There are three types of microphones, dynamic microphones, condenser microphones and ribbon microphones. How to choose a microphone is not simply a matter of looking at which price is high, which means good quality. Only the most suitable microphone is the best microphone. I know which type of microphone is most suitable. First look at the occasion, then look at the needs. Let’s take a look at the advantages and disadvantages of the three microphones.
The sensitivity of a dynamic microphone is not high enough, and it cannot pick up more details than a condenser microphone, but it is also not easy to pick up environmental noise. It is very suitable for use on the stage, and it is not easy to generate feedback and howling. Another advantage of insensitivity is the high sound pressure level, which means that it can withstand very loud sounds without popping. For example, when you pick up the sound of snare drums at close range on the stage, the sound of a good drummer is very loud. If you use a condenser microphone, it will definitely pop. No matter how you adjust the amplifier gain, it will be useless. A dynamic microphone is very suitable.
Although the frequency response of dynamic microphones is not as straight and wide as that of condenser microphones, many musical instruments such as guitars and basses are not full-band instruments themselves. Dynamic microphones can already pick up their sounds very well and avoid them. The trouble of crosstalk of other instruments will be much more convenient when the tuner repairs EQ.
Another great advantage of dynamic microphones is that they are sturdy and durable. If it's a condenser microphone, it's hard to tell, maybe it's broken.
The biggest feature of the condenser microphone is its high sensitivity, rich details of pickup, and a flat and wide frequency response curve, so it can perform satisfactorily in a good and quiet acoustic environment in the recording studio. In a normal environment, it is easy to pick up environmental noise, such as the voice of the next door, the sound of cars downstairs, which is difficult to remove in the later stage, even if it is barely removed, it will damage the sound quality.
In addition to the requirements for the sound environment, condenser microphones are also more delicate, and light handling is a must. It is best to put them away when not in use, and put a few packets of desiccant next to them, because moisture will affect the sound quality of condenser microphones. So generally high-end recording studios will buy a special constant temperature and humidity drying box to store the microphone, after all, it is a tool for making money.
Ribbon microphones are more delicate and harder to serve. The ribbon microphone is a bit between a dynamic coil and a capacitor. The sensitivity is not as good as that of a capacitor, but it is worse than a dynamic coil. The frequency response is worse than the moving coil, but not as broad as the capacitor. Although the performance is not good enough, and the temper is difficult to serve, but "one trick to eat fresh all over the sky", with its warm retro tone and fast transient response, it has become the favorite of many sound engineers.
And with the development of technology, many manufacturers are improving the shortcomings of ribbon microphones. For example, Blue Woodpecker ribbon microphones can be powered by 48V phantom power, which improves the high frequency response, wider frequency response, and stronger signal output. No longer worry about turning on the phantom power supply and burning the microphone. Beyerdynamic's RM510 ribbon microphone head can even adapt to the complex environment of live performances. It is believed that the application range of ribbon microphones will become wider and wider.