Things that make you go, “hmmm…”
“Why are so few studio microphones ever purchased, or even recommended, for live stage and road use? I’m sure some are probably too fragile for the hazards of the road, but I can’t believe that all would be. What prompts this question is this; I am presently using a Sennheiser MD-441, and have used it on the road for about 20 years with not one problem. I now need one other mic for my own use, and I don’t want to get another of what I already have. I am considering an AKG C414BULS. It certainly satisfies my personal addiction for quality, but it is never discussed as a choice for road use.”
The distinction between “studio” and “live” microphones isn’t concrete, and while there are mics that are clearly one or the other there are also many mics that are used both ways. It’s not at all unusual to see the MD-441 used live (usually on brass or vocals) and in studios. The C-414 is very commonly used on drum overheads live, and I have on occasion seen them used live on vocals and horns, not to mention strings, etc. Historically, dynamic mics (such as your MD-441) were considered to be more rugged and durable – capable of withstanding the beatings a mic can take on the road. And it is true that older condensers and certainly ribbon mics could fail in conditions that would not break a dynamic (though quite often the dynamic’s performance would degrade and just not be noticed). Nowadays most condenser mics are much more durable, and in many cases it can be argued that many are less sensitive to environmental issues than dynamics. However, you should not mistake that statement to mean they aren’t affected by the environment because they most certainly are in most cases. It’s just a matter of applying care and common sense.
Another reason you don’t see these types of microphones used live is because of their expense. They may be just as durable as their “live” counterparts, but due to the investment many users choose not to put them at risk. Here’s where it gets interesting. Many manufacturers have discovered that live sound has reached a point where the quality of the microphone can really have profound impact on the overall sound quality and they are developing “live” microphones that have “studio” elements in them, with the major difference being in how they look. A side-address mic such as the 414 may sound great, but it’s a drag to hold if you are a singer. Put that element (or a very similar one) in a nice hand-held design and you’ve got something singers will be happy with. Neumann, AKG, Audio Technica, and many others have been introducing “live” mics that sound like “studio” mics. And I would say that as long as your singer doesn’t play Roger Daltrey with them they will stand up to the rigors of live performance just fine.