StereoType Records

What’s a good mic to use?

Recently, a comment was posted on our “Recording your first demo” article. It was at once a deceptively simple and astoundingly complex one – ‘What’s a good mic to use?.” This is a bit like asking “What’s a god car to buy” or “What’s a good girl to date?” There are many technical and subjective factors to consider (especially when considering who to date) and as a result there is no simple answer. What I will try to put forward here are a few facts to consider and guidelines to follow when choosing a date mic that meets your needs.

(you should also check out our tips for improving your home studio)

Dynamic vs Diaphragm…that is the question

Before considering which microphone to buy, you’ll need to consider what you’re going to be recording. Rough vocal for ideas – get a dynamic mic. Scratch tracks for demos – a diaphragm (condensor) is probably a better bet. Vocals or guitar? Drums or duets? All of these things will influence your requirements and ultimately your decision.

In most cases, I would say that you’re better off getting a general purpose large diaphragm mic. If you only have the moola for one, this is probably the better route to take as it will deliver better results most of the time and once you learn to get the most out o your mic you can get some truly great results. Practice and experimentation make perfect.

Dynamic Microphones

Without getting too technical, it’s safe to generalize and say that dynamic microphones are the type typically used in live performances – it’s what you would probably draw if someone told you to draw a microphone. They are also used in some studio applications like recording drums and some instruments.

Dynamic mics are usually rugged in construction with a head on signal reception pattern. In other words, they record what is fed directly in to them and try and ignore sounds coming from anywhere else, which is why they’re good for live use . Chad‘s vocal mic will ignore the slashing guitar solo Tyrone is playing to the left and Darren‘s drum solo behind him. This build quality and versatility does however often come at the expense of quality. That is not to say dynamic mics sound bad, but in many cases they are not able to capture all the detail and intimacy of condensor mic.

The other major advantage of condensor mics is the cost. A decent condensor mic can run you as little as a few hundred rands, but as always – you get what you pay for, so caveat emptor. Your new mic might be able to record a rough demo, but will not be able to deliver the crisp studio sound you’re after in a final recording which can lead to frustrating hours or re-recording and frantic eq correction.

Dynamic mics (mostly) also work on a plug and play basis – you plug the mic in and off you go. No external power supply is required, which can make life easier if you don’t have a mixing desk or soundcard with 48v phantom power.

Most clubs will have a Shure SM58 mic or 5 as standard in their rig. These mics are renowned for the warmth they add to vocals and their ability to withstand tremendous abuse (I once spilled a glass of bourbon on an SM58 and it still worked just fine).

Good Dynamic Micrphonest to check out

• Shure SM58
• Shure Sm57 (a little more expensive, but with more transparent frequency response)
• Rode M1A – this is the mic the STR crew uses and we think it’s amazing!
• Sennheiser e815s – we use these for background vocals because of the nice warmth

Diaphragm Microphones

Diaphragm microphones offer a few significant advantages over dynamic – the most noticeable of these being frequency response (how clear the mic is) and amplitude (how loud the mic is). A decent large diaphragm mic will be able to record every whisper and scream you send its way in a way that (hopefully) sounds good. The downside is that dynamic mics are a lot more sensitive and need to be treated with more care and respect than their dynamic counterparts – which is why they often come with cases or boxes to protect them. They are also usually quite a bit more costly, but new low cost condensors are popping up all the time.

Condensor mics also require additional power known as 48v phantom power. To channel this energy you’ll need a soundcard or mixing desk that has 48v phantom included. So, if you don’t have the hardware to support this, you’ll need to factor in the cost of a new card or desk into the mic’s purchase price.

In both STR studios we use the Rode NT1A mic. It offers great frequency response, has a very rugged build quality (very important for use) and adds great detail and warmth to whatever we record giving that nice ‘expensive’ sound at a very decent price. If you can afford it, check out the Rode NT2A – the big brother – which has all sorts of bells and whistles such as switchable pattens and a lower noise floor.

Models to consider:

• Samson C01
• Rode NT1-A
• Studio Projects B1
• Rode NT2A

Ultimately, there is no easy way to answer this question. The answer starts with you determining exactly what you need from your mic and equally important – what you’re willing to spend. A great mic doesn’t equal a great recording. And the same goes the other way – just because you don’t have the latest or best model doesn’t mean that you won’t be able to record the next hit single.