Dynamic Mics Condenser Mics UHF Wireless VHF Wireless Microphone Accessories

The Right Microphone for Your Message

A microphone is the first link in the audio chain that transmits your words and music to your congregation. With hundreds of models available, it can be a challenge to know which mic is best suited to your needs. This guide will help you sort out the different types of microphones and make an informed choice. For more information, call us at 1-800-222-4700 for assistance from one of our knowledgeable Sales Engineers.

Wired or Wireless?
One of the first choices to make when selecting a microphone is whether to use a wired or wireless mic. There's so much to discuss regarding wireless systems that we've created a dedicated "Wireless Basics" guide to cover the topic. You'll find it here.

Dynamic Microphone
The most common type of microphone found in worship settings is the dynamic mic. In most dynamic mics, a very thin, light, diaphragm moves in response to sound pressure. The diaphragm's motion causes a voice coil that is suspended in a magnetic field to move, generating a small electric current. Generally less expensive than condenser mics (although very high quality dynamics can be quite expensive), dynamics feature quite robust construction and can often handle very high SPLs (Sound Pressure Levels). Because of the mechanical nature of their operation, dynamic mics are sometimes less sensitive to attack transients, and may not reproduce quite the high-frequency "detail" other types of mics can produce. In the recording studio, dynamics are often used on electric guitars, drums, and more. One example of a highly popular dynamic microphone is Shure’s SM58, shown here.

Condenser Microphone Condenser microphones are most often found in recording studios. However, many condenser mics are now being used in live worship environments. The condenser microphone is a very simple mechanical system, with almost no moving parts compared with other microphone designs. It is simply a thin stretched conductive diaphragm held close to a metal disk called a backplate. This arrangement basically produces a capacitor, and is given its electric charge by an external power source. When sound pressure acts on the diaphragm it vibrates slightly in response to the waveform. This causes the capacitance to vary in a like manner, which causes a variance in its output voltage. This voltage variation is the signal output of the microphone. One example of a popular condenser microphone for live use is Neumann’s KMS-105, shown here. Many lavalier mics are condenser types as well.

High-impedance microphones can be built very inexpensively. However, their response deteriorates rapidly as cable lengths increase, with 18-20 feet being the limit to avoid seriously compromised signal. Low impedance microphones can transmit signals for hundreds of feet without appreciable changes in their signal. That's one reason most sound systems are built around low impedance mics.

Why Do Polar Patterns Matter?

Depending on their design and construction, microphones respond to sound coming from different directions with varying degrees of sensitivity. A plot or graph of this response is called a polar pattern. Looking at a mic's polar pattern will tell you how directional it is and how well it will reject sound from certain directions. Most mics fall into one of two categories: unidirectional or omnidirectional.

In general, stage microphones should usually be unidirectional, with a "cardioid" (or supercardioid or hypercardioid) polar pattern ("cardioid" refers to the heart-shaped graph that represents this pattern) to reject "bleed" from other voices and instruments and voices. However, many lavalier mics are omnidirectional so that they can capture a voice evenly while the speaker's head may be turned.

Which Microphone is Right for Me?

As always with choosing the right mic for your needs, there are a number of factors to consider, both subjective and objective. You'll probably be using unidirectional microphones in most applications because they're so good at isolating sound sources and avoiding feedback. If you're using stage monitors, you may want the tighter pickup patterns, and consequently better gain-before-feedback, of supercardioid mics. The type of instrument you're miking and the sound you're going for will tell you whether you need the frequency response of a condenser mic or a dynamic mic.

Spoken Word  Popular Choices:  • Sennheiser EW 122 G2  • Countryman E6  • Shure Beta58A  • Audio-Technica Pro 61 There is no doubt that wireless lavalier microphones have just about become the standard for miking the worship leader. That's not to say, however, that a reliable wired lectern microphone doesn't have certain advantages. Consider the following: 1 Does the worship leader move around the pulpit? If the answer is "yes", you'll probably want to invest in a wired or wireless lavalier mic system such as the Sennheiser EW 122 G2 or perhaps, a headworn system as in the Countryman E6 EarSet Microphone. Lavalier mics are great because they're completely inconspicuous and won't interfere with the sight line of the congregation. Upgrade to wireless, outfitted with a beltpack transmitter, and the worship leader or worship leader can move freely about the room and congregation. 2 Does the worship leader stay in one place or will other speakers be stepping up to the mic? In that case, lectern microphones might be a better choice. Generally speaking, it's better to use a single lectern mic rather than two to ensure a more consistent tone. 3 Cardioid or Omnidirectional? While conventional wisdom suggests that unidirectional or cardioid mics may offer more stable performance in live applications, you'll want to experiment. If the worship leader moves his or her head from side to side, his or her voice may move in and out of the narrower pick-up pattern of a cardioid mic. On the other hand, the slightly more true-to-life sound of an omni mic presents greater feedback challenges. The speaker's style will influence the choice you make in the microphone polar patterns. Lavalier, lectern and handheld mics come in both types.

Vocals (Singing)  Popular Choices:  • Shure SM58  • Sennheiser e 835  • Neumann KMS-105 Some top singers use relatively inexpensive dynamic mics such as the Shure SM58, rather than condenser models, because the dynamic mic gives them a warmer, thicker sound and tends to wear better through hundreds of services. On the other hand, a breathy, delicate voice can benefit from the detailed high end of a condenser mic like the Shure KSM9.

Drums  Popular Choices:  • AKG D 112  • Shure SM57  • Samson 8Kit  • Audio-Technica ATM25 In many live sound systems, optimally, each drum has its own mic. Using microphones with tight polar patterns on toms helps to isolate the sound from each drum. The snare requires a mic that can handle a very high SPL (Sound Pressure Level) so a dynamic mic like the Shure SM57 is usually a good choice. A kick drum needs a good low-frequency mic like the Electro-Voice RE-20. The brilliance and high frequencies of cymbals are picked up best by a flat-response condenser mic such as the Samson C02. Several manufacturers make multi-mic drum kits (like the beyerdynamic Opus Drum Pack) that provide all the mics you need.

Guitar/Bass  Popular Choices:  • Shure SM57  • Audix D6 A typical guitar amp has sound characteristics, believe it or not, similar to the human voice. In most instances, a dynamic vocal or drum mic will do fine. The Shure SM57 or Sennheiser e 609 Silver are popular choices. Bass instruments need a mic with good low-frequency response, like the AKG D 112.

Horns  Popular Choices:  • Audix i5  • Audio-Technica Pro 35ax Directional (cardioid) dynamic mics with a smooth, flat response and the ability to handle high SPL, are good choices for horns. The Audix i5 is very effective on horns as well as guitars and drums.

Grand Piano  Popular Choices:  • AKG C 414 B-XLS  • Rode NT5 Two flat-response large or small diaphragm condenser microphones are called for here. You might try one, positioned 12 inches above the treble strings and the other above the lower strings. Also, you might try both mics at about 8" from the hammers. A popular choice is the AKG C 414 B-XLS

Electronic Keyboard  Popular Choices:  • Sennheiser e 609 Silver  • Shure SM57 Since most electronic keyboards can be plugged right into an amplifier, you can follow suggestions for electric guitar - essentially a dynamic microphone such as the Shure SM57.