by Bob Rose

After outlining the order of the session, recording begins with the microphone. Matching a mic to your voice requires a good ear and a knowledge of various mics or a professional that can make, match, and apply at least half a dozen known vocal mics to your voice. If you can record them onto tape and decide which one sounds the best for you you can listen later for the best match. A mic is the singer's connection and coupling to the audience, so don't go cheap if you're serious.

Placement of Mic

Placement should be considered when choosing a mic. Depending on the mic, a good working distance is 1" to 4" away on the axis (i.e., the center of the mic) when the singer has a good vocal posture. The closer in, the more the lows are emphasized. The farther away, the less low end is emphasized and if too far away you will get more room sound and ambience (or background noise). In some cases, the mic will lose its integrity (i.e., its ability to remain articulate or even clear or full) from distances greater than its working field. A vocal mic is generally for close working distances.

A good vocal mic may be usable for other applications as well­ near or far. A good mic will compliment your voice, but won't correct it. That must come from you with proper technique and study.

Type

In addition, it is important to define a mic's application to decide what type you need ­ dynamic, condenser, or ribbon (or dynamic/ribbon mics such as some Beyer mics). Dynamic mics operate on an electromagnetic principle (i.e., a magnet wrapped with wire along with a diaphragm to translate the sound when it detects air pressure induced by propagation of a sound on its diaphragm ­ it induces voltage to a mixing board or an amplifier's preamp). Dynamic mics are the most rugged, and are most suitable for live performing as they can stand more abuse than the other types.

Condenser mics operate by means of a charge stored by a capacitor. When the diaphragm and backplate are activated by sound it induces voltage, as is the case with the dynamic, but its voltage is higher and its performance generally more accurate than that or its competitors. The only problem is that it requires an extra (internal or external) phantom power supply and is a much more delicate and sensitive mic. It can be easily broken by a good fall, so it is not considered a good candidate for traveling or live mic'ing except in the hands of a professional sound or recording engineer.

Ribbon mics (or dynamic-ribbon mics) operate on the principle of sound striking an internal ribbon, inducing voltage. The dynamic ribbon operates on both ribbon and dynamic principles. Why? The ribbon is generally higher quality than a dynamic, and when combined with a diaphragm, as in a dynamic, it increases its durability and won't pop as easily during speech or singing as a ribbon alone will. There are some great classic ribbon mics such as RCA or modern ones such as Beyer.

A few names and models to look out for:

Dynamic (live/studio)

Shure: SM58, SM59, SM56, SM57

Sennheiser: MD441, MD421

Electrovoice: RE20, RE15

Ribbon

Beyer: M160 (dynamic ribbon)

RCA: 44, 77D (studio ribbon)

Condenser (studio)

Neumann: U47, U67, M49, etc.

(studio only)

AKG: 535 (both), C414 EB (studio)

Sony: ECM 22 (both), C37P (both)

Wireless headset mics are popular these days but require a very expensive transmitter and receiver to operate properly. Cheap ones sound cheap (under $1000 with mic). Decent ones are anywhere from $1200 to $4500, depending on quality and brands.

Pickup patterns

There are omnidirectional, figure-8, cardioid (heart-shaped), and hypercardioid (tight heart-shaped) pickup patterns; the hypercardioid is preferable for both live performance and recording due to its high rejection of sounds around it.

Balanced vs Unbalanced

Professional mics have balanced lines (i.e. +, -, and a ground) and are low- impedance (i.e., 100-600 ohms) and may be used on any system with decent gain and high- or low-impedance inputs with three-pin adapters, or occasionally 1/4" phono stereo plugs.

Conclusion

Find a quality mic that enhances your voice, and you will always sound at optimum quality (tone and balance). Anything less will degrade your voice. You must have everything going for you just to compete in the industry.

Remember it's 1997!

References.

For further information see:

Clifford, Martin. Microphones. AKG.

Worman, John. The Recording Studio Handbook.

Runstein, Robert. Modern Recording Techniques.