It also depends on your singing style, are you a soprano, an opera singer or maybe even in a screamo metal band? In most cases, your best bet is to go for a condenser microphone. Large or small diaphragm will both do a great job but if you have the option large diaphragm over small diaphragm because you probably want to capture a decent range of frequencies.
Many people might say not to consider a dynamic microphone in the home studio for vocals if you are in a screamo band or just sing really loudly. However, for many years I used the Shure SM58 for vocals. I even wrote an entire article to justify it. Even though it is meant more for live performances I love the rich tone it provides. It is still well worth considering for the home studio even though it is a dynamic microphone.
Buy on Amazon. This is for a few reasons. Mainly though it is because it can handle loud sounds and is robust and cheap.
If you are worried you might not capture all the frequencies or if you are doing more intricate lead parts. Then you may well want to consider a large-diaphragm condenser for this as well as your vocals. The industry standard for decades has been the Shure SM57 and it is still a favorite of many and available at a very reasonable price. Check out my last article for loads of tips on recording acoustic guitar. In the article, I explained that I am a big fan of using a small diaphragm condenser microphone for acoustic guitar.
Behringer do a great little pair of small-diaphragm condenser mics for a very reasonable price allowing you to record your acoustic guitar in stereo, a nice added bonus. I really do advise against recording live drums in a small home studio, which I will dedicate an article to soon I promise. I also feel like these days you can get a great sound using sampled drums. So for these reasons please take this advice with a great deal of caution and maybe consult a drum expert first as well.
If you really want to use live drums then you will probably need a variety of different microphones in order to record them. Dynamic microphones are perfect for a drum kit as they can take a loud sound and therefore you can place them right next to the desired drum.
Dynamic mics should be used on the snare, bass drum and toms. Condenser microphones are probably a better fit for the cymbals. Higher frequencies are much more important than they are for the drums and these may not be captured by dynamic mics. The vast majority of microphones you will come across are traditional XLR microphones.
Because these use an XLR cable you will need an audio interface to connect it to a computer. Now you may see a USB microphone and think, great! This cuts out the middleman. No need for a chunky box to plug my microphone into, I can just plug it straight into the computer and record away. Well, you can do this, but I would strongly recommend against it in a home music studio. The problem is that for it to plug straight in the signal must be converted from analog to digital.
With no audio interface to do this, it is carried out in the microphone itself. Audio interfaces are much better at doing this it is what they were designed for than USB microphones which are often quite cheaply made. Secondly, it is hard to know where in the dynamic range your levels are set and therefore you will find it very hard to get the right levels with a USB mic. You will find yourself moving towards and away from the microphone or getting distortion in the middle of a track.
Once you have invested in some microphones you will want to take good care of them as they will become a major part of your recording process. Microphones vary in build quality and susceptibility to damage. But many of the parts are quite sensitive and therefore can get damaged fairly easily if you are not careful.
If your equipment is primarily for studio use and is not getting used for gigging which I would advise , then you are best leaving the microphones where they are and handling them as infrequently as possible. I personally keep my microphones out on their stands at all times so they are ready to go.
It is a good idea to keep this dust from entering your microphone. It can settle on the diaphragm and cause the microphone to lose sensitivity or alter the frequency response.
I simply cover my mics with plastic bags very scientific I know when I leave the studio to prevent any dust entering them. A different kind of mic, field recorders are meant to capture sound anywhere, at anytime and as quick as possible.
However, they do have some use with music and home studios, especially the high-end model…. Whenever someone starts a new home recording studio…. The next most common instrument recorded in home studios is of course…. Because…combined with vocals, this one instrument alone can occupy the role of an entire back-up band.
This benefit comes at a cost, because the acoustic guitar is also one of the most complex sound sources you can record. Fortunately though, the first step is pretty simple:. With most musical instruments…. Because when you look at the top microphones ever for recording this instrument…. Because they all fall within a very exclusive list of long-time classics.
More than any other instrument…. Which is why in most cases, home studio engineers will instead opt for an easier, yet less-ideal solution…. Such as virtual instrument drums or electronic drums. However, if you want to record acoustic drums at home, it can be done.
And it all starts with getting the right selection of mics for the various parts of the kit. As we covered earlier in this post…. The deeper you get into the world of audio recording, the more apparent it becomes that virtually ALL of the top microphones come from a small group of big brands.
Skip to main content Skip to primary sidebar Take a look at any online music superstore, and what do you see? Thousands upon thousands of microphones. Of course not. Sound good? Starting with… 1. Diaphragm Size and Weight The reason condenser mics work better with high frequencies is… They use a smaller, lighter diaphragm to capture sound.
That is why the heavier diaphragms of dynamic mics are far less responsive to them. Internal Circuitry The upside of a heavier diaphragm is… The larger mass generates enough voltage through movement, to eliminate the need for an external power source. But this is by no means a disadvantage. Diaphragm Durability Unfortunately, the lighter diaphragms in condenser mics are also more fragile.
General Durability Not only are their diaphragms stronger…the overall design of dynamic mics is stronger as well. Condenser mics however, can suffer performance problems under extreme humidity changes. Gain before Feedback A third reason dynamic mics are great on-stage is… They allow for higher gain before feedback.
Up next… Which is Better for Studio Recording? That is why, more than just these two umbrella categories…. You know that cliche scenario? Just as large diaphragm condensers use smaller diaphragms than dynamic mics … Small diaphragm condensers use diaphragms that are even smaller. For home studios, any one of them would be a great addition to a modest mic collection. Similar in design and frequency response to the Shure SM58 , the Audio-Technica M is a lightweight dynamic microphone that uses a moving coil to capture sound and has a relatively high SPL of dB.
It has a hypercardioid pickup pattern for incredibly focused sensitivity and good rejection of outside sound, and its full frequency response range is 50 Hz to 14 kHz, with small bumps around 2. A studio staple that sounds as good on acoustic guitar, piano, and drums as it does on voice. Why it made the cut: A high sensitivity combined with a wide array of adjustable settings make the AKG C XLII one of the most versatile microphones on the market today.
If you have a bit more to spend and want to get the most bang for your buck, a more versatile condenser microphone like the AKG C XLII is a foolproof option that will perform well in almost every situation. The C XLII has an SPL limit of dB and an extended frequency range of 20 Hz to 20, Hz, making it a great all-rounder microphone for vocals, guitars, drums, and just about anything else you can throw at it. Built for modern studio usage, the C XLII is set apart from more niche options by its wide range of onboard switches that include a three-position low-cut filter, a volume pad for louder sources, and a whopping nine switchable pickup patterns.
This flexibility offers users an endlessly customizable array of creative options, which makes the C XLII a good investment for pro studio use. Like all condensers, the C XLII is relatively sensitive and may not perform well in noisy environments or untreated rooms.
Still, some of this can be mitigated by engaging its more narrow hypercardioid polar pattern. Why it made the cut: The all-in-one design of the Blue Yeti X makes it extremely appealing for streaming use, portable use, and other minimalist recording setups.
Blue is one of the best-known manufacturers of studio mics and their Yeti X—like its big brother, the original Blue Yeti microphone click here to learn more about the differences —is arguably one of the most well-known USB condenser microphones on the market. Like most USB microphones, the Yeti X acts as its own computer audio interface and preamp, functioning with a single USB cable and requiring no extra gear beyond a laptop and a pair of headphones.
The Yeti X is a condenser microphone that uses an array of four capsules to capture sound and can change the pattern of sound it captures via a knob on the rear.
Why it made the cut: Found in recording studios and broadcast environments worldwide, the Shure SM7B is a durable mic that captures smooth, natural vocal sound. The Shure SM7B is a storied dynamic microphone that features a yoke mount, a rugged housing, and an internal shock mount that keep mechanical noise from handling and adjusting to a minimum.
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