Good Vibrations Part I: Microphones
Now that you are acquainted with using the equipment in your home studio, it’s time to take a more detailed look at microphones and how to use them. Since it would be impossible to include everything in a single article, I’ve included links at the end to help you dig deeper, but this piece should be more than enough to get you recording. Starting off, there are some fundamental technical qualities that vary between microphones that will help you better understand what the best microphone choice is for you.
Frequency Response and Character: Each microphone comes with a unique frequency response, the range and emphasis the microphone has regarding the frequencies it picks up, sometimes called the microphones ‘character.’ For example, a kick drum microphone will mostly pick up sub-bass and bass frequencies, which makes it a good candidate for recording kicks but a terrible one for a piccolo or any other instrument that sits in the higher register.
When looking at microphones, particularly vocal microphones, keep in mind that different microphone characters will work better for different voices. If your singer has a low and dark voice, using a microphone that has a darker character, one that emphasises more lower frequencies, will make them sound muddy. If your singer has a bright or nasal voice, a bright sounding microphone can make them sound thin and tinny. Conventional wisdom says pick a microphone with the opposite character of what you are trying to record, match bright with dark and vice versa. It can be hard and expensive to get a microphone that is ideal for every possible scenario, and there is a lot to be said for working around things in mixing, but my recommendation would be to find the most versatile microphone that will sound best considering what you know of your source sound.
Polar Pattern: All microphones will have their own polar pattern, the physical space in which the microphone will detect sound. For example, a mic with a cardioid pattern will only pick up sound that enters the bean shape in the chart, essentially sound that is being directed in front of it. A bi-directional microphone will pick up sound that comes from both the front and back but not the sides. While there are some general trends on what kinds of mics will have a particular polar pattern, the best way to be sure you’re getting the microphone that is right for you is to find charts of its polar pattern and frequency response online before purchasing.
Types of Microphones: Though there are other types of microphones that have been engineered for specific applications, these are the main kinds of microphones that pertain to home studios.
Large diaphragm condenser microphones are often considered vocal mics with each having a distinct, individual character. They also tend to capture a little extra bass, though some models come with a switch to roll off the low-end. You can also use them on instruments to add that microphone’s sonic characteristics to the recording.
Small diaphragm condenser microphones attempt to sound as clear and natural as possible, making them ideal in situations where you are trying to capture entirely accurate sounds or sparkling high-end. These tend to be ideal for instruments where those high frequencies are crucial like acoustic guitars and cymbals.
Dynamic microphones are less sensitive than condenser microphones and are traditionally used in both live and studio settings on a variety of instruments like guitar cabinets and snare drums.
Ribbon microphones each have their own, usually vintage-sounding character and can capture highly accurate but colorful recordings for guitars, orchestral instruments, drums, and room ambience. They are usually pretty expensive, though there are some models that are more affordable and still work well.
USB microphones are often made with speaking in mind making them great for Zoom meetings and podcasting. However, some models that record vocals and instruments well may work for you if you are trying to have an interface-less or lighter set-up.
from left to right: Rode NT-1, AKG P170, Electrovoice RE20, Avantone CR14, Blue Yeti
Choosing the right microphone: It’s important to know about the characteristics of each microphone to make sure you pick the best one for the job, but there are some guidelines to get you looking in useful directions. These guides are not set rules and experimentation can lead to interesting sounds so keep that in mind as you try to synthesize the sonic landscape you are envisioning.
Vocals: Frequently you’ll see large diaphragm condenser mics like the Rode NT1 used here. However, I have seen people use dynamic microphones like the Shure SM58a, Shure SM7B, and Electrovoice RE-20 to great effect. The Audio Technica AT2035 is a quality budget large diaphragm condenser mic I have used on all of my recordings except for the rare instance where I have used an SM58 or SM58a. If you have a little more money, the Electro-Voice RE-20 is a high quality and versatile dynamic microphone that I have seen used on everything from vocals to saxophones. There is a wide list of microphones that might work for you, so I have included some of my favorites in the links at the end of the article.
Electric Guitar: For recording guitar cabinets, the Shure SM57 is a solid bet (and a versatile microphone that will appear several more times on this list). Built like a tank, tried and true, it’s a fabulous microphone for both live and studio use (WKCO studio uses this microphone constantly). My personal favorite is the Sennheiser e609 because of its hum-canceling design, clear and honest sound, and the ability to just hang it over the cabinet. It is less versatile, being made specifically for guitar cabs (though I have heard of it being used on toms), but if you are frequently recording amplified instruments or like to re-amp your synths instead of just recording directly into your audio interface, this microphone will be worth its weight in gold. There is also the option of using a ribbon microphone like the Avatone CR-14 which has been considered by some to be the standard way to record guitar cabs.
Acoustic Guitars: Most frequently, I have seen small diaphragm condenser microphones used, though large diaphragm and dynamic also have quality options. The ever effective SM57 or its variants like the SM57a can produce great sounding recordings, but I have had great luck with the AKG Perception 170. It’s a small diaphragm condenser microphone that captures glittering high frequencies excellently and can also be used in a pair to create stereo recording, get consistent sounds out of multiple instruments simultaneously, and make excellent drum overhead tracks.
Drums/Bass: Because the standard drum kit is comprised of so many different sounds, it requires a host of different microphones. Micing drums is a highly debated field with wide ranging advice and techniques that go into everything from what kind of room to record your drums in to the exact angle to mic your snare from. We’ll get into some drum micing specifics in the second part of this article, but I will link to other quality articles if you are curious about the infinite theories and practices around micing drums. For our purposes, you will need microphones to record the kick drum, snare, and overheads at the bare minimum. You can also mic the hi-hat, toms, individual cymbals, or really anything you see fit.
For kick drums, I recommend the Shure Beta 52A or the AKG D112 which sound great in certain applications on bass instruments also because of their catering to the bass and sub-bass frequency range. For snares, the Telefunken M80 and SM57 have yet to let me down, and the build of 57 is especially handy for drums where it’s likely to get battered by your over-enthusiastic drummer. I have had luck with both the Audix D4 and Sennheiser e604 on toms for capturing their tone and rumble. For overheads, you will want mics that capture the high frequencies of your cymbals and the detail of the room so microphone sets like the Rode M5-MP will do fine. Hi-hats can be captured using small diaphragm condenser mics like the Audio Technica AT4041, though the SM57is a budget option that you may already have that will do fine. There are also drum microphone bundles that may save some money and give you quality mics, though you lose the ability to pick the character you want out of each individual microphone.
Orchestral Instruments: If you are a trumpet or sax player wanting to make the next “Careless Whisperer,” finding the perfect microphone can be tricky. Some instruments have frequency overlap with other instruments that are more common in modern pop music. For example, the trombone has a very similar frequency range and timbre to a baritone male voice. Frequently the same condenser microphone you have for your voice will be good for a wind instrument, though some dynamic microphones like the Electrovoice RE-20 or ribbon mics like the Avatone CR-14 are also excellent choices. However, I can never understate the functionality of an SM57 and a little production wizardry if you are trying to stay on a budget.
Microphone Cabinet Recommendations: If you were looking for a summarized list of what mics to add to your home studio on a budget, here is the list I would recommend:
Rode NT1: I have used this microphone for vocals, wind instruments, strings, and guitars. It won’t break the bank and will let you snag a few other microphones to fill out your ensemble with the money you save.
Shure SM57 (several): I would stock up on these seeing how frequently I’ve used them. They may not be the most original or even the worlds best microphone, but they will consistently produce instrument recordings that you can make sound as professional.
Shure Beta 52A: As this is the only low frequency microphone I have experience with it is the only I have anecdotal knowledge of but there’s a reason it’s the only one I’ve seen in the variety of places I’ve worked: it routinely makes great bass and kick tracks.
AKG P170 (x2): Two of these small diaphragm condensers will cover everything from your sparkly acoustics and strings to your cymbals and overheads. At 100$ a piece, they will make up their pricetag in no time.
To learn how to use the new microphones in your cabinet, check out part two of this article. If you are looking to do a deeper dive and find out more, there are lists of links below that can help get you started. Thanks for reading and good luck recording!
Links:
Microphone Guides:
https://reverb.com/news/home-recording-basics-iii-a-guide-to-microphone-types-and-placement
https://www.musiciansfriend.com/thehub/how-to-choose-microphone-dynamics-condensers-ribbons-more
https://www.soundonsound.com/sound-advice/sos-guide-choosing-using-studio-microphones
https://theproaudiofiles.com/mic-specs/