The 4 Different Types of Microphones for your Studio
There’s many different types of microphones out there, and it can be daunting when you’re starting out.
Imagine you were in your living room, trying to record a vocalist.
There’s roadworks outside, and a crying baby next door.
You’ll need a mic with the right polar pattern to record the singer and leave out that ambient noise.
There’s 6 patterns to choose from:
You can see from the chart that a cardioid mic or a supercardioid pattern would work well for a singer. You can control the ambient noise by simply pointing the microphone directly at them.
An omnidirectonal mic would be unsuitable, as it would pick up all that traffic noise too.
Front address vs Side address
So far we’ve looked at the types of mics that pick up sound from the front (called front address). There’s also mics which pick up sound from one side (called side address).
It’s important to know which type you’re using to know where to place it.
Let’s take a closer look at those polar patterns. I’ve made a more detailed guide on the different microphone polar patterns here, with examples of specific mics
This is the heart shaped pattern you’ll find on most microphones. It’s very intuitive – you point the mic towards the sound you want to record.
A cardioid mic only records what it’s pointing at, excluding sound from the sides and the back.
This makes it suitable for:
- Recording in a noisy environment, fan noise, traffic noise
- Recording in a room without acoustic treatment
- Isolating from other instruments while recording live
- Reducing feedback from stage monitors during performance
The supercardioid is a more focused version of the cardioid mic.
It rejects even more of the sides, leaving a narrower recording area at the front. But it also picks up a tiny amount from behind the mic.
Use this pattern when you need to exclude more of the room. Or to help reduce feedback in a live setting.
The bidirectional polar pattern is the shape of a ‘figure of 8’.
It records sound equally from the front and back of the microphone, and rejects sound from the sides.
The bidirectional pattern is suitable for:
- 2 backing singers
- Recording a vocalist with their own acoustic guitar
- Combining with other mics for stereo recording
The hyercardioid lies somewhere in between the cardioid and the bidirectional polar patterns.
It picks up sound mostly from the front, but also has a sizeable pick up area at the back.
The lobar/shotgun is suitable for:
- Recording in a noisy, crowded environment
- Recording dialogue for film and TV
With a highly directional pattern, make sure to point the mic exactly at the sound source.
If it is off axis, the sound quality will be noticeably quieter and of poorer quality.
An omnidirectional pattern receives sound from all directions. This means you can put it in the centre of a room to record everything.
These types of microphones produce an open, natural sound.
An omni will also pick up the acoustics of the room. Which can be an advantage if you’re recording in a beautiful old church.
But problematic if you’re in an untreated box room.
It’s not good to use these types of mics in live performance because it’s impossible to isolate individual instruments.
Omnidirectional’s are also prone to feedback from stage monitors.
Different Types of Microphones
Now you’re familiar with the polar patterns, we can look at the 4 different types of mics for the recording studio:
- Dynamic microphones
- Condenser microphones:
- Ribbon microphones
But first, let’s have a quick lesson on how mics work.
Microphones respond to sound waves.
They convert them into electrical signals.
But what actually happens inside the microphone?
Inside every type of microphone is a thin, flexible plate, called a diaphragm. Sound waves from the air cause the diaphragm to vibrate.
This movement is translated into an audio signal and passed through the cable.
There’s a few ways to make this happen. And each of the different types of microphones has its own process.
Let’s start with the simplest design…
Dynamic mics are the slightly rough, but rugged sibling of the microphone family. The characterful workhorse of the studio.
Dynamic microphones are simple and effective, most of them with a cardioid or hypercardioid polar pattern. These types of microphones stand up well to the rigours of live performance.
How dynamic microphones work
Dynamic mics have small diaphragms made from a type of polyester (called BoPET).
A copper coil is attached to the diaphragm, and inside that coil is a stationary magnet.
When the diaphragm vibrates in response to a sound wave, it causes the coil to move. That’s why it’s also sometimes referred to as a ‘moving coil’ microphone.
And as the coil moves back and forth (oscillates) across the magnet, it builds up an electrical charge. This charge gets sent via the cable, to the audio interface for amplification.
Interesting fact: Dynamic microphones work like speakers in reverse. You can actually use a speaker as a microphone!
When to use dynamic mics
Dynamic microphones are the least sensitive of the 4 types of microphones. This makes them particularly suitable for:
For loud sounds
Dynamic mics respond well to a reasonably loud and close sound source. In fact recording loud instruments are one of its strengths.
Use a dynamic microphone for high SPL (sound pressure level) instruments such as:
- guitar amps
- brass instruments
Dynamic microphones are versatile, favoured by many vocalists for performing live. And their low sensitivity means these types of microphones are less prone to feedback on stage.
And they can be handheld too.
Some singers, particularly from the rock and pop world, love dynamic microphones in the studio too. They can impart a dark gritty character which you’ll get from a dynamic mic.
The frequency range of dynamic mics is well suited to instruments with a strong low to mid presence. They’re not so good for trying to capture a delicate top end.
But very bright instruments can respond well to these types of microphones, as they’re good at toning down any harshness.
Dynamic mics are perfect for recording in a room with sub-optimal acoustics. This is because of their low sensitivity, combined with a cardioid pattern.
These types of microphones are less likely to pick up the sound of the room, than a condenser, which is much more sensitive.
Dynamic microphones also the best types of mic for a room with background noise, like the hum of traffic, or an AC unit.
Which one should you buy?
Dynamic mics are significantly cheaper than condenser microphones or ribbon microphones. This is due to their simple design. They’re the little sturdy workhorses of the studio.
When choosing your dynamic mic, go for the legendary Shure SM7B (full review here) if you have the budget. You’ll have the option of rolling off the bass, and boosting the midrange. They’ve become the mic of choice for podcasters and YouTubers.
If you need to record low sounds, like a kick drum or tuba, you’ll need a bass mic. The AKG D112 is a dynamic microphone designed to capture the lowest frequencies.
The condenser microphone is the sensitive, aristocratic cousin of the microphone family. With an eye for detail and a penchant for telling the truth.
These types of microphones are great at capturing the full frequency of every sound with nuance.
How Condenser Microphones Work
Similar to dynamic mics, the diaphragm of most condenser microphones are made from the polyester (called BoPET). But in condenser mics, they’re lighter, and coated with gold.
Next to the diaphragm is an electrically charged metal plate. Together, they form a ‘capacitor’. That’s why these types of microphones are sometimes called capacitor mics.
The sound waves cause the diaphragm to vibrate. And the vibration makes it moves back and forth from the stationary plate. This creates an electric charge called a ‘capacitance’.
The charge enters some circuitry before exiting as an audio signal. This stage requires 48v power, called ‘phantom power’. It’s normally delivered through the cable, from the audio interface.
When to use a condenser microphone
Condenser mics are the natural choice for the home recording studio.
They have very light diaphragms, and respond to the pressure of sound waves with sensitivity and precision. These types of mics can capture everything across the frequency spectrum, including the subtlest details.
This makes them ideal for vocals, acoustic guitar and any instrument with detail in the high end. Recordings with condenser microphones have a sense of air and transparency.
Condenser microphones picks up every detail, including the size and shape of the room. This could pose a problem if your room hasn’t been acoustically treated.
If this is the case, it might be better to go for a high quality dynamic mic instead. These types of microphones are less sensitive. They’re also less likely to pick up any extraneous noises.
Many modern USB mics are actually condenser microphones. They receive their power through the USB port of the computer.
A really popular USB mic is the Blue Yeti. Its an all-in-one solution, with both microphone and preamp combined.
It’s sensitive enough to pick up the nuances of the spoken voice, and is well suited for podcasts and YouTube.
But I wouldn’t recommend a USB mic for recording a singer if you’re looking for broadcast quality. These types of microphones won’t deliver the necessary sound quality.
Condenser microphones are divided into two categories: large diaphragm and small diaphragm.
Large diaphragm condenser microphones
These are the classic looking mics you see in front of singers. These types of microphones give vocals a full sound, and add subtle warmth and sparkle.
Large diaphragm condensers are also popular for most instruments. And they really shine on acoustic guitar and piano.
The large diaphragm means more detail can be picked up from the sound source. These types of microphones are highly sensitive and work well with quiet sound sources.
Condenser microphones are more fragile and expensive than dynamics. But if you can only budget for one microphone, it should be one of these.
Multi polar patterns
Most large diaphragm condenser microphones have a cardioid pickup pattern, but some allow you to switch between patterns. The Neumann U87 switches between omni, cardioid and figure of 8 (bi-directional)
These types of microphones are incredibly versatile, as they can be used in so many situations. They’re expensive, but worth their price for the recording studio.
Buying a large diaphragm condenser microphone
If I was looking for just one microphone for my studio, it would have to be a large diaphragm condenser. Ideally with switchable polar patterns.
My current go to condenser is an AKG C414, which I use for almost everything. It’s accurate and warm, and sounds good on just about everything.
I really appreciate the switchable polar patterns, all just a flick of the switch away.
The AKG C214 (review here) at half the price, is also a good option. It’s cardioid only, but has a similar sound (though brighter) to the C414.
And let’s not forget the budget friendly Rode NT1-A (full review here). It’s also a large condenser microphone, with a fixed cardioid pattern. It has a low level of self noise and comes with an XLR lead and shock mount.
This mic has an extended and neutral frequency response. But some users report problems with sibilance, (loud s’s and t’s) when recording vocals.
If you’re feeling flush, take a look at the legendary Neumann U87. It’s made by Georg Neumann, inventor of the condenser microphone.
It sounds fantastic on everything: vocals, piano, guitar and percussion. And you can switch between polar patterns whenever you need to.
Small Diaphragm Condenser Microphones
These are small thin cardioid mics, sometimes called pencil condensers.
The small light diaphragm is able to respond to high frequencies in minute detail. They’re particularly good at capturing crisp transients (the start of sounds).
This makes these types of microphones ideal for bright percussion such as cymbals, hi-hat, tambourine and shaker.
Small diaphragm condensers are very effective as overhead stereo pairs. They can reproduce the sound of a room with an accurate stereo image.
You’ll see them set up over a drum kit, or different sections of an orchestra in a classical recording. Recording an acoustic guitar with a close stereo pair can produce a lovely crisp detailed sound.
Should you buy a small diaphragm condenser mic?
You don’t need one of these microphones if you’re just starting out. It would be better to go for a large diaphragm condenser mic.
But if you’re looking to add to your collection, try a pair of Rode NT5’s.
Or perhaps a single Neumann KM184 if you’d prefer one very high quality mic.
The ribbon microphone dates back to the golden age of radio, and can be considered a classic retro mic. I’d describe it as the sensual and sophisticated aunty of the microphone family.
These types of microphones have a larger than life character, and will add a silky warmth to your recordings.
How ribbon microphones work
The ribbon mic works on the same electromagnetic principle as a dynamic mic. But it uses a very delicate strip of corrugated aluminium (or film), instead of a moving coil.
This ‘ribbon’ is extremely sensitive to the velocity of air particles. Its subtle movements create a minute electrical signal, which is fed to a transformer for bolstering.
The output from ribbon mics is generally very low. But some modern ribbon mics also include a preamp stage to amplify the output. They’re called active ribbon mics, and need phantom power.
When to use a ribbon microphone
Ribbon mics are probably the warmest and most natural sounding of all the types of microphones.
They tend to capture instruments close to how you actually hear them. A wide and flat frequency response, starting very low, naturally tapers off in the highs.
These types of microphones are suited to classical music, and sound great on grand pianos and acoustic guitar. In orchestras, they can really warm up the string and brass sections, which can sound a bit harsh through condenser mics.
Ribbon microphones are also great as overheads on a drum kit. Listen out for this sound on some of the Beatles and Led Zeppelin recordings.
Ribbon mics have a strong proximity effect. This means the nearer they are to the sound source, the more bass they pick up. Radio presenters make use of this by speaking up close to the mic, for a deep and authoritative sound.
Engineers also use the proximity effect when they close mic guitar amps for a powerful sound.
Should you buy a ribbon mic?
You don’t tend to see many ribbon microphones in home studios. This is due to the hefty price tag and fear of how fragile they are.
But modern ribbon mics aren’t as delicate as they used to be. You just need to be careful not to subject them to strong gusts of air.
There’s also the effort (and expense) of making sure your ribbon mic is paired with a suitable preamp.
Ribbon mics are typically bidirectional (figure of 8 pattern). Classic models include the Royer R-121, especially for guitar amps.
And the classic Coles 4038, which was designed by the BBC in the 1950s for broadcasting.
Microphones for specific instruments
Do you have a specific instrument you need to record? Or do you need a microphone for vocals?
I’ve suggested some different types of microphones for recording specific instruments.
Best microphone for recording vocals
Choosing the right mic for your voice is imperative for getting good recordings. There’s three things to consider when choosing a microphone for vocals:
- the sonic characteristics of the voice
- the genre and feel of the music
- the room acoustics
Microphones and vocal characteristics
Every singer or rapper has a unique voice with its own range and style. It’s about matching the vocal characteristics with a microphone that compliments them.
Most vocalists benefit from a large diaphragm condenser for a full bodied, spacious sound.
Go for the best quality you can afford. Both the Shure SM7B, or an AKG C214 will produce a professionally clear and detailed sound.
The trick is to experiment, and use what works for you.
If you can, book a studio for an hour and ask the engineer to set up an array of mics. Make sure there’s at least one from each category, the more the better.
Record some solo vocals, and take the recordings home where you can consider what you like and what you don’t.
Vocal microphones for specific genres
There’s some genres which are linked to specific microphone types. Some rock and metal singers like to use dynamic mics in the studio, for a dirty, gritty sound.
And jazz singers sometimes record with ribbon mics to give them the retro sound of a smokey jazz club.
Vocal microphones and room acoustics
When choosing a mic for vocals, you also have to be aware of the room you’re recording in. In many home recording studios, the acoustics are less than ideal.
If you have a small room, with no acoustic treatment, look for a low sensitivity cardioid microphone. A cardioid dynamic mic like the Shure SM58, will only pick up the area in front of it.
It will minimise the sound of the room, and help cut extraneous sounds like distant road traffic.
Sometimes the room you’re recording in will sound great. In an echoey old church, an omnidirectional large diaphragm condenser will capture the full acoustic.
If you’ve treated your recording space with some acoustic panels, use a large diaphragm cardioid condenser like the AKG C214 (full review here).
If you need some help in choosing a suitable mic, I’ve made a buyers’ guide: Best mic for recording vocals
Best microphone for live vocals
Amplifying you vocals on stage poses some specific challenges – you need to:
- Reduce sound coming from other performers and stage monitors
- Reduce the chance of feedback
- Minimise handling noise
- Make sure it still works if you drop the mic or get it wet
Minising risks while getting the best sound
With live vocal mics, you’re looking for the balance between the best sound you can get, versus minimising the risk of something going wrong.
For this reason, most live vocalists choose dynamic mics with a cardioid pickup pattern. The cardioid pattern cuts sound from everywhere but the front of the mic, which reduces feedback and minimises noise from other band members. They’re also built like tanks, with a very low risk of malfunction.
The new generation of vocal mics
Since the SM58 came out way back in 1966, a new generation of condensers have been totally redesigned to stand the rigours of live use. They’re not cheap, but if you need the best sound, you’re probably not expecting the lowest price.
Best microphone for voice overs
Voice over work can include audiobooks, film narration, video diaries and podcasts. You’ll need a microphone that captures the detail and nuance of the talking voice.
A large diaphragm cardioid condenser, like the Neumann TLM 103 or Rode NT1 will work well in most situations.
What works best with your voice?
If you can, its best to try out a selection of microphones for your voice, as they all have unique characteristics.
I have a medium deep male voice. I tried recording a voice over with a Coles 4038, known for its warmth and depth. But instead of that smooth ribbon sound, I ended up with a muddy recording, which I had to fix with EQ.
My voice sounds much better with the AKG C414, which is a naturally bright condenser mic. I’ve also used the classic Nuemann U87, which suits it well.
But sometimes you just have to experiment.
Recently I tried using a shotgun mic (Sennheiser MKH 416) at close range. Even though this breaks all the rules, it was perfect for my voice. It captured the depth, while boosting the presence. There was no need for any extra EQ.
This is also a great mic for excluding the sounds of the room you’re recording in.
Microphone for YouTube and podcasts
The speaking voice is one of the easier sound sources to capture without using a high end microphone.
If it’s for zoom, a podcast or a YouTube vlog, a dynamic microphone like the Blue Yeti might be ideal. It’s a condenser microphone, which plugs directly into the computer.
That means no need for a separate audio interface. You can switch between different polar patterns, and it even has an onboard headphone jack.
Best ASMR microphone
If you’re looking for an ASMR microphone, you’ll need two things – high sensitivity and a low noise floor. The same applies if you’re a sound designer and want to record the quietest sounds in detail.
Microphone noise floor
Every microphone has a certain amount of self generated noise. When you’re recording very quiet sounds, they have to be amplified to a level at which you can clearly hear them. But when you raise the volume, the noise of the mic also goes up. This is why its important to have a microphone with a low noise floor
The more sensitive the microphone, the more it can pick up the small details and quietest sounds.
But don’t forget the background sound of the room. Distant sounds you might not even be aware of at the time, can find their way onto your recordings. The solution is to record in a very quiet room. Some ASMR artists only record at night for this reason.
A microphone sensitive enough for AMSR would be a large diaphragm condenser. Look for one with a low noise floor, like the Rode NT1-A or the Sennheiser MKH 416.
ASMR camera microphone
If you’re looking for something to plug straight into a camera, you’ll need to look at battery powered condenser mics.
Take a look at the Sennheiser MKE400 or the Rode NTG VideoMic. Bear in mind that these mics rely on the camera preamps.
The quality won’t be as good as if you were using the preamps in a dedicated audio interface.
Best microphone for acoustic guitar
The acoustic guitar, and classical guitar are relatively quiet instruments. They have a have a lot of subtle detail, much of it in the high frequency range.
Stereo guitar recording
If you’re recording solo guitar, or have a featured guitar part, it’s worth making a stereo recording. It will widen the sound, and give it a ‘larger than life’ depth.
A couple of condensers will work best for this. Use either 2 large diaphragms, 2 small diaphragm, or one of each. A large diaphragm mic is good for capturing the body of the sound, whereas a small diaphragm captures the high frequency range.
For small diaphragm condenser mics, consider a pair of Shure SM 81’s. For large diaphragm condenser mics, I would use the AKG C214s.
If you’re adding guitar to a busy mix, its probably better to record in mono. It will eliminate any phase problems, and be easier to add to place in a mix.
Use a condenser mic for a delicate or subtle guitar part. Or try a dynamic mic, like the Shure SM 57 for energetic and rhythmic playing.
Best microphone for guitar amps
When recording electric guitar, you can get a great sound by recording the guitar amp. Use a dynamic microphone to ensure a smooth top end. Or try a condenser if you need more brightness in the high end.
Whatever mic you use, moving it around will produce very different results. If your amp is open backed, you could even try miking from the back for a warmer sound.
If you’re using an amp stack, try one mic set a few feet back, to capture what the audience hears. Alternatively, use a separate mic pointing at each speaker cone. This will give you the flexibility to blend the tone while mixing.
If you’d like the dark sound of a ribbon microphone, try the Royer R-121. But remember, the low signal of a ribbon mic will need a suitable preamp. The Royer R-121 pairs well with the Vintech Audio 573.
Best mics for recording drums
There’s many ways to record a drum kit at home. The type of microphones you choose will depend on the miking technique.
It’s important that the room has a reasonable level of acoustic treatment. If that’s not possible, consider recording electronic drums instead. Or head down to a commercial studio, and bring back the audio files to work with at home.
Recording drums with one mic
This is a minimal approach, often used for recording a jazz drum kit. There’s many places you could set up that mic, so it’s worth experimenting until you find a sound you like.
Use a large diaphragm condenser microphone, such as the AKG C214. Or for that authentic smooth jazz sound, you could also consider a Coles 4038.
Some microphone placement ideas:
Recording drums with 2 mics
An advantage of using two mics to record drums is that you can make a stereo recording. You’ll be able to capture the natural sound of the drums as you hear them in the room.
Use a pair of large diaphragm condenser mics like the Rode NT1s, and try out different placements, such as:
- One mic over the snare drum, the other on the other side of the kit
- Once mic in front of the drum kit, the other next to the kick
- Both mics together, angled away from each other at 90 degrees, pointing towards the snare and kick
There’s lots of room for experimentation here. You can also try a dynamic mic like the Shure SM57, or a ribbon mic like the Cole 4038 to create a really unique sound.
Recording drums with 3 mics
With 3 microphones, you can make a stereo recording, while adding an extra dynamic mic for the kick or snare. Use a pair of large diaphragm condenser mics as the stereo pair, and a Shure SM57 for the snare.
A great dynamic kick drum mic is the AKG D112, but a Shure SM57 would also work.
Another technique is to have a large diaphragm condenser mic in front of the kit, or overhead. Then use two dynamic mics for emphasising both the snare and the kick.
Try out different combinations, and don’t be afraid to adjust your playing style to get the best results.
Recording drums with 4 mics
This was a technique used by the Beatles in their early days, when they had only 4 tracks to record the drums on. Engineer Geoff Emerick, described using one mic for the snare, one for the kick, one for the hi hat, and one overhead.
A variation on this would be two condenser mics as an overhead stereo pair, and two dynamic mics emphasising the snare and the kick.
Recording pop and rock drums
Most modern engineers like to use many different types of microphones for recording the drum kit. As well as a spot mic for each drum, there’s usually a pair of overheads which add some sound of the room.
This gives the engineer a lot of flexibility to refine the sound in the mix. But it also means a lot of extra work in both recording and mixing. The more mics you use, the more spill and phasing problems to deal with at the mixing stage
Here’s some of the mics typically used to record a full drum kit:
- Kick drum
A dynamic microphone especially designed for low frequencies, such as the AKG D112 or the Sennheiser E602
- Snare drum
A dynamic mic like the Shure SM57. You can also add a second mic to the underside of the snare to capture the buzz of the snare wires.
- Tom toms
A hypercardioid dynamic mic, such as the Audix D2, one for each tom. This will minimise spill from the rest of the kit. Alternatively you could use one microphone with a wide cardioid pattern.
- Hi hat
A small diaphragm condenser, such as the AKG C451. This is perfect for capturing the high frequencies and transients of the hi-hats.
- Overhead and cymbal mics
This should be a stereo pair of large diaphragm condensers like the Rode NT1’s or the AKG C214s.
Or for more detail on the higher frequencies, use a pair of small diaphragm condensers. Suitable mics are the Rode NT5’s or the Lauten Audio LA120’s.
Remember, these are only my suggestions. Use them as a starting point to find your own sound.
If you want to save yourself the effort of trying out all these mics, you could opt for a microphone set. There’s a microphone pack from AKG, with some classic mics, specifically for recording a drum kit.
Best microphone for piano
Pianos are notoriously hard to mic up. Much of that is down to the sheer volume and bass of such a large instrument. Room size and acoustics also play a large part in getting a good sound. There’s also unexpected squeaks and creaks from the pedals and the piano stool.
Think about recording with a good digital piano instead, or booking a commercial studio for solo piano recordings.
I had a 1906 Steinway piano set up in my studio for many years, and got a great sound with a pair of Neumann U87s. They’re top quality large diaphragm condenser mics with a choice of polar patterns.
There’s other cheaper alternatives, like the AKG C214s, or more affordable still, the small diaphragm NT55’s.
It’s also possible to use a pair of dynamic mics, such as the Shure SM57s, for close miking rock or pop recordings.
Dynamic microphones have limited sensitivity, but could work well for a small piano part within a mix.
Best microphone for violin
For a natural, full violin sound, the acoustics of the room play a large part. Violins sound best with the microphone placed a few feet away. Miking too close will pick up the little clicks and scratches that the audience doesn’t normally hear.
Try a large diaphragm condenser microphone like the AKG C414. If you’re in a great room or hall it can be an omnidirectional to capture the acoustics. But if you’re in a smaller recording space, it should be a cardioid.
Use the same mic for recording the viola and cello. As with violins, the sound of the room is as important as the microphone choice.
Best microphone for saxophone
There’s lots of clip on options for recording saxophones which are designed primarily for recording in a live setting. But to capture the full depth of a saxophone requires a microphone set back a couple of feet.
A dynamic mic, such as the Shure SM58 will do a good job recording the saxophone. But if you want to capture the full bright sound, use a large diaphragm condenser mic like the AKG C214.
A ribbon microphone, like the Royer R-121 can sound beautiful on a saxophone. It captures the whole frequency range, and smoothes out any harshness.
Perfect for that warm silky sound.
Ribbon mics were the choice of jazz artists long before there were any alternatives around.
Best microphone for upright bass
Use a combination of 2 mics to get the best recording of an upright bass.
The first microphone should be a large diaphragm condenser mic like the Neumann U47 FET. Aim it at the bridge, between the F holes. This will capture the lower frequencies and main body of the bass.
Use a small diaphragm condenser mic higher up on the bass body. This is for capturing that higher frequency detail.
While mixing, you can adjust the signal of both mics until you get it sounding just right.
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Author: Daren B
Daren studied classical piano and composition at Trinity College of Music, at undergraduate and postgraduate level.
His music has been performed at the Southbank Centre, Tate Modern, and the Courtauld Institute, and broadcast on BBC Radio 3, Radio 4 and countless TV shows, including The Apprentice, Top Gear and Horizon.
Daren is a former lecturer on the BA Music Course at Goldsmiths College, University of London. He currently works in London as a composer and psychotherapist.