Now that you've selected a mic that sounds best for your voice, let's think about application.

Your two main concerns will be live performance and recording, which will have both similarities and differences in the criteria for choosing a mic.

For live mic'ing (anywhere but a controlled environment), a good-sounding dynamic or ribbon-dynamic mic will serve you well. A condenser is out of the question for your personal mic, because it's too delicate (if you drop it once, you'll more than likely have problems).

There are more considerations in live mic'ing

Performance vs. feedback (on stage)

Performance vs. ruggedness (everywhere)

Mobility (cord vs. cordless)

Good mics will fit most requirements. Cheap ones will only distort your voice and cause problems.

For recording (in a controlled, safe environment) you may use the highest-quality mic without most of the live considerations, whether dynamic, ribbon, or condenser. The sound is first picked up by the mic­ the better the mic, the better your sound, and the less equalization and processing (as compensation) needed to get a good, solid recording.

Processing should be reserved for effects, not for compensation. It tends to sound worse to try to cover up or enhance something that could have been right from the beginning. Besides, the listener can always tell!

Remember, you need a good, full reproduction of your voice to process it to its best live or recorded sound.

Working distance

Close (1/4"- 2") working will emphasize low harmonics but run the risk of popping. Popping can be rectified by enunciating words with lips slightly further apart so the air stream is not pinched too close together, creating small air explosions called plosives.

Distant (3"- 6") working will lose small to large amounts of lows, depending on the mic, and will decrease volume and bring up background (ambient) noise, other instruments, headphone leakage (in the studio), or monitor feedback. Live, this can be rectified by a quiet recording studio, working closer using a very directional mic, staying away from loud instruments, and so on.

Vocal effects

Adjusting nasal resonance (airflow through the nose), throat resonance (opening the throat), or glottal attack (percussive pulse from vocal cords as in a slight grunt), good enunciation, diaphragmatic pulsation (like a pant), and soft-palate edge (with vibration of the uvula) are a few devices to acoustically enhance a recording or performance.