones Plug Into? (Full List Of Mic Connections).

Multi-Pattern Tube Condenser Microphones

In 1948, Georg Neumann brought another first to the microphone market. The legendary Neumann U 47 (with selectable omnidirectional and cardioid polar patterns) was the first-ever multi-pattern microphone. As we can expect from the title of this section, this mic was a tube condenser microphone.

The U 47 utilized the dual-diaphragm M7 capsule to achieve its cardioid and omnidirectional polar patterns.

Since 1948, manufacturers have been producing multi-pattern tube condenser microphones. Many of the most popular and beloved tube condensers are multi-pattern microphones.

So how do multi-pattern tube condenser microphones work?

Let's start by stating that it has nothing to do with the vacuum tube of the microphone. Rather, the multi-pattern functionality comes from the microphone capsule.

The capsule of a multi-pattern mic must have two diaphragms. This is relatively easy to achieve with a condenser capsule. The two diaphragms are placed on the outsides of the disc-shaped capsule. They can even share a backplate though some designs have two individual backplates as well.

This design effectively yields two back-to-back capsules within a single capsule design.

These two transducers are nearly always designed to have cardioid polar patterns. To do so, there must be carefully designed acoustic labyrinths that allow sound to reach the rear of both diaphragms.

By polarizing the two parallel-plate capacitors in varying configurations, we can achieve different polar patterns.

Let's have a look at the 3 most common options we'll find in a multi-pattern microphone:

• Omnidirectional: this pattern is achieved by polarizing both transducers with the same voltage and the same polarity. The two cardioid patterns come together to capture sound equally from all directions.

• Bidirectional: this pattern is achieved by polarizing both transducers with the same voltage but in the opposite polarity to one another. This effectively causes the front diaphragm to pick up sound in positive polarity and the back diaphragm to pick up sound in negative polarity. The pick up of the sides effectively cancel each other out and we're left with a bidirectional polar pattern.

• Cardioid: this pattern is achieved simply by polarizing only the front transducer of the capsule. Note that the polarizing voltage is typically higher, in this case, to ensure the cardioid pattern is as sensitive as the other patterns that utilize both diaphragms.

The most famous multi-pattern capsule in the world was actually developed in response to the U 47. This capsule was designed by AKG and is known as the CK12.

Microphones that utilize the AKG CK12 (or a similar capsule) often boast a whopping 9 selectable polar patterns.

General Characteristics Of A Tube Condenser Microphone

Each and every microphone model has its own unique design, character, and pros and cons. However, there are some remarkable commonalities between tube condenser microphones that we should discuss here.

General characteristics of tube condenser microphones include:

• Extended frequency response
• Saturated “warm” tone (distortion)
• Naturally compressed
• High-sensitivity ratings
• Relatively high self-noise
• High price point

Extended Frequency Response

Tube condenser microphones are cherished for their extended frequency responses. This is actually a commonality across all studio-grade condenser microphones and not just tube condensers.

The low mass and inertia of the capsule's diaphragm allow sound frequencies across the audible spectrum to move the diaphragm easily. The relatively tight tensioning of the diaphragm also improves reactiveness to a wide range of frequencies.

The tension of the diaphragm also yields an accurate transient response at the capsule.

Though the tube electronics act to naturally compress these spikes in the mic signal, tube condensers certainly do have accurate transient responses along with their wide frequency responses.

The frequency response of a condenser microphone is mostly determined by its capsule than by its circuitry. Small-diaphragm condensers tend to have flatter high-end frequency responses than their large-diaphragm counterparts because the high-frequency sound waves (with short wavelengths) are more effective at moving smaller diaphragms.

To learn more about microphone frequency response, check out my Complete Guide To Microphone Frequency Response (With Mic Examples).

Saturated “Warm” Tone

Vacuum tubes are loved in the audio world due to their “warm” sound.

This warmth is caused by 2 factors inherent in vacuum tube electronics:

1. Thermal noise
2. Distortion/saturation

Thermal noise refers to the phenomena where ambient heat causes electrons in conductors to vibrate and cause electrical noise. This noise occurs naturally in heated (functioning) vacuum tubes and is carried in the signal throughout the rest of the gain stages.

Thermal noise has a uniform power density which means it is equally present in all frequencies. In this way, it sounds like white noise.

Though noise is generally considered the enemy in audio signals, the broadband thermal noise in tube condenser mics, if not overly present, may add a certain warmth and smoothness to the tone of the microphone.

Saturation distortion refers to a subtle form of analog signal distortion. Vacuum tubes, when passing higher signal levels from the capsules, tend to saturate.

Audio saturation adds sonically pleasing harmonics to the audio signal. Tube saturation helps warm up the sound and has the added benefit of naturally compressing the sound, making it fuller and more present.

Naturally Compressed

Speaking of compression, I'll restate here that tube electronics will act to compress the signal during saturation.

Compression effectively reduces the dynamic range of a signal (the difference between its strongest or loudest point and its weakest or quietest point). Compression actually brings the highest levels down (those that cause saturation), but the sonic effect is that of bringing the quieter parts up.

The result, as mentioned, is a full, smooth, and present sound. Audio enthusiasts love tubes for this reason.

High-Sensitivity Ratings

The internal amplification of tube condenser microphones gives them high sensitivity ratings.

A microphone's sensitivity rating/specification refers to its output level when subjected to a given sound pressure level. By having internal amplification, tube condensers are capable of outputting very strong signals at a given sound pressure.

For more information on microphone sensitivity ratings, check out the following My New Microphone articles:
• What Is Microphone Sensitivity? An In-Depth Description
• What Is A Good Microphone Sensitivity Rating?

Relatively High Self-Noise

The thermal noise of the tube amp causes relatively high self-noise ratings in the tube condenser microphones.

As mentioned, this isn't always a bad thing, but it is worth noting as a general characteristic of tube condenser microphones.

For an in-depth read on microphone self-noise, check out my article What Is Microphone Self-Noise? (Equivalent Noise Level).

High Price Point

High-quality condenser capsules, vacuum tubes and transformers are very expensive. When the components are that expensive, microphone manufacturers tend not to cheap out on other electrical and housing components for their microphones.

This is even before research and development and the costs associated with manufacturing which further increase the cost.

To produce a profit, then, tube condenser microphones are sold at high price points as well.

On top of this, many of the greatest microphones in the world are vintage tube condensers that are no longer in production. These mics command a premium price point due to their collectability.

To learn more about vintage microphones, check out My New Microphone's Top 12 Best Vintage Microphones (And Their Best Clones).

Applications Of Tube Condenser Microphones

In the early days of tube condenser microphones, the recording practices were much different. Music recording generally consisted of a single microphone placed in front of an entire group of musicians. Radio was a bit different, where a mic was placed in front of the single announcer.

Since then, many different practices have come about. Most notable among these practices is the idea of close-miking or otherwise isolating individual sound sources.

Tube microphone technology has continued to improve along with the recording industry. However, not much thought has to be put into redesigning tube condensers for specific applications. This isn't an oversight, though. It's just that tube condenser microphones naturally sound amazing on practically all sound sources.

The following list includes some of the common tube condenser microphone applications:

• Vocals
• Voiceover
• Room mics
• Brass
• Woodwinds
• Acoustic guitar
• Piano
• Orchestra
• Guitar & bass amps/cabinets

To learn about my recommended microphones for each of the above applications, check out My New Microphone's Recommended Microphones And Accessories.

Tube Condenser Microphone Examples

In order to truly understand tube condenser microphones, we must have a look at some real-world examples. In this section, we'll discuss 5 tube condenser microphones, focusing on their components and design and how they portray the general characteristics and applications of tube condensers.

The 5 microphones we'll be discussing are currently on the market and are as follows:

1. Telefunken Ela M 251E
2. AKG C 12 VR
3. Neumann M 150 Tube
4. Sony C-800G
5. Avantone Pro CV-12

Telefunken Ela M 251E

The Telefunken Ela M 251E is a great example of a vintage tube condenser microphone. It was originally released in 1959 and has recently been put back into production.

This high-end side-address multi-pattern tube condenser microphone was based on another tube condenser legend: the AKG C 12.

• Debut year: 1959
• Capsule: AKG CK-12
• Vacuum tube: 6072a (General Electric or Electro Harmonix)
• Transformer: Haufe T14:1
• Power supply: M 950E
• Polar patterns: Omnidirectional/ Cardioid/ Bidirectional
• Frequency response: 20 Hz – 20,000 Hz
• Sensitivity rating: 17 mV/Pa
• Output impedance: 200 Ω (50 Ω switchable)
• Self-noise: 9 dBA
• Maximum sound pressure level: 130 dB SPL

The Telefunken Ela M 251, like most vintage microphones, captures audio with character. Though the 251 is accurate in its pick up, it gives incredible “warmth” and “weight” to the audio signal due in large part to its 6072a vacuum tube and Haufe T14:1 output transformer.

AKG C 12 VR

The AKG C 12 VR is another microphone based on the legendary AKG C 12 (from 1953). This multi-pattern tube condenser offers the following options:

• 9-selectable polar patterns
• -10dB and -20dB pads
• 100Hz (-6dB/octave) and 130Hz (-12dB/octave) high-pass filters

AKG's C 12 VR uses the original 6072A vacuum tube and dual-diaphragm capsule design of the 1953 model. However, it incorporates an updated, edge-terminated CK12 capsule and a state-of-the-art circuit board for lower noise and distortion as well as increased reliability.

• Debut year: 1994
• Capsule: AKG CK-12
• Vacuum tube: 6072A
• Transformer: Ü66 (T5743)
• Power supply: N12 VR
• Polar patterns: 9-selectable
• Frequency response: 30 Hz – 20,000 Hz
• Sensitivity rating: 10 mV/Pa
• Output impedance: 200 Ω
• Self-noise: 22 dBA
• Maximum sound pressure level: 128 dB SPL

The AKG C 12 VR captures audio with pristine accuracy while adding a pleasant character (“warmth” and “depth”) to the audio signal. This is mainly due to the 6072A vacuum tube and Ü66 output transformer components.

Neumann M 150 Tube

The Neumann M 150 Tube is a bit different than the other tube condensers on this list.

To begin with, it's a small-diaphragm condenser, unlike the other large-diaphragm condensers. Another key difference is that the M 150 Tube has a transformerless output circuit.

This microphone is based on Neumann's vintage M 50 tube condenser, which was based on the legendary M 49 microphone. The M 50 and the M 150 Tube are known for their bright high-end, and omnidirectional polar patterns.

The M 50 was made legendary from its use on orchestral recordings (particularly when used in overhead stereo miking techniques such as the Decca Tree). The M 150 Tube follows directly in its footsteps.

• Debut year: 2001
• Capsule: K 33 TI
• Vacuum tube: 6111
• Transformer: N/A
• Power supply: N 149 A or N 149 V external power supplies
• Polar pattern: Omnidirectional 
• Frequency response: 20 – 20,000 Hz
• Sensitivity rating: 20 mV/Pa
• Output impedance: 50 Ω
• Self-noise: 15.0 dBA (28 dB)
• Maximum sound pressure level: 114 dB

This microphone is very accurate and is considered to be bright (sensitive to high-end frequencies) compared to most tube condensers.

Sony C-800G

The Sony C-800G is a modern beast when it comes to tube condenser microphones.

This microphone has a large dual-diaphragm condenser capsule based on the Neumann K67 and is switchable between cardioid and omnidirectional modes.

The 6AU6 tube gives the C-800G part of its characteristic weight and sound. The mic is easily distinguishable by its large external heatsink that keeps the tube at an optimal temperature for perfect performance.

• Debut year: 1993
• Capsule: Sony C800G (based on Neumann K67)
• Vacuum tube: 6AU6
• Transformer: Custom T101 9:1
• Power supply: AC-MC800G
• Polar patterns: Omnidirectional and Cardioid
• Frequency response: 20 Hz – 18,000 Hz
• Sensitivity rating: 
  17.8 mV/Pa (Omnidirectional)
  25.1 mV/Pa (Cardioid)
• Output impedance: 100 Ω
• Self-noise: 18.0 dBA
• Maximum sound pressure level: 131 dB SPL

The Sony C-800G is best known for its use as a hip-hop and R&B vocal microphone. It captures sound with natural clarity and remarkable body and presence. It enhances nearly every type of vocal it captures.

Avantone Pro CV-12

The Avantone Pro CV-12 is an example of a “budget” tube condenser microphone with a price point of about $500 USD.

This microphone is also reminiscent of the AKG C 12 (we can tell by the name) and other vintage tube condensers from that era. It features a large 32mm Mylar diaphragm in an externally polarized capsule and a 6072A tube for a warm, vintage tone and audio quality.

• Debut year: 2006
• Capsule: K67-styled capsule
• Vacuum tube: 6072A dual-triode
• Transformer: Custom
• Power supply: PS-12
• Polar patterns: 9-selectable
• Frequency response: 25 Hz – 20,000 Hz
• Sensitivity rating: 17.8 mV/Pa
• Output impedance: 250 Ω
• Self-noise: 17 dBA
• Maximum sound pressure level: 146 dB SPL

Like all the tube condensers on this list, this microphone excels in practically all applications but is particularly effective on vocals.

Differences Between Tube And Solid-State Condenser Microphones

The obvious difference between tube and solid-state condenser microphones is that the tube mics utilize vacuum tubes as their impedance converters. In contrast, solid-state mics utilize transistors as their impedance converters.

This is a pretty big difference and actually results in other noteworthy differences. Let's have a look at the main differences here:

To learn about the differences between tube and solid-state condenser microphones in greater detail, check out my article What Are The Differences Between Tube & FET Microphones?

Differences Between Dynamic And Condenser Microphones

It's good to know the differences between tube and solid-state condensers. It's best also to understand the contrast between condenser microphones and dynamic microphones. In the below table, consider tube condenser microphones in the “Condenser Microphones” column.

For more information relating to the differences between dynamic and condenser microphones, check out my detailed article titled Differences Between Dynamic & Condenser Microphones.

Related Questions

What is a microphone made out of? Different microphones are made with different components. Every mic, however, has a moveable diaphragm that reacts to sound waves and a transducer element that converts this diaphragmic movement into an electrical audio signal. Other key components include grilles, bodies, transistors, transformers, and vacuum tubes.

To learn more about what microphones are made of and how they're made, check out my articles What Are Microphone Diaphragms Made Of? (All Diaphragm Types) and How Are Microphones Made? (Designs, Materials, Production), respectively.

Can I plug a microphone into my phone? Yes, there are many smartphones on the market with a large selection of microphones designed to connect to them. These mics usually connect via micro-USB, lightning, or 1/8″ (3.5 mm) TRRS and are often part of a headphone setup.

For much more information on smartphones and microphones, check out the following My New Microphone articles:
• How To Connect An External Microphone To A Smartphone
• How To Choose The Best Microphone For Your Smartphone Audio

This article has been approved in accordance with the My New Microphone Editorial Policy.

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The post The Complete In-Depth Guide To Tube Condenser Microphones first appeared on My New Microphone and is written by Arthur Fox.