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Contents
Introduction
A microphone ('mic' for short, pronounced "mike")
is a device for
converting audible sound into a signal. To
accomplish this task with the optimum efficiency and quality of
result requires a type of mic that is appropriate to the
particular situation, so there are many different types of mics −
some designed for very specific applications and others that are
more general purpose.
"When you have exhausted all possibilities,
remember this: you haven't."
− Thomas Edison.
Types
of Microphone
Mics can be categorised in several different ways. The most
important of these categories are described below.
Dynamic
or Condenser
All types of microphone incorporate some form of diaphragm −
this is a small thin surface which vibrates in sympathy with the sound
pressure waves reaching the microphone. However, dynamic and
condenser mics vary in how these vibrations are used to produce
an electrical signal.
- In a dynamic mic, sound is converted to an electrical
signal by the vibrations of
the diaphragm causing the
vibration of a coil in a magnetic field − effectively an
electrical generator on a very small scale. (This is the
exact opposite of the operation of a speaker
driver.) As this
produces sufficient signal level
for direct connection to a PA
system, no
amplification
of the signal is required within
the mic. Dynamic mics are most useful for close-proximity
applications (i.e. 0 to 15 cm) such as lead
vocals, guitar amplifiers, etc. The
sensitivity of low
impedance dynamic mics is typically in the
region of 1 to 3 mV/Pa. (Impedance is explained later on
this page.)
- In a condenser mic (also called a capacitor mic), sound
is converted to an electrical signal by the vibrations of
the diaphragm causing changes in the capacitance of a
charged capacitor.
This is achieved by the diaphragm
itself being one of the plates of the capacitor. As this
produces a very small signal level, some initial
amplification of the signal is required within the mic
itself. This internal amplifier may be powered either by
an internal battery or by power supplied from the
mixer
(usually at 48 volts d.c.). The latter arrangement
is called
phantom powering
and is only possible when using a
balanced connection between
the mic and the PA system. (For mic connection types see
Low-impedance or
High-impedance.) Unfortunately the amplifier inevitably
introduces some noise into the
mic signal − see the
Microphone
Noise Levels section below.
Condenser mics are most useful for
larger distances between the sound source and the mic
(i.e. 15 cm upwards), such are encountered with
lecterns and with overhead miking of drum kits, choirs,
theatre stages etc. They can be more prone than dynamic
mics to making a "popping" sound when used
close-up with a "breathy" sound source such as
a voice or a wind instrument, though this problem can be
reduced with a windshield. They are generally more
fragile than dynamic mics, so are rarely employed for
rough stage use or in very high
SPL applications.
They are however capable of a higher quality sound than
dynamic mics, and the best versions are therefore
extensively used in studio recording work.
The sensitivity of low
impedance condenser mics is typically in the
region of 3 to 20 mV/Pa.
Omni-directional or Uni-directional
- Omni-directional mics pick up sound with equal
sensitivity from all directions. This is not normally
useful for PA work, because in PA work each mic is
targetted at a single sound source (so that the
amplification given to that sound can be controlled
separately from others, and so that pick-up of unwanted
sounds can be minimised). Their application is generally
limited to recording work (particularly of ambient sounds)
and to sound-level measurement.
- Uni-directional mics pick up sound with greater
sensitivity from the front than from other directions.
There are several variations on this theme. Each of the
following types is illustrated with a
polar response diagram,
in which increased sensitivity in a particular direction is
indicated by the line on the diagram being closer to the
outer circle. Imagine the microphone diaphragm being located at
the centre of the circle, with the most sensitive end (or side)
of the microphone facing
towards the top of the circle. So, the upper-most point of
the line on each diagram indicates the sensitivity at the
front of the microphone, or at '0 degrees' −
i.e. the on-axis response,
and the lower-most point indicates the sensitivity at
the back, or at '180 degrees'. (The diagrams below are
simplified to illustrate typical mid-frequency responses;
in practice the polar responses vary with frequency, so
check the manufacturer's specifications.)
- Sub-cardioid mics have a very gradually reducing
sensitivity from the front to the back, maintaining
some sensitivity at the back.
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- Cardioid mics have a gradually reducing
sensitivity from the front to the back, with very
little sensitivity at the back.
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- Super-cardioid mics reduce their sensitivity from
the front to the sides at a faster rate than
cardioid types, reaching a minimum sensitivity at
an angle of around 120-140°, measured from the
front. The sensitivity then increases again
towards the back, but the sensitivity at the back
is still very much less than at the front.
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- Hyper-cardioid mics provide even less sensitivity
at the sides than do super-cardioid types, at the
expense of a little more sensitivity at the back.
Therefore, a monitor
speaker should never be placed directly behind this
type of mic.
Their minimum sensitivity is at an angle of around
100-120°, measured from the front.
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- 'Rifle' or 'shotgun' mics are the most directional type,
so-called because of their long rifle-like
barrels.
They are generally used only for long-distance
miking (more than 2 metres from the source),
e.g. for theatrical work, and should be
located such that the back of the mic is not
exposed to unwanted sounds.
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- Bi-directional types
Although not featured in the title of this sub-section (as they
are rarely used in live PA work), bi-directional mics get a
mention here for completeness. They pick up sound with
equal sensitivity from two opposite directions, shown in
the diagram as the front and back; in practice however,
as these are usually
side-addressed types,
the sensitive directions are most commonly on two of its sides.
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Low-impedance or High-impedance
- Low-impedance mics have an
impedance of from
around 50 to 600 ohms
and may only be connected to low-impedance mic
inputs.
They come in two varieties, each of which
should only be connected to the corresponding variety of
low-impedance mic input:
- Unbalanced,
where one of the two signal-carrying
conductors of
the interconnection between the mic and
the system is also the
signal earth
conductor of the interconnection, usually provided
by the screen of the
cable(s). With this
arrangement, the cables are prone
to pick-up of interference from stray magnetic
fields, earth loops
and radio signals, and so these types of
mic are suitable only for use with moderate
lengths of cable (up to around 10 metres).
They are relatively uncommon.
- Balanced,
where the two signal-carrying
conductors of the interconnection are separate
conductors from the signal earth (cable screen)
of the interconnection. This arrangement is highly
immune to pick-up of interference, and so may be
used with very long lengths of cable (up to 200
metres), provided it is of good quality. Also,
balanced connections allow the use of
phantom powering.
Nearly all professional and semi-professional mics are of
this type. See the
diagram
for connection arrangements.
- High-impedance mics have an impedance very much
greater than 600 ohms − usually in the range
of 5,000 to
15,000 ohms (5 kilohms to 15 kilohms).
They may only be connected to high-impedance
mic inputs. Such inputs are rare in PA systems, as they
may only be used with short cables (less than 5 metres)
if the signal is not to suffer from a reduction in high
audio frequencies (treble), resulting in a loss of
clarity.
To enable a high-impedance mic to be connected to a low-impedance
input, or vice versa, a microphone
matching transformer can
be used. To minimise loss of signal quality, it is important to use
a good quality transformer and to locate it so as to minimise the
length of the high impedance cable run. To avoid pick-up of
hum by the transformer, do not locate it
close to mains-powered equipment.
Boundary
or Conventional
- A boundary mic is a special type which when placed on a
surface utilises the sound energy collected at that
surface to provide a greater
sensitivity (and
therefore, potentially, a better
signal-to-noise
ratio). Many such mics are generally equally
sensitive to sounds in all directions above the surface
(a so-called 'half-omni' response pattern) and most
are condenser types. Typically
used for speech, where a convenient surface such as a
desk or lectern is available, though some types have a
'built-in' plate to act as the surface. Also known as
a 'pressure-zone microphone' (PZM), which is a trademarked
name.
- By "conventional" here, we just mean "not
a boundary mic".
Wired or
Radio
- Wired mics connect to the PA system by means of a cable.
The cable usually attaches to the mic by means of a
3-pole
XLR connector.
- Radio (or 'wireless') mics contain a battery-powered
radio transmitter. The radio signal from this transmitter
is picked up by a receiver which is connected to the PA
system. The mic and the receiver are purchased as a pair
and are referred to as a "radio mic system".
Please note that although the information presented
here is given in good faith, it is only intended as a
general guide. The regulations concerning legal use
of radio systems are varied from time to time and may have
recently changed. It is your responsibility
to ensure that all radio systems under your control
are operated legally, and that all equipment purchased
or hired is suitable for the intended use and will remain
so for the intended period of time. Refer to
this site's Disclaimer.
Most radio mic systems use a
frequency-modulated
(FM) radio signal
at VHF or
UHF frequencies, or in the
1.8 or 2.4 GHz frequency
bands.
Each system does not operate at a single radio frequency,
but rather occupies a narrow range of frequencies
approximately 0.2 MHz wide.
However, in practice this range
is identified by reference to the system's
carrier
frequency, which is the frequency at the centre of the
occupied radio frequency range.
(This occupied range may be termed
a 'channel', however in order to avoid confusion with the
UHF TV channel numbers referred to below, we avoid
that usage of the term 'channel' here and just refer to
a 'frequency' instead.)
The frequencies used are
either "licensed" or "de-regulated".
Use of a licensed frequency requires payment of an annual
license fee. Use of the de-regulated frequencies is free,
but as their use is uncontrolled by licensing it is more
likely that interference will be experienced from other
users. Warning: Some UHF systems will allow you to set
the operating frequency to a value outside the legal ranges,
but this is clearly very inadvisable and may incur severe
penalties. All systems, regardless of whether licensed or
de-regulated frequencies are used, must comply with the
appropriate standards. In particular, these standards
put limits on the maximum power output of the transmitters
and on the maximum levels of spurious frequencies that
may be radiated.
- For VHF systems in the UK there are:
- 7 de-regulated frequencies (originally just 5)
in the band 173.7 to 175.1 MHz.
- 6 frequencies that are licenced for
single-site use (in this case it is the site that
is licensed, not the equipment).
- 15 frequencies that are licenced
for any-site use.
The frequencies are listed below.
De-regulated
(MPT 1345/1311 equipment) |
Legacy equipment:
173.8, 174.1, 174.5, 174.8 and
175.0 MHz
More recent equipment:
173.8, 174.0, 174.2, 174.4, 174.6, 174.8 and
175.0 MHz
Typically only 3 of the more recent systems
can be used simultaneously, such as
173.8, 174.2 and 175.0 MHz |
Single-site licenced
(MPT 1350 equipment) |
176.4*, 177.0*, 192.3, 200.1, 207.7 and
208.1 MHz
*Not in Northern Ireland
For details refer
to the Ofcom PMSE website
(external link, opens in a new window). |
Any-site licenced
(MPT 1350 equipment) |
175.25*, 175.525*, 176.6*, 191.9, 192.8,
193.0, 199.7, 200.3, 200.6, 208.3, 208.6,
209.0, 209.2, 209.6 and 209.8 MHz
*Not in Northern Ireland
For details refer
to the Ofcom PMSE website
(external link, opens in a new window). |
- Many UHF systems are tunable, i.e. can be
adjusted to operate on one of several frequencies.
UHF systems are generally better than VHF ones,
as there is less radio-frequency interference
around at UHF − provided that the frequencies
used are chosen carefully.
Most UHF systems in the UK operate now within the
frequency range known as 'channel 38' (licensed
systems) or within the frequency range known as
'channel 70' (licence-free systems). However, the
standard 'channel 38' licence now also permits
use of 823 to 832 MHz and the 1.8 GHz band,
subject to conditions.
The channel numbers referred to here (such as 38 and 70)
relate to 8 MHz wide 'slots' in a band of the
UHF spectrum originally allocated for terrestrial
broadcast TV (up to channel 68).
This band starts at 470 MHz, the first-numbered
slot being called channel 21. [Why? - because lower-numbered
TV channels existed long long ago, broadcast at VHF.]
So, for example, channel 22 starts at 478 MHz and
ends at 486 MHz.
[Note that, since the advent of digital TV, these UHF
channel numbers are effectively 'invisible' to the
general public; they are not the same as the advertised
TV programme channel numbers allocated
for Freeview digital TV transmissions, and there is not
a 1-to-1 mapping between the two sets of numbers.]
- Channel 38 (606 to 614 MHz) is now allocated
as an any-site ('shared use')
licensed band for UHF PMSE
radio systems in the UK, replacing the 14 specified licenced
frequencies previously available within Channel 69
(854 to 862 MHz).
This change, which completed at the end of 2012, is
part of the move to clear
the so-called '800 MHz band' (790 to 862 MHz)
for other services. Channel 38
is generally able to accommodate at least 8 simultaneous
system frequencies without mutual interference (depending
on the equipment specifications).
- The lower part of channel 70 is allocated as
a de-regulated band
that is wide enough to accommodate up to around 6 or 7
radio systems. This band is sometimes referred
to as '863 to 865' (its approximate
frequency range), or as the
ISM or
ETS band. Its use for
PMSE applications remains unaffected by the move
to clear the so-called '800 MHz band' (790 to
862 MHz) for other services throughout much
of Europe. Note that as the 863 to 865 MHz band
is not reserved for professional entertainment
purposes but is available for general use,
interference from other types of equipment
may sometimes be
experienced. For example, these frequencies are
used by some home entertainment equipment
such as wireless headphones. In addition, the
maximum permissible power output of channel 70
equipment is less than that for channel 38
equipment.
- The 823 to 832 MHz band was added in 2015
in order to enable a larger number of systems
to be used together, and for compatibility with
European frequency allocations. It is a licensed
band, included within the standard shared-use
'channel 38' licence. 823 to 832 MHz consists
of most of channel 65 and the first part of channel 66,
so may variously be referred to as 'channel 65',
'channel 65/66', etc.
- Single-site ('co-ordinated use') licences may be
granted for PMSE use
on frequencies within certain ranges used for
TV broadcasting, particularly 470 to
550 MHz and 614 to 790 MHz
(channels 21-30 and 39-60).
This is possible because within the service
area of each broadcast TV transmitter there
are channels that have to remain unused for TV
broadcasting, in order to avoid interference
with TV transmissions in adjoining areas and
for other technical reasons. Controlled
use of radio systems on specific frequencies
within some of these unused channels may be judged
not to be detrimental to TV broadcasts, because
of the (relatively) very low transmitted power
level of radio systems and the narrow
bandwidth
they employ. In the UK, such PMSE use was
until the end of 2012 mostly within
channels 67 and 68 (838 to 854 MHz),
but these frequencies are no longer available
for this purpose. (In fact the whole of
the range 790 to 862 MHz, channels
61-69, is now unavailable, with the exception of
823 to 832 MHz.)
The channel 38, 65/66 and 70 frequencies are listed
below.
Licenced
channel 38 Any-site* |
606.5 to 613.5 MHz.
*The part of this range that may be used
depends on the specific location of use,
and may also depend on whether the equipment
is used indoors or outdoors. For details refer
to the Ofcom PMSE website
(external link, opens in a new window).
Allow at least 0.2 MHz between
systems (but see the
note below
on simultaneously operated systems). |
Licenced
channel 65/66 Any-site* |
823 to 832 MHz.
*The part of this range that may be used
depends on the specific location of use,
and may also depend on whether the equipment
is used indoors or outdoors. For details refer
to the Ofcom PMSE website
(external link, opens in a new window).
Allow at least 0.2 MHz between
systems (but see the
note below
on simultaneously operated systems). |
De-regulated
channel 70 (part of)
(EN300 220 equipment) |
863.1 to 864.9 MHz.
Allow at least 0.2 MHz between
systems (but see the
note below
on simultaneously operated systems).
Frequencies commonly used are
863.1, 863.5, 863.7, 864.1, 864.3 and
864.9 MHz |
The illustration below provides a visual
representation of the present UHF channel allocations
in the UK, however see the Important Note below it.
Important Note: It is planned to reallocate the so-called
'700 MHz band', occupying channels 49-60
(694 to 790 MHz) for
4G use, making this band
unavailable for licensed co-ordinated frequency PMSE use
in the UK after April 2020. Furthermore, since all
broadcast TV transmissions in that range will by then
have had to move to channels below 49, the space available
for PMSE use below channel 49 will be decreasing as that
date approaches.
Therefore, some co-ordinated frequency PMSE equipment
currently using frequencies below
694 MHz may have to switch to other frequencies
in order to avoid new interference problems
(or be replaced if that is not possible),
by various dates prior to April 2020. It would be
highly advisable to take these planned changes into account
when purchasing new radio mic or
IEM equipment.
(Channel 38 will remain available for shared frequency
usage.)
- Systems operating on the 2.4 GHz band (2400 to
2483.5 MHz) are now popular
where a large number of systems (e.g. more than
20) are to be used simultaneously. Furthermore, in some
countries certain UHF frequencies are being withdrawn for
radio microphone use and so this band may be the only
practicable option. However, as it is a de-regulated band,
care must be taken to select frequencies that
are not subject to interference from other types of
equipment operating on this band in the vicinity
such as Bluetooth,
WiFi and wireless
DMX devices.
Some systems utilise digitally-coded transmission,
which can assist in the avoidance of interference from
other equipment. Note that systems operating at such
high frequencies usually have a shorter range and
are more prone to disruption by physical obstacles
in the line-of-sight path.
- Systems operating on the 1.8 GHz band
(1785 to 1805 MHz) are becoming
more popular, as they are free from the interference
caused by 2.4 GHz devices. However 1.8 GHz
is a regulated band, so these systems do require
a licence and there are some geographical restrictions.
The same comment regarding high frequency
systems as for 2.4 GHz systems applies.
- Some licence-free systems operating on the 1.9 GHz band
are available, however most of these are intended
for speech-only applications such as
ENG, conferencing and
other spoken voice purposes.
- The 1.5 GHz band (1518 to 1525 MHz)
is also available for some PMSE applications, but
is separately licensed. This band is additionally
used for the downlink for certain satellite phone
systems (mobile satellite systems, or MSS), but
problematic interference with PMSE systems from MSS
is considered unlikely.
Receivers are either 'single-channel' − better called
'non-diversity' − or are 'true diversity' types:
- Single-channel means that the radio signal (usually
picked up on a single aerial) is processed by a
single set of receiving electronics.
(Note that this use of the term 'channel' is
unconnected with TV channels.) These types
are prone to "drop-outs" − temporary
interruptions of the audio signal caused by
temporary reductions in the received radio signal
strength (due to reflections of the signal and
physical obstacles in its path).
The receiver aerial is generally best set
vertically. Some single-channel
receivers are equipped with two aerials, even
though they have only one set of receiving
electronics − these may perform a little better
than single-channel receivers with only one
aerial, but fall far short of the performance
obtained from true diversity receivers.
(Take care to avoid confusion between this usage
of the term 'single-channel', and its usage to
distinguish a receiver from the (rare) types
that can accept radio signals on more than one
transmission frequency at the same time.)
- True diversity means that the radio signal is
picked up on two aerials, each connected
to a separate
set of receiving electronics − the output of the
receiver is provided from the set which is giving
the best quality signal at any moment in time, or
is a combination of the two. True diversity
receivers are much less prone to drop-outs than
single-channel types. The aerials are generally
best set at between + and − 30 to
45 degrees from
the vertical, i.e. spreading apart at between
60 and 90 degrees to each other.
Some receivers provide an audio output intended for connection
to a line input of the
PA system, whilst others have outputs intended for connection to
a mic input. Some types may provide both kinds of output, or a
single output of adjustable level.
When
several radio mics need to be operated simultaneously,
each system must be set to a different frequency. Furthermore,
in order to avoid
intermodulation
interference between the systems, the frequencies selected
must be chosen from a compatible set for the particular make
and type of system being used. The maximum number of
frequencies in a compatible set will depend upon the quality of
the system. For example, in the case of Sennheiser's UHF systems:
- The eW100 G1 and G2 systems allow a
maximum of 4 simultaneous frequencies − a compatible
set in the UK de-regulated band is 863.1, 863.5, 864.3 and
864.9 MHz.
- The eW100 G3 system allows a
maximum of 6 simultaneous frequencies − a compatible
set of 5 in the UK de-regulated band is 863.1, 863.4, 863.75,
864.225 and 864.550 MHz.
- The eW300 range allows up to 8 simultaneous
frequencies and the eW500 range up to 20.
- The only 4
frequencies available on the freePORT™ system
(frequency range E) are 863.1, 863.7, 864.1 and
864.9 MHz; these can be used simultaneously.
Preferably, consult the appropriate manufacturer's
information for the recommended frequency combinations
relevant to your specific
system(s). It is very inadvisable
to simultaneously operate systems from different manufacturers,
or even different product ranges from the same manufacturer
− except that there is very unlikely to be any interference
between good quality systems operating in entirely different
bands − i.e. between VHF, UHF, 1.8 GHz and
2.4 GHz systems. In the absence of manufacturer's information,
for channel 38 equipment select from the following set
of ten frequencies (taking into account the permitted range for
the operating location and the type of use): 606.6, 607.5,
608.15, 609.15, 609.95, 610.55, 611.25, 612.3, 613.15 and
613.5 MHz. If fewer than 10 frequencies are required,
then first discard 609.95 and 610.55, then 607.5 and 612.3
(unless the remaining frequencies are unusable, e.g.
are not available on your equipment, or are affected by
interference from other sources).
Hand-held
or Hands-free
- Hand-held mics are generally about 6 to 7 inches (15 to
18 cm) long and 1.25 inches (3 cm) in diameter.
They may be held in the hand or placed in a clip on a mic stand.
Note that many radio mics have a slightly larger diameter
than wired types, and therefore will not fit into 'standard'
sized mic clips. Mic clips fix to the stand by means of a screw
thread, of which there are three common types:
- 5/8 inch 27 turns per inch (a large diameter fine thread)
− sometimes referred to as an 'American thread'.
- 1/2 inch (a medium diameter fine thread) − less
commonly encountered.
- 3/8 inch Whitworth (a small diameter coarse thread)
− sometimes referred to as a 'Euro thread'.
In case your mic clip doesn't fit your stand, thread adaptors
are available.
- Hands-free mics are generally much smaller and are either
body-worn (e.g. clipped to a lapel or tie, or attached
to a head-set) or are suspended by their cable (e.g.
above a choir). For theatrical applications, they are often
hidden in the hair (or wig). Body-worn mics are usually of the
radio type, and are used in
conjunction with a bodypack.
A body-worn mic worn on the chest is also known as
a lavalier mic.
Many types can be purchased with either an
omni-directional
or uni-directional pick-up pattern. An omni-directional
pattern can often be a good choice for chest or lapel-worn
mics, provided that acoustic feedback is not likely
to be a problem (e.g. for recording
or broadcast applications, or where the mic is
always placed high on the chest and the user has a
strong voice).
This is because these types are less susceptible to
changes in pick-up level due to head movements, and
are less likely to pick up unwanted sounds due to
friction with clothing. However, in live PA situations
where feedback may be a problem, or where pick-up of
ambient sound
needs to be minimised, the uni-directional types
can be appropriate provided that they are worn at
the correct angle and that head movements relative
to the body are fairly small; these types typically
have a cardioid pick-up pattern.
Microphone
Noise Levels
Sources
of Noise
Unfortunately, the output of a microphone does not
consist only of a signal corresponding to the sound waves that the
mic picks up. The output also contains
noise − unwanted signals originating
from:
- Thermal effects − the vibration of electrons within the
resistive elements of the mic.
- Pick-up of interference by the mic, especially hum due to
stray magnetic fields from equipment and mains cables.
- In a condenser mic, active components within the built-in
pre-amplifier.
Thankfully, a very low noise output level is not usually
requirement in live PA work − except for long-distance
miking applications (as a large amount of
gain must then be
applied to the output signal). It is however often a
requirement for recording and broadcast purposes, in order
to cater for listening environments with a very low
ambient noise level.
Note that, to take advantage of a microphone's very low
noise level, the
pre-amplifier that is
used with it must have a correspondingly low
equivalent input
noise (EIN) − more on this later.
In order that the noise levels produced by different microphones
may be compared, their specifications usually include figures
to indicate how much noise output can be expected.
Noise measurement and specification is a fairly complex subject
in its own right, so the information given here is simplified
to meet our present needs.
The first of the above three sources is relatively
insignificant (see the definition of
thermal noise) and
the second is very difficult to quantify in practice,
as it depends on the type and proximity
of other equipment. Therefore only the last source
is usually considered, and so noise specifications are
generally given only for condenser microphones.
Types of Noise Specification
The noise specification of microphones is generally given
in one of two ways:
- The equivalent noise level, or 'self noise'.
This is the sound pressure level (SPL) that would
have been needed to cause an output level equal to the amount of
noise output actually produced, had the mic produced no noise at
all.
Put another way, it is the sound level that would appear
to be present at the location of the mic if it were placed in a
room that is actually totally silent, based on the
measured noise output level of the mic under these circumstances.
It is sometimes just referred to as the 'noise level' of the mic.
- The signal-to-noise ratio (SNR).
This is the difference in level
between the noise output of the mic and the wanted signal
output which that mic would produce when exposed to some
standard sound level − usually 1 Pa (94 dB) SPL.
Thankfully, it is very easy to convert between these two types
of specification. The difference in level between the signal
and the noise at the output of the mic will be the same as the
difference in sound level between the wanted sound and the
apparent noise at the input of the mic. Therefore if a mic is
quoted as having an equivalent noise level of 15 dB SPL, the
signal-to-noise ratio will be 94 − 15, or 79 dB.
Similarly, if the signal-to-noise ratio is quoted as 77 dB,
then the equivalent noise level is 94 − 77,
i.e. 17 dB SPL.
The dynamic range of
microphones is usually quoted as its maximum SPL minus its
equivalent noise level.
The previous two paragraphs may be summarised as follows:
- Equivalent noise level (dB SPL) =
94 − SNR
- Equivalent noise level (dB SPL) =
Max SPL − Dynamic range
To convert an equivalent noise level value in dB SPL into
an electrical noise level in dBu
(for comparison with the EIN of a pre-amplifier), given the
sensitivity of the microphone
in dBV/Pa, use this formula:
Noise level (dBu) =
Equivalent noise level (dB SPL) +
Sensitivity (dBV/Pa) − 91.8
(Note that this gives a noise level under the same conditions
as the sensitivity figure, e.g.
unloaded. Also the same
weighting will apply as used for the equivalent noise level
− see the next sub-section.)
For example, a microphone with an equivalent noise level of
17 dB SPL and an unloaded sensitivity of
−44 dBV/Pa will have an unloaded noise level
output of approximately −119 dBu.
Noise
Weightings
However, there is another important point to consider.
By refererence to the
Decibels page,
you will understand that
sound levels are often measured with a 'weighting', to
simulate the intensity of the sound as perceived by an
average human ear, with its very frequency-dependent
sensitivity. Likewise, the noise output of a microphone
must be similarly weighted to give its perceived level.
Unfortunately, there are two different weightings that are commonly
used for the measurement of microphone noise levels, and they give
quite different results:
- The so-called 'A-weighting', which gives a reasonable
correspondence to the human ear. This is defined by
specification DIN/IEC 651.
- The so-called 'CCIR weighting', which does not filter the
noise so severely and so gives a higher value of noise level
(and therefore a lower value of signal-to-noise ratio).
This is defined by specification CCIR 468-3
(or DIN 45405).
The A-weighted figure is the one most often seen (not least
because it makes the mic specs look better!).
As an approximation, the difference between the two figures
is about 11 dB.
Therefore, an A-weighted
noise level of 13 dB would be equivalent to a CCIR weighted
noise level of about 24 dB, and an A-weighted signal-to-noise ratio
of 67 dB would be equivalent to a CCIR weighted signal-to-noise
ratio of around 56 dB. This matter of weighting
does not affect the validity of the
explanation and calculations given in the preceding sub-section
(Types of Noise Specification),
except that when using that formula to convert between equivalent
noise level and signal-to-noise ratio you must remember that
an A-weighted equivalent noise level becomes an A-weighted
signal-to-noise ratio, etc. (Of course, if required
you can then convert further using the 11 dB difference just
explained.)
Use
of Microphones
To get the best results, it is important to choose an
appropriate type of mic for the job, and to use it correctly.
For guidance on choosing a suitable microphone, see the
Microphone Selector.
The 'correct' use of microphones
is a huge subject in itself, and engineers have their
own differing opinions on which techniques give the 'best'
results under various different circumstances. Performers
(especially vocalists) may also have their own preferred
microphone
technique, sometimes without realising the
effect that this has on the amplified (or recorded) sound
(see Microphone
Technique on the
Getting Started − for
Performers page and also the paragraphs below).
One thing
that everyone agrees on, though, is that the distance
between a microphone and the sound source that it is
meant to pick-up is a hugely important factor.
This is due to at least three major reasons:
1.
Proximity Effect
Most PA mics are uni-directional types, and all uni-directional
mics exhibit what is known as the "proximity effect".
The result of this effect is that sounds which are made very
close to the mic are picked up with a greater bass response than
sounds which are made further away. This is most important for
presenters and vocalists to understand, because the difference
that a change in working distance makes to the sound of their voice
can be quite dramatic. It is especially significant for deep-voiced
vocalists (usually male), because a greater proportion of their
voice is in the frequency range which is subject to the proximity
effect. At a working distance of greater than about 4 to 6 inches
(10 to 15 cm), the proximity effect can be ignored. As the
distance decreases from this down to zero, the amount of bass
emphasis increases.
2.
Unwanted Pick-up of Ambience, Leakage and Feedback
Just like an ear, a microphone will pick up sounds that
originate close to it more readily than sounds that
originate further away (simply because of the
dispersion of
sound − see
Inverse square
law). Therefore, if a microphone is
placed a large distance from the sound source that it is
intended to pick up, its electrical output level
(resulting from that source) is likely to be very low,
and so a large amount of amplification
(gain)
will have to be
applied to the electrical signal that it produces.
This same amount of amplification will also be
applied to sounds that it was not intended to pick up,
such as unwanted room
ambience, sounds from
other instruments and/or vocals ('leakage'), and sound
from the PA speakers (both
front-of-house
and monitors) which
may result in an over-resonant amplified sound or in
acoustic feedback.
This problem can be partially addressed by the use
of a uni-directional microphone, placed and directed
so that its direction of maximum pick-up is towards
the wanted sound(s) and its
direction(s) of minimum
pick-up towards the most troublesome unwanted sounds
(see the polar
response patterns).
Sometimes it can also be partially addressed by the
use of
equalisation
on the picked-up signal, to provide
some discrimination in favour of the frequency
spectrum of
the wanted sound and against that of the unwanted
sound(s).
However, the most effective method of controlling
the problem of unwanted sound pick-up is usually to
place the microphone as close as reasonably possible
to the wanted sound source and directed towards it −
bearing in mind the proximity effect (see above) and
the 'variable distance' factor (see below) − so reducing
the amount of amplification that is necessary. Also,
where practicable, unwanted sound sources should be kept
as far as possible from that microphone and should not
be directed towards it.
3.
Level Changes With Variable Working Distance
When the distance between a microphone and the sound
source that it is intended to pick up is variable,
as in the case of most
lead vocals microphones, there is
another factor to take into account besides the
changing proximity effect. This is that
the effect on the microphone's ouput level of changing
the working distance by a given amount (say, 2 cm) depends
on what the distance was to start with. To explain this,
we need to consider that the output level increases by
6 dB for every halving in working distance (the
inverse square law).
For example, consider a stand
microphone that is 4 cm from a vocalist's mouth.
If he/she then moves 2 cm closer to the mic
then the distance will have been halved so the output level
will increase by 6 dB, which is very significant.
(In addition, there will of course usually be a considerable
change in the proximity effect.)
Now compare this with a starting distance of 10 cm,
and again reduce that distance by 2 cm. In this case,
the working distance will only have been reduced by a
factor of 0.8, resulting in a level increase of only
about 2 dB from the microphone.
So, it can be seen that a microphone that is very
close to a sound source is very sensitive to changes
in working distance, while one further away is much
less sensitive to such changes.
This partly explains why
compression is
so often used on close-miked lead vocals.
Application
When considering how best to apply this information,
it is important to take into account the
microphone
technique of the vocalist (see
Microphone
Technique on the
Getting Started − for
Performers page). Unless there is close
supervision, or a physical barrier such as a
separately-mounted
pop screen (both of
which are only likely to apply in a studio setting),
the vocalist may at any time choose to vary the
working distance between several 10's of cm and zero,
as well as varying the loudness of their voice.
These variations may be made deliberately, or to some
extent unintentionally; in any case the result will be
changes in the picked-up vocal level.
Provided that, in the overall sound mix, the combined
effect of such changes (taking into
account any compression applied) is what the vocalist
intended, and provided that the mic pre-amplifier gain
is set so as to avoid
distortion at the
maximum output level that will be obtained from the
mic as the changes occur, then all is well.
But otherwise, substantial changes in working distance
can be problematic for the sound engineer and so should
be avoided. Compression
only goes part-way towards addressing this, as it does
not compensate for the resulting changes in
proximity effect, nor for the increased pick-up
of unwanted sounds that occurs when decreased mic
output level causes an increase in the gain
applied by the compressor (or indeed manually by
the sound engineer).
Care
of Microphones
Mics contain delicate precision-engineered components, and if
you want your mics to continue to perform as well as when they
were new, you must look after them very carefully. Even
ruggedised stage mics will benefit from careful treatment.
Following these simple do's and don'ts will help considerably:
- DO keep them in padded protective boxes or pouches −
preferably individually − when not in use (especially
during transport).
- DO clean the integral windshield from time to time, when
this is accessible. Follow the maker's
instructions (especially for expensive mics!),
but in the absence of any instructions the basket (the
wire-meshed cover part only) of most types
can be unscrewed and then gently washed
in warm soapy water − allow to dry
thoroughly before re-attaching to the main part
of the mic.
- DON'T check them by tapping them or by blowing into them
− speak (or sing) into them instead, and educate users to
do the same.
- DON'T drop them or allow them to be subjected to other
sudden shocks.
- DON'T store them in damp conditions or expose them to
extremes of temperature.
- DON'T expose a microphone to sound levels exceeding its
specified maximum SPL − at the very least this will
give a distorted
pick-up of sound and may even damage the microphone.
Microphone
Selector
The purpose of this information is to give you a general guide as
to the most popular mics for a given application. As there are
hundreds of mics available, from many different manufacturers, it
would not be practical to try and list them all.
Therefore, only the most popular manufacturers are listed.
If purchasing a UHF radio microphone system that you
wish to use in a regulated (i.e. licensed) frequency band
in the UK, then be sure to take account of the fact that the
previous any-site licensed band (channel 69 and other individually
allocated frequencies in the range 790 to 862 MHz) used by
older systems became unavailable at the end of 2012.
Any-site licensed UHF systems must now operate in channel 38
or in the 823 to 832 MHz band. For further
details see Wired or Radio.
Note that some mics are designed for a very specific use, whilst
others are of more general application. It doesn't follow that just
because a mic is very expensive that it must be either very
specific in application, or that it must be very general
purpose! Neither does it follow that just
because a mic is very specific in application, or very general
purpose, that it must provide very high performance.
As circumstances
vary from use to use, before buying a particular mic it is usually
advisable to check with the supplier that it is a good choice for
your particular situation.
The listed microphones are arranged in 'price bands' according
to the table below. These bands are intended to give an approximate
guide as to what you might actually pay on-line (not the
manufacturer's R.R.P., which is generally considerably higher);
the figures include UK VAT at 20%. (In the
Microphone Details
table that follows the selector table, where a pair of bands
are quoted this indicates that the mic is priced
close to the boundary between those bands.) Actual prices may vary
significantly from supplier to supplier and can change from
week to week − it definitely pays to shop around.
Some of the listed mics are no longer being manufactured,
but may be available to purchase second-hand.
Remember though, when buying to a tight budget,
that you get what you pay for and, in general, the price
band shown for each mic can be taken as a rough guide to the
quality to be expected − when comparing like with like.
However, note that some users may prefer the sound (or other
characteristics) of particular mics, as compared to more
expensive models. Note also that mics that are listed for
the same application
may not be directly comparable − e.g. some may be
large stand-mounted types while others may be miniature clip-on
types, and such factors can also influence the price.
Sorry, these mics are not on sale from PAforMusic.
The currency conversions used in the table below are only
an approximate guide, as conversion rates are constantly
changing.
Price band (pb) |
Ł (GBP) |
Euros |
$ (USD) |
A | < 50 | < 75 | < 100 |
B | 55 − 70 | 82 − 105 | 110 − 145 |
C | 75 − 90 | 112 − 135 | 150 − 185 |
D | 95 − 115 | 142 − 172 | 195 − 235 |
E | 120 − 150 | 180 − 225 | 245 − 305 |
F | 160 − 200 | 240 − 300 | 330 − 410 |
G | 210 − 280 | 315 − 420 | 430 − 572 |
H | 300 − 500 | 450 − 750 | 615 − 1020 |
J | 550 − 1000 |
825 − 1500 |
1125 − 2045 |
K | > 1200 | > 1800 | > 2455 |
For more detailed information about the listed mics,
click on the mic's model number to jump to the relevant
entry in the
Microphone Details table,
which follows the selection table (currently only operative
for wired mics). To return to the price-band table, click
on 'pb' in the table headers.
More mics are added to this selector from time to time.
To see the full width of the tables, you may need
to increase the width of your browser window or select a smaller
text size (in Explorer, View→Text Size).
Mics are listed for the following applications:
Lead vocals (wired)
Lead vocals (radio)
Backing vocals (wired)
Backline (not bass)
Bass backline
Snare & Toms
Kick drum
Hi-hats & Cymbals
Drum overheads
Piano
Brass & Woodwind
Acoustic Strings
Rifle
Floor
Lectern
Choir
Lavalier (wired)
Lavalier (radio)
Headset (wired)
Headset (radio)
Studio
-
Dynamic mics are listed in black
-
Condenser mics in red.
-
Omni, super-cardioid, hyper-cardioid, rifle and switchable pattern
types are listed in italics (most other types are
cardioid).
-
Types with multiple elements of mixed design or pattern are
listed in magenta.
-
'+' on the end of a model number stands in place of suffix
letter(s) or
number(s) identifying 'sub-types',
and indicates that more than one of such sub-types may be
suitable for the application concerned.
Back to:
Lead vocals (wired)
Lead vocals (radio)
Backing vocals (wired)
Backline (not bass)
Bass backline
Snare & Toms
Kick drum
Hi-hats & Cymbals
Drum overheads
Piano
Brass & Woodwind
Acoustic Strings
Rifle
Floor
Lectern
Choir
Lavalier (wired)
Lavalier (radio)
Headset (wired)
Headset (radio)
Studio
Microphone
Details
The table below provides more detailed information on the
wired mics listed above, listed alphanumerically under each
manufacturer. 294 microphones are listed.
This table allows you to readily compare the
specifications of many different models.
Unfortunately not all the details can currently
be given for all the mics, but will this will be rectified
when possible.
Remember that specifications usually give
nominal, not limiting, values,
therefore the figures for any particular specimen may be
higher or lower than the figures given. Limiting values
are indicated with < or > symbols.
You are reminded that no responsibility is
accepted for any errors in this information − please
confirm suitability before making your purchase.
If you require further information, click on the link to
the appropriate manufacturer's website.
The same notes on prices apply as were given at the
start
of this section, except that where two
price bands are given (e.g. 'DE') the mic is
priced close to the boundary between those bands.
To return to the price-band table, click
on 'Price band' in the table headers.
Some of the listed mics are no longer being manufactured,
but may be available to purchase second-hand.
To see the full width of the table, you may need
to increase the width of your browser window or select a smaller
text size (in Explorer, View→Text Size).
Key to physical design
('Phy' column):
Tap: | Classic full-size design, generally
having a basket of larger
diameter than the mic body. Most, but not all, have a tapered
body. Suitable for hand-held use (if appropriate) or on a
stand. |
Cyl: | Cylindrical design (generally slim), of similar
diameter along its whole length. Usually for stand use. |
Ins: | Equipped with an integral means (usually
a clip, a clamp or an adhesive surface) for direct
attachment to an instrument. |
Min: | Miniature (e.g. short-bodied) design
for compact access to instruments (esp. drums) when used
with a stand. Some types screw directly onto the
stand. |
Bnd: | Boundary type intended to be placed on or
fixed to a surface (or with a plate incorporated). |
Lav: | Lavalier. |
Hst: | Headset. |
Gnk: | Gooseneck. |
SA: | Side-addressed types, e.g. classic
large-diameter studio-style designs (typically used with
a suspension mount) and 'rectangular' (flat-sided)
designs. |
Oth: | None of the above (includes capsules and most
kick drum mics). |
A more specific indication of the physical shape is provided
(in most cases) by a small image that appears when hovering your
mouse over the relevant Phy column entry.
Key to element types
('Elem' column):
Dyn: | Dynamic (coil) |
Rib: | Dynamic (ribbon) |
Con: | Condenser |
Mul: | Incorporates multiple element types |
Key to polar patterns
('PP' column):
Om: | Omnidirectional |
Cd: | Cardioid |
Sc: | Super-cardioid |
Hc: | Hyper-cardioid |
Sh: | Shotgun (= rifle = lobar) |
F8: | Figure-of-8 (= bi-directional) |
Sw: | Switchable (or all available patterns
are listed) |
N/A: | Not applicable (e.g. for contact
pick-ups) |
As with all the values listed, the
frequency response figures
given are those quoted by the manufacturer. For most types of
microphone, these figures must be treated with extreme caution
because:
- There are inconsistencies in the way they are arrived at
− particularly as regards the amount of
loss in response
that is obtained at the quoted figures (compare
cut-off frequency), and
as regards the distance from the microphone at which the response
is measured (see proximity
effect).
- The response of many types of microphones is not
flat
between the two quoted frequencies, but exhibits
very significant peaks and/or troughs − often
introduced intentionally. (This is in contrast to the
situation with speakers,
which are generally designed with the aim of a flat
response across their intended frequency range.)
Such intentional variations are a major factor in the
suitability (or otherwise) of particular mics for
particular applications, for example a
"presence peak" is commonly designed into the
response of vocal mics.
Therefore, the quoted frequency response figures should
in the first instance be taken only as a rough guide.
For clarification of the response provided by a particular
model of microphone, it is best to consult the manufacturer's
frequency response graph for the model concerned.
Sensitivities are generally quoted under
open-circuit
(no load) conditions.
Max SPL figures are generally quoted at
1% THD
(blue figures at 0.5% or less),
and impedance figures at 1 kHz.
Outputs are balanced unless indicated otherwise.
For ease of comparison, all
noise levels are given
as A-weighted equivalent noise levels (sometimes referred
to as 'self noise').
Where the manufacturer's specification indicated the noise
in a different form (e.g.CCIR weighted or as a
signal-to-noise ratio), their figure has been converted to
an A-weighted equivalent noise level and is marked here
with an asterisk. Note that noise levels are not usually
specified for dynamic mics.
A selection of mics are listed for the following manufacturers;
the links take you to the relevant section of the list.
AKG
AMG (C-ducer)
Audio-Technica
Audix
Behringer
Beyer-Dynamic
Neumann
Rode
Samson
sE Electronics
Sennheiser
Shure
Please
let me know if there are other specific mics that
you feel would be usefully added to this list.
To see a small image of a mic, just hover your mouse over
the bold 'Phy' column entry for the relevant mic. (Sorry, images are not
yet available for all the mics listed.) The image will appear below
that point, so may not be visible if you are near the bottom edge of
the window. Image credits are to the relevant manufacturer.
AKG
click for website
Skip to next manufacturer
|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
C391B |
  |
Con |
Cd |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK91. |
C392B |
  |
Con |
Om |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK92. |
C393B |
  |
Con |
Hc |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK93. |
C394B |
  |
Con |
F8 |
20-20k |
10 / -40 |
132 |
200 |
17* |
H |
= SE300B + CK94. |
C397-OB |
  |
Con |
Om |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK97-O. |
C397-CB |
  |
Con |
Cd |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK97-C. |
C397-CVRB |
  |
Con |
Cd |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK97-CVR. |
C398B |
  |
Con |
Sh |
20-20k |
10 / -40 |
132 |
200 |
17* |
G |
= SE300B + CK98. |
C400BL |
  |
Con |
Hc |
40-14k |
13.5 / -37 |
95 |
200 |
21* |
A |
Speech.
Mini PZM. |
C407 |
  |
Con |
Om |
20-20k |
10 / -40 |
118 |
400, 2k ML |
26* |
C |
Lavalier.
Standard XLR plug, phantom powered. |
C407/B |
3.5k, 10k ML |
34* |
Lavalier.
Unbalanced Hi-Z.
3.5mm mono jack plug, for use with battery pack,
phantom power adaptor, etc. |
C407WL |
2.1k, 10k ML |
26* |
Lavalier.
Unbalanced Hi-Z.
Wire-ended, for direct connection to
transmitter etc. |
C410B |
  |
Con |
Hc |
20-20k |
5 / -46 |
131 |
200 |
|
B |
Headset. |
C411PP |
  |
Con |
F8 |
10-18k |
See Notes |
100 |
200, 1k ML |
|
C |
Acoustic strings.
Adhesive mini pick-up.
Sensit 1 mV/ms-2. |
C414B-XLII |
  |
Con |
Sw |
20-20k |
23 / -33 |
140 |
200, 2.2k ML |
6 |
HJ |
Solo vocals,
solo insts,
brass.
Om, wide-Cd, Cd, Hc, F8.
Response lift at ~5 kHz upwards.
5 dB droop at 20 kHz.
6, 12 or 18 dB pad.
Max SPL 146 @ 6 dB pad,
150 @ 12 dB pad,
158 @ 18 dB pad.
40 Hz (12 dB/oct) or
80 Hz (12 dB/oct) or
160 Hz (6 dB/oct) low cut.
Large diaphragm.
Transformerless. |
C414B-XLS |
  |
Con |
Sw |
20-20k |
23 / -33 |
140 |
200, 2.2k ML |
6 |
HJ |
Strings, brass.
Om, wide-Cd, Cd, Hc, F8.
Response lift at 12 kHz
(not Hc/F8).
6, 12 or 18 dB pad.
Max SPL 146 @ 6 dB pad,
150 @ 12 dB pad,
158 @ 18 dB pad.
40 Hz (12 dB/oct) or
80 Hz (12 dB/oct) or
160 Hz (6 dB/oct) low cut.
Large diaphragm.
Transformerless. |
C416PP |
  |
Con |
Hc |
20-20k |
5 / -46 |
126 |
200, 1k ML |
31 |
E |
Accordion, guitar cab, piano.
Mini gooseneck with mounting bracket. |
C417PP |
  |
Con |
Om |
20-20k |
10 / -40 |
118 |
200, 2k ML |
34 |
C |
Lavalier.
Standard XLR plug, phantom powered. |
C417L |
Lavalier.
Mini-XLR plug, powered from B29L battery pack,
MPAL (MPA III L) phantom power adaptor,
or a WMS-series wireless bodypack. |
C417LP |
Lavalier.
A flesh-coloured version of C417L. |
C418PP |
  |
Con |
Hc |
50-20k |
4 / -48 |
131 |
200, 1k ML |
38 |
E |
Drums, percussion, trumpet.
Clip-on. |
C419PP |
  |
Con |
Hc |
20-20k |
7 / -43 |
126 |
200, 1k ML |
30 |
D |
All wind instruments, percussion.
Mini clip-on gooseneck. |
C420 |
  |
Con |
Hc |
20-20k |
7 / -43 |
126 |
200 |
33 |
D |
Headset vocals. |
C430 |
  |
Con |
Cd |
20-20k |
7 / -43 |
126 |
200, 2k ML |
33 |
C |
Cymbals & drum OH. |
C444 |
  |
Con |
Cd |
20-20k |
40 / -28 |
126 |
200, 2k ML |
22 |
C |
Headset. |
C451B |
  |
Con |
N/A |
20-20k |
9.5 / -40 |
N/A |
|
18 |
G |
Equivalent to
C451EB + CK1 capsule.
10 or 20 dB pad.
75 or 150 Hz low cut. |
C451E |
  |
Con |
N/A |
20-20k |
9.5 / -40 |
N/A |
|
18 |
G |
Modular series pre-amp -
use CK1 capsule.
10 & 20 dB pads extra.
No low cut. |
C451EB |
  |
Con |
N/A |
20-20k |
9.5 / -40 |
N/A |
|
18 |
H |
Modular series pre-amp -
use CK1 capsule.
10 or 20 dB pad.
75 or 150 Hz low cut. |
C477WR LP |
  |
Con |
Om |
20-20k |
8 / -42 |
133 |
3500, 10k ML |
26 |
G+ |
3-pin mini-XLR.
Use with transmitter pack or
MPA III powering unit (neither included).
Dual diaphragm (noise-canceling).
Beige.
Headset version of CK77. |
C481B |
  |
Con |
Cd |
20-20k |
40 / -28 |
134 |
<150, 2k ML |
13 |
H |
= C480B + CK61.
Figs depend on pad setting. |
20 / -34 |
140 |
11 |
6.3 / -44 |
144 |
17 |
C482B |
  |
Con |
Om |
20-20k |
40 / -28 |
134 |
<150, 2k ML |
13 |
H |
= C480B + CK62.
Figs depend on pad setting. |
20 / -34 |
140 |
11 |
6.3 / -44 |
144 |
17 |
C483B |
  |
Con |
Hc |
20-20k |
40 / -28 |
134 |
<150, 2k ML |
13 |
H |
= C480B + CK63.
Figs depend on pad setting. |
20 / -34 |
140 |
11 |
6.3 / -44 |
144 |
17 |
C489B |
  |
Con |
Sh |
20-18k |
54 / -25 |
134 |
<150, 2k ML |
11* |
H |
= C480B + CK69.
Figs depend on pad setting. |
27 / -31 |
140 |
9* |
8.5 / -41 |
142 |
15* |
C520 |
  |
Con |
Cd |
|
|
|
|
|
C |
Vocals headset. |
C535EB |
  |
Con |
Cd |
20-20k |
7 / -43 |
137 |
200, 600 ML |
21* |
EF |
Vocals or insts.
10 dB pad.
100 Hz low cut (12 dB/oct) or
200 Hz low cut (6 dB/oct).
2 dB rise 7-12 kHz.
Pad & low cut selected
by a single 4-position switch. |
C542BL |
  |
Con |
˝Om |
20-20k |
20 / -34 |
130 |
600, 2k ML |
16 |
F |
Fixable PZM.
150 Hz low cut (12 dB/oct). |
C547BL |
  |
Con |
Hc |
30-18k |
8.5 / -41 |
133 |
400, 1k ML |
22 |
G |
Floor PZM.
Low cut sw. |
C555L |
  |
Con |
Cd |
80-20k |
35 / -29 |
|
200, 2k ML |
22 |
B |
Speech headset. |
C562BL |
  |
Con |
˝Om |
20-20k |
20 / -34 |
130 |
600, 2k ML |
16 |
H |
PZM with plate.
Low cut sw. |
C562CM |
  |
Con |
˝Om |
20-20k |
20 / -34 |
130 |
600, 2k ML |
16 |
H |
PZM without plate.
Low cut sw. |
C568EB |
  |
Con |
Hc |
20-20k |
11 / -39 |
128 |
600 |
18 |
H |
Short shotgun. |
C580E |
  |
Con |
Hc |
60-15k |
15 / -36 |
125 |
600 |
|
D |
Gooseneck. Lectern. |
C621E |
  |
Con |
Cd |
70-20k |
15 / -36 |
125 |
600 |
|
F |
18" gooseneck. |
C647E |
  |
Con |
Hc |
30-18k |
8.5 / -41 |
133 |
400 |
21 |
D |
Gooseneck. Lectern. |
C680BL |
  |
Con |
Cd |
60-20k |
30 / -30 |
115 |
200 |
27* |
E |
PZM for table or lectern. |
C747 |
  |
Con |
Hc |
30-18k |
8.5 / -41 |
133 |
400, 2k ML |
21 |
G |
Speech.
Mini pen-type shotgun.
Lectern-mounting.
Includes mini suspension mount and short
gooseneck. |
C900 |
  |
Con |
Cd |
20-20k |
6 / -44 |
139 |
200, 2k ML |
17.5 |
D |
Vocals.
Includes presence boost adaptor. |
C921CM |
  |
Con |
Cd |
60-20k |
30 / -30 |
115 |
<400 |
27* |
H |
Choir, theatre.
Overhead suspension. |
C947CM |
  |
Con |
Hc |
20-18k |
8.5 / -41 |
122 |
<400 |
24* |
F |
Choir, theatre.
Overhead suspension. |
C1000S |
  |
Con |
Cd |
50-20k |
6 / -44 |
137 |
200, 2k ML |
21 |
D |
Vocals, choir, acoustic instruments.
Can be adapted to hyper-cardioid.
Large diameter cylindrical. |
C2000B |
  |
Con |
Cd |
30-20k |
20 / -34 |
140 |
200 |
20 |
F |
Budget studio. |
C3000 |
  |
Con |
Sw |
20-20k |
25 / -32 |
140 |
200, 1k ML |
14 |
G |
Studio vocals & inst.
Large Hc + small Om capsule.
Use both for Cd.
500 Hz low cut.
10 dB pad. |
C4000 |
  |
Con |
Cd/ Hc/ Om |
20-20k |
25 / -32 |
145 |
200, 1k ML |
8 |
G |
Studio vocals & inst.
Low cut switch.
Pad switch. |
C4500B-BC |
  |
Con |
Cd |
30-20k |
20 / -34 |
145 |
<200, 1k ML |
8 |
H |
Studio.
Large diaphragm.
20 dB pad.
120 Hz low cut.
Transformerless. |
C5600 |
  |
Con |
Cd |
20-20k |
6 / -44 |
140 |
200 |
|
|
Instruments,
esp guit amps, wind & kick.
Stage version of C414.
6dB/oct bass cut,
12dB/oct 150 Hz low cut. |
C5900 |
  |
Con |
Hc |
20-22k |
6 / -44 |
139 |
200, 2k ML |
17.5 |
F |
Vocals.
100/150 Hz low cut. |
D7 |
  |
Dyn |
Sc |
70-20k |
2.6 / -52 |
147 |
600 |
18 |
DE |
Vocals.
80 Hz fixed HPF.
Humbucking coil.
Rec load 2k.
S suffix = with switch. |
D65S |
  |
Dyn |
Hc |
80-20k |
2.0 / -54 |
141 |
500 |
|
A |
Budget vocals and instruments.
On/off switch.
3% THD @ 150dB SPL |
D112 |
  |
Dyn |
Cd |
20-17k |
1.8 / -55 |
168 |
210, 600 ML |
21 |
E |
Kick drum, bass cab &
bass wind instruments. |
D190 |
  |
Dyn |
Cd |
30-15k |
1.6 / -56 |
128 |
280, 2k5 ML |
20 |
E |
Vocals, instruments,
esp. guitar cab & trumpet.
Bronze basket, cyl. body. |
D224 |
  |
Dyn |
Cd |
20-20k |
1.3 / -58 |
128 |
250, 500 ML |
|
|
Acoustic guitar,
hi-hats. Dual capsule, dual port. No proximity effect.
Suffix C: DIN connector; E: XLR.
Low cut -7 dB or -12 dB @ 50 Hz. |
D409 |
  |
Dyn |
Hc |
60-17k |
1 / -60 |
124 |
600, 2k ML |
|
C |
Wind instruments, drums, percussion.
Mini clip-on gooseneck. |
D440 |
  |
Dyn |
Cd |
60-20k |
2.5 / -52 |
147 |
600, 2k ML |
18 |
B |
Percussion, guitar cab,
wind instruments.
Mini. |
D510 |
  |
Dyn |
Om |
140- 15k |
1.1 / -59 |
|
230 |
|
D |
Speech.
12" dynamic omni gooseneck.
Attached cable.
Obsolete. |
D541 |
  |
Dyn |
Cd |
140- 17k |
2.3 / -53 |
|
700 |
|
D |
Speech.
14" dynamic gooseneck.
Attached cable.
Obsolete. |
D550 |
  |
Dyn |
Cd |
20-20k |
2.5 / -52 |
147 |
600, 2k ML |
18 |
C |
Bass instruments,
trombone. |
D660 |
  |
Dyn |
Hc |
80-20k |
2 / -54 |
140 |
500, 2k ML |
20 |
A |
Budget vocals and
instruments. |
D770 |
  |
Dyn |
Cd |
60-20k |
1.8 / -55 |
147 |
600, 2k ML |
22 |
B |
Budget vocals and instruments. |
D880 |
  |
Dyn |
Sc |
60-20k |
2.5 / -52 |
147 |
600, 2k ML |
22 |
B |
Vocals. |
D3300 |
  |
Dyn |
Hc |
70-20k |
2.0 / -54 |
141 |
500, 1.2k ML |
20 |
A |
Budget vocals. |
D3700 |
  |
Dyn |
Hc |
40-18k |
2.5 / -52 |
147 |
600, 2k ML |
19 |
C |
Stage vocals. |
D3800 |
  |
Dyn |
Hc |
40-21k |
2.8 / -51 |
147 |
600, 2k ML |
18 |
E |
Stage vocals. |
P2 |
  |
Dyn |
Cd |
20-16k |
2.5 / -52 |
152 |
|
|
B |
Stage bass insts:
kick, bass cab, trombone.
Rec load 2k.
Humbucking coil.
Integral stand adapter. |
P4 |
  |
Dyn |
Cd |
20-16k |
2.5 / -52 |
157 |
|
|
A |
Budget stage insts:
wind, perc, guitar cab.
Rec load 2k.
Humbucking coil.
Integral stand adapter. |
P420 |
  |
Con |
Sw |
20-20k |
28 / -31 |
135 |
<200 |
16 |
F |
Budget studio.
Cd, Om or F8.
20 dB pad.
Low cut switch.
Max SPL 155 @ pad.
Includes spider mount. |
AMG (C-ducer)
click for website
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Microphone Details
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
B1000/3" |
  |
Con |
N/A |
35-35k |
|
|
10k unbal. |
|
A |
Violin, folk harp, banjo, piano.
Adhesive tape pick-up.
Max output 300 mV.
SNR 79 dBA.
6.35mm jack socket on pre-amp.
3V battery.
See also CP2/3. |
B1000/8" |
  |
Con |
N/A |
35-35k |
|
|
10k unbal. |
|
A |
Double bass, cello,
acoustic guitar, concert harp.
Adhesive tape pick-up.
Max output 300 mV.
SNR 79 dBA.
6.35mm jack socket on pre-amp.
3V battery.
See also CP2/8. |
B2000/2x8" |
  |
Con |
N/A |
35-25k |
|
|
10k unbal. |
|
B |
Piano.
Max output 300 mV.
SNR 79 dBA.
6.35mm jack socket on pre-amp.
Adhesive tape pick-up.
9V battery. |
CPM/3 (3") |
  |
Con |
N/A |
25-50k |
|
|
600 |
|
D |
Violin, folk harp, banjo, piano.
Max output 1.5V.
SNR 83 dBA.
Adhesive tape pick-up.
Pre-amp in XLR plug.
See also B1000/3. |
CPM/8 (8") |
  |
Con |
N/A |
25-50k |
|
|
600 |
|
D |
Double bass, cello,
acoustic guitar, concert harp.
Max output 1.5V.
SNR 83 dBA.
Adhesive tape pick-up.
Pre-amp in XLR plug.
See also B1000/8. |
CPM2/3 (2x3") |
  |
Con |
N/A |
25-50k |
|
|
600 |
|
D |
Violin, folk harp, banjo, piano.
Max output 1.5V.
SNR 83 dBA.
Adhesive tape pick-up.
Pre-amp in XLR plug.
See also B1000/3. |
CPM2/8 (2x8") |
  |
Con |
N/A |
25-50k |
|
|
600 |
|
D |
Double bass, cello,
acoustic guitar, concert harp.
Max output 1.5V.
SNR 83 dBA.
Adhesive tape pick-up.
Pre-amp in XLR plug.
See also B1000/8. |
Audio-Technica
click for website
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Microphone Details
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
AE3300 |
  |
Con |
Cd |
30-18k |
7.9 / -42 |
147 |
150 |
19 |
G |
Vocals & speech.
10 dB pad.
80 Hz low cut. |
AE4054 |
  |
Con |
Cd |
60-20k |
5 / -46 |
147 |
200 |
18 |
H |
Vocals, general stage use.
Large diaphragm.
True condenser. |
AE4100 |
  |
Dyn |
Cd |
90-18k |
1.7 / -55 |
|
250 |
|
D |
Vocals. |
AE5100 |
  |
Con |
Cd |
20-20k |
15.8 / -36 |
148 |
150 |
11 |
F |
Instruments. |
AE5400 |
  |
Con |
Cd |
20-20k |
10 / -40 |
147 |
150 |
14 |
G |
Vocals & speech.
Large diaphragm.
True condenser.
10 dB pad
80 Hz low cut |
AE6100 |
  |
Dyn |
Hc |
60-15k |
1.7 / -55 |
|
250 |
|
E |
Vocals & speech. |
AT835b |
  |
Con |
Sh |
40-20k |
12.5 / -38 |
130 |
500 |
24 |
G |
Film & TV production.
180 Hz low cut (18 dB/oct). |
AT2010 |
  |
Con |
Cd |
40-20k |
3.9 / -48 |
136 |
100 |
23* |
D |
Vocals. |
AT2020 |
  |
Con |
Cd |
20-20k |
14.1 / -37 |
144 |
100 |
20 |
B |
Budget studio.
Vocals, acoustic guitar.
Side-addressed.
Available separately or packacked with AT2021
as 'AT2041SP', price band E. |
AT2021 |
  |
Con |
Cd |
30-20k |
11.2 / -39 |
145 |
250 |
19 |
|
Overheads,
hi-hats, acoustic guitar, piano.
Packacked with AT2020
as 'AT2041SP', price band E. |
AT3035 |
  |
Con |
Cd |
20-20k |
25.1 / -32 |
148 |
250 |
12 |
E |
Studio.
10 dB pad.
80 Hz low cut (12 dB/oct). |
AT4040 |
  |
Con |
Cd |
20-20k |
25.1 / -32 |
145 |
100 |
12 |
E |
Studio. Vocals.
Transformerless.
10 dB pad.
80 Hz low cut (12 dB/oct). |
AT4050 |
  |
Con |
Sw |
20-18k |
15.8 / -36 |
149 |
100 |
17 |
H |
Studio.
Om / Cd / F8
Large diaphragm.
Transformerless.
Max SPL 159 with pad.
10 dB pad.
80 Hz low cut (12 dB/oct). |
ATM10a |
  |
Con |
Om |
20-18k |
6.3 / -44 |
137 |
200 |
24 |
E |
Group vocals,
strings, ac. guit,
ambient pick-up.
Upper fig = phantom,
lower fig = 1.5 V battery. |
5.6 / -45 |
123 |
270 |
ATM25 |
  |
Dyn |
Hc |
30-15k |
1.9 / -54 |
|
600 |
|
F |
Kick drum.
Short cyl. |
ATM29HE |
  |
Dyn |
Hc |
70-16k |
1.5 / -56 |
|
200 |
|
C |
Instruments, vocals.
Hi-mid peak (max at 6k). |
ATM31a |
  |
Con |
Cd |
30-20k |
6.3 / -44 |
137 |
200 |
24 |
D |
Upper fig = phantom,
lower fig = 1.5 V battery. |
5.6 / -45 |
123 |
270 |
ATM33a |
  |
Con |
Cd |
30-20k |
6.3 / -44 |
137 |
200 |
24 |
C |
Distant vocals/speech,
lectern,
acoustic strings.
Upper fig = phantom,
lower fig = 1.5 V battery. |
5.6 / -45 |
123 |
270 |
ATM41a |
  |
Dyn |
Cd |
50-16k |
1.5 / -56 |
|
250 |
|
B |
Close vocals. |
ATM41HE |
  |
Dyn |
Hc |
50-17k |
2.8 / -51 |
|
600 |
|
D |
Close vocals. |
ATM61HE |
  |
Dyn |
Hc |
50-18k |
2.8 / -51 |
|
600 |
|
D |
Close vocals. |
ATM63HE |
  |
Dyn |
Hc |
50-18k |
2.5 / -52 |
|
600 |
|
E |
Vocals, drums,
guit cab, piano.
Un-peaked response. |
ATM75 |
  |
Con |
Cd |
|
|
|
|
|
CD |
Bodypack operates on battery
or phantom power. |
ATM89R |
  |
Con |
Hc + |
70-20k |
7.9 / -42 |
138 |
100 |
27 |
F |
Vocals.
Alternate elements for Cd, sub-Cd & Om. |
ATM250 |
  |
Dyn |
Hc |
40-15k |
1.9 / -54 |
|
600 |
|
E |
Instruments. |
ATM250DE |
  |
Dyn |
Hc |
40-15k |
2.2 / -53 |
|
600 |
|
F |
Kick drum,
guit cab.
Con: 10 dB pad.
Con: 80 Hz low cut
(12 dB/oct).
Elements have separate outputs via splitter cable. |
Con |
Cd |
40-20k |
3.5 / -49 |
148 |
50 |
26* |
ATM350 |
  |
Con |
Cd |
40-20k |
3.5 / -49 |
149 |
50 |
27* |
F |
Brass,
woodwind,
violin.
Separate power module.
Miniature UniMount clip-on. |
ATM410 |
  |
Dyn |
Cd |
90-16k |
1.7 / -55 |
|
300 |
|
B |
Vocals. |
ATM450 |
  |
Con |
Cd |
40-20k |
8.9 / -41 |
152 |
200 |
25* |
E |
Overheads,
percussion
acoustic strings.
10 dB pad.
80 Hz low cut
(18 dB/oct).
Side-addressed. |
ATM510 |
  |
Dyn |
Cd |
90-16k |
1.7 / -55 |
|
300 |
|
C |
Vocals. |
ATM610 |
  |
Dyn |
Hc |
40-16k |
1.7 / -55 |
|
300 |
|
C |
Vocals. |
ATM650 |
  |
Dyn |
Hc |
80-17k |
1.5 / -56 |
|
300 |
|
C |
Instruments. |
ATM710 |
  |
Con |
Cd |
40-20k |
10 / -40 |
148 |
200 |
21* |
D |
Vocals.
10 dB pad.
80 Hz low cut
(12 dB/oct). |
MB3000L |
  |
Dyn |
Cd |
50-16k |
2.5 / -52 |
|
250 |
|
C |
Close vocals. |
MB4K |
  |
Con |
Cd |
80-20k |
5 / -46 |
137 |
200 |
24 |
D |
General purpose. |
Kick/Tom |
  |
Dyn |
Cd |
60-12k |
1.1 / -59 |
|
500 |
|
B |
Kick, toms. |
PRO25 |
  |
Dyn |
Hc |
30-12k |
1.9 / -54 |
|
600 |
|
D |
Kick, toms. |
PRO25ax |
  |
Dyn |
Hc |
30-12k |
1.9 / -54 |
|
600 |
|
B |
Percussion, brass. |
PRO35x |
  |
Con |
Cd |
50-17k |
1.9 / -54 |
149 |
200 |
34 |
E |
Woodwind, brass,
kick, toms.
Mini UniMount clip-on.
150 Hz low cut.
Pro35xcW is for UniPak wireless system. |
PRO35ax |
  |
Con |
Cd |
50-15k |
5.6 / -45 |
145 |
250 |
30 |
E |
Sax, brass, perc.
Mini UniMount clip-on.
80 Hz low cut. |
PRO37 |
  |
Con |
Cd |
30-15k |
7.9 / -42 |
141 |
200 |
29 |
C |
Overheads,
acoustic strings,
piano. |
PRO37R |
  |
Con |
Cd |
30-15k |
7.9 / -42 |
141 |
200 |
29 |
C |
Overheads,
acoustic strings,
piano.
Superceded by PRO37. |
PRO44 |
  |
Con |
Cd |
70-16k |
56.2 / -25 |
114 |
100 |
28 |
D |
Floor, lectern. |
PRO45 |
  |
Con |
Cd |
70-16k |
14.1 / -37 |
134 |
100 |
28 |
A |
Overhead suspension.
25 ft. fixed cable with XLRM plug.
Choirs,
orchestras. |
PRO95 |
  |
Con |
Cd |
10-13k |
10 / -40 |
105 |
2000 unbal. |
27 |
C |
Acoustic strings.
Mini clip-on gooseneck (for internal use).
Battery powered. |
Snare/Tom |
  |
Dyn |
Cd |
100- 12k |
1.2 / -58 |
|
500 |
|
B |
Snare, toms. |
Audix
click for website
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Microphone Details
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
OM-2 |
  |
Dyn |
Hc |
50-16k |
2.3 / -53 |
140 |
|
|
C |
|
OM-3 |
  |
Dyn |
Hc |
50-18k |
2.0 / -54 |
144 |
|
|
D |
|
OM-5 |
  |
Dyn |
Hc |
50-19k |
2.4 / -52 |
144 |
|
|
F |
|
OM-6 |
  |
Dyn |
Hc |
50-19k |
2.3 / -53 |
144 |
|
|
F |
|
OM-7 |
  |
Dyn |
Hc |
50-19k |
0.9 / -61 |
144 |
|
|
F |
|
Behringer
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
B-2 PRO |
  |
Con |
Sw |
20-20k |
|
135 |
<200, 1k ML |
18 |
D |
Budget studio.
Om / Cd / F8.
150 Hz low cut (6 dB/oct).
10 dB pad.
Max SPL 145 with pad.
Transformerless. |
B-5 |
  |
Con |
Cd / Om |
20-20k |
Cd:
12.6 / -38
Om:
10 / -40 |
140 |
70, 1k ML |
Cd: 16
Om: 18 |
B |
Strings, overheads.
150 Hz low cut (6 dB/oct).
10 dB pad.
Max SPL 150 with pad.
Transformerless.
True condenser.
Cd and Om capsules supplied. |
C-1 |
  |
Con |
Cd |
40-20k |
22 / -33 |
136 |
100, 1k ML |
|
A |
Budget studio.
Transformerless. |
C-2 |
  |
Con |
Cd |
20-20k |
8.9 / -41 |
140 |
75, 1k ML |
19 |
A |
Strings, overheads, piano.
120 Hz low cut (6 dB/oct).
10 dB pad.
Max SPL 150 with pad.
Transformerless.
Supplied as matched pair. |
Beyer-Dynamic
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
M69TG |
  |
Dyn |
Hc |
50-16k |
2.3 / -53 |
|
200, 1k ML |
|
E |
Speech, vocals,
brass esp. trombone.
Cyl. body. |
M88TG |
  |
Dyn |
Hc |
30-20k |
2.9 / -51 |
|
200, 1k ML |
|
F |
Vocals, speech, instruments.
Cyl. body. |
M201 |
  |
Dyn |
Hc |
40-18k |
1.2 / -58 |
|
200 |
|
E |
Snare, toms, hi-hats, rack toms,
percussion, banjo, acoustic guitar.
40-18k is distant response.
Humbucking coil. |
MC740 |
  |
Con |
Sw |
20-20k |
10 / -40 |
134 |
150 |
17 |
J |
Piano, vocals, strings, brass,
percussion, woodwinds.
Studio.
Max SPL 144dB with pad.
Large diaphragm.
10 dB pad. |
MC834 |
  |
Con |
Cd |
20-20k |
10 / -40 |
130 |
180, 1k ML |
18 |
J |
Vocals, guitar, Piano, percussion,
strings.
Studio.
Max SPL 140 dB @ 10 dB pad,
150 dB @ 20 dB pad.
Large diaphragm.
10 dB or 20 dB pad.
80 Hz or 160 Hz low cut. |
Opus 39 |
  |
Dyn |
Sc |
50-16k |
2.4 / -52 |
|
600, 1k ML |
|
B |
Vocals.
Distant freq. resp. 100-14k |
Opus 51 |
  |
Con |
˝ Om |
30-20k |
7 / -43 |
131 |
250, 1k ML |
26 |
E |
Piano (internal use).
Integrated into metal plate.
4-pin LEMO connector, adapted to XLR
via CV1 power unit (included).
Back electret. |
Opus 53 |
  |
Con |
Cd |
30-20k |
5 / -46 |
136 |
200, 1k ML |
22 |
D |
Snare, hi-hat, brass, woodwind. |
Opus 59 |
  |
Dyn |
Sc |
45-16k |
2.6 / -52 |
|
600, 1k ML |
|
B |
Vocals.
Distant freq. resp. 100-14k |
Opus 62 |
  |
Dyn |
Hc |
40-12k |
1.5 / -56 |
|
200 |
|
B |
Snare, toms, etc.
Mini clip-on gooseneck. |
Opus 65 |
  |
Dyn |
Hc |
15-18k |
2 / -54 |
|
280, 1k ML |
|
E |
Kick, floor tom, congas.
Large diaphragm.
Distant freq. resp. 40-16k |
Opus 66 |
  |
Dyn |
Sc |
50-16k |
2.5 / -52 |
140 |
300, 1k ML |
|
D |
Snare, toms, cymbals. Mini. |
Opus 67 |
  |
Dyn |
Hc |
40-12k |
1.5 / -56 |
|
200, 1k ML |
|
C |
Snare, toms, cymbals.
Mini clamp-on gooseneck. |
Opus 69 |
  |
Dyn |
Sc |
35-16k |
2.5 / -52 |
|
290, 1k ML |
|
D |
Close vocals & speech.
Distant freq. resp. 95-14k |
Opus 81 |
  |
Con |
Cd |
50-18k |
3.2 / -50 |
138 |
190, 1k ML |
26 |
E |
Vocals. |
Opus 83 |
  |
Con |
Cd |
40-20k |
3.2 / -50 |
138 |
190, 1k ML |
26 |
D |
Hi-hats, drum overheads,
brass, woodwind.
Back electret. |
Opus 88 |
  |
Con |
Cd |
30-20k |
5 / -46 |
136 |
200 |
22 |
E |
Snare, toms, congas.
Max SPL 126 @ 12 V power.
Short G/N & horizontal swivel. |
Opus 99 |
  |
Dyn |
Hc |
|
|
|
|
|
EF |
Kick drum.
Optional ST 99 stand. |
TG-X58 |
  |
Dyn |
Sc |
50-15k |
2 / -54 |
|
600, 1k ML |
|
A |
Budget vocals. |
TG-X60 |
  |
Dyn |
Hc |
40-18k |
3 / -50 |
|
280, 1k ML |
|
F |
Vocals. |
TG-X80 |
  |
Dyn |
Hc |
30-18k |
3.2 / -50 |
|
280, 1k ML |
|
G |
Vocals, esp female.
Smooth response. |
Neumann
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
KMS 104 |
  |
Con |
Cd |
20-20k |
4.5 / -47 |
150 |
50, 1k ML |
18 |
H |
Vocals. |
KMS 104 plus |
  |
Con |
Cd |
20-20k |
4.5 / -47 |
150 |
50, 1k ML |
18 |
H |
Female vocals. |
KMS 105 |
  |
Con |
Sc |
20-20k |
4.5 / -47 |
150 |
50, 1k ML |
18 |
H |
Vocals. |
Rode
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Microphone Details
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
S1 |
  |
Con |
Sc |
20-20k |
4.5 / -47 |
150 |
50 |
16 |
E |
Vocals. |
Samson
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Microphone Details
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
C01 |
  |
Con |
Cd |
40-18k |
22.5 / -33 |
136 |
200 |
|
A |
Studio, side-address.
Drums overhead,
acoustic insts,
vocals.
Large diaphragm. |
C02 |
  |
Con |
Cd |
40-20k |
10 / -40 |
134 |
200 |
22 |
C |
Instruments.
Small diaphragm. |
C03 |
  |
Con |
Sc/ Om/ F8 |
40-18k |
22.5 / -33 |
136 |
200 |
|
A |
Studio, side-address.
Dual capsule.
Large diaphragm.
10 dB pad.
Low cut. |
C03U |
  |
Con |
Sc/ Om/ F8 |
40-18k |
10 / -40 |
132 |
N/A |
|
B |
Studio, side-address.
Dual capsule.
Large diaphragm.
10 dB pad.
Low cut.
16-bit 48 kHz A/D convertor, USB output.
USB powered. |
C05 |
  |
Con |
Cd |
50-18k |
6.3 / -44 |
130 |
200 |
23 |
C |
Vocals, insts, speech. |
Q1 |
  |
Con |
Cd |
50-20k |
|
142 |
90, 800 ML |
|
A |
Vocals.
Rising response above 8 kHz. |
Q2 |
  |
Dyn |
Cd |
50-15k |
0.3 / -71 |
137 |
600 |
|
A |
Budget vocals/insts.
10 dB pad.
80 Hz low cut (12 dB/oct).
Humbucking coil.
Quoted sensit at 0.1 Pa? |
Q3 |
  |
Dyn |
Hc |
50-15k |
0.3 / -71 |
137 |
600 |
|
A |
Drums, guitar cab.
10 dB pad.
80 Hz low cut (12 dB/oct).
Humbucking coil.
Integral stand mount.
Quoted sensit at 0.1 Pa? |
Q6 |
  |
Dyn |
Sc |
50-15k |
3.2 / -50 |
|
500 |
|
A |
Vocals.
On/off switch. |
Q7 |
  |
Dyn |
Sc |
80-12k |
2.2 / -54 |
|
200 |
|
A |
Vocals.
Rising response to 7 kHz,
falls rapidly above 8.5 kHz. |
Q8 |
  |
Dyn |
Sc |
50-16k |
2.5 / -52 |
150 |
2300 |
|
A |
Vocals. |
QKick |
  |
Dyn |
Sc |
50-16k |
0.8 / -62 |
147 |
200 |
|
D |
Kick, bass drums, perc. |
QSnare |
  |
Dyn |
Sc |
50-16k |
0.78 / -55 |
133 |
200 |
|
B |
Snare.
Rim-mount clamp. |
QTom |
  |
Dyn |
Cd |
|
|
|
|
|
B |
Toms.
Rim-mount clamp. |
R11 |
  |
Dyn |
Hc |
60-18k |
0.2 / -74 |
130 |
400 |
|
A |
Vocals, insts. |
R21 |
  |
Dyn |
Cd |
80-12k |
1.8 / -55 |
|
500 |
|
A |
General stage use. |
S11 |
  |
Dyn |
Cd |
60-18k |
0.2 / -74 |
130 |
600 |
|
B |
Vocals, insts. |
S12 |
  |
Dyn |
Hc |
60-18k |
0.3 / -70 |
130 |
600 |
|
B |
General stage use. |
sE Electronics
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
H-1 |
  |
Con |
Cd |
20-20k |
2 / -54 |
145 |
200, 1k ML |
18 |
F |
Vocals. |
SE3 |
  |
Con |
Cd |
20-20k |
10 / -40 |
135 |
<200 |
17 |
E |
Studio,
acoustic insts.
4 dB lift around 10 kHz.
10 dB pad.
Low cut switch.
|
SE2200A |
  |
Con |
Cd |
20-20k |
14.1 / -37 |
130 |
<200 |
17 |
E |
Vocals, insts.
10 dB pad.
Low cut switch.
Large diaphragm.
Transformer coupled. |
TITAN |
  |
Con |
Cd |
20-20k |
40 / -28 |
128 |
<200 |
16 |
E |
Vocals,
acoustic insts,
percussion.
10 dB pad.
Low cut switch.
Gradual lift to +9 dB at 10 kHz.
Titanium diaphragm.
Transformerless. |
Sennheiser
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|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
e602 |
  |
Dyn |
Cd |
20-16k |
1 / -60 |
|
250, 1k ML |
|
C |
Kick, bass cab, tuba.
Humbucking coil. |
e602MkII |
  |
Dyn |
Cd |
20-16k |
1 / -60 |
|
250, 1k ML |
|
C |
Kick, bass cab, tuba.
Humbucking coil. |
e604 |
  |
Dyn |
Cd |
40-18k |
1.8 / -55 |
160 |
350, 1k ML |
|
B |
Drums, brass.
Mini clip-on. |
e606 |
  |
Dyn |
Sc |
40-15k |
1.5 / -56 |
|
350, 1k ML |
|
B |
Guitar cab.
Side address. |
e608 |
  |
Dyn |
Sc |
40-16k |
0.8 / -62 |
|
350, 1k ML |
|
C |
Woodwind, brass, drums.
Mini gooseneck clip. |
e609 |
  |
Dyn |
Sc |
40-16k |
1.5 / -56 |
|
350, 1k ML |
|
E |
Guitar cab, toms.
Side address.
Humbucking coil. |
e614 |
  |
Con |
Sc |
40-20k |
3 / -50 |
139 |
50, 1k ML |
24 |
D |
Drums overhead, woodwind,
string, flute, sax, cymbals, hi-hats. |
e664 |
  |
Con |
Cd |
40-20k |
32 / -30 |
130 |
200, 1k ML |
16 |
F |
Drums overhead, hi-hats,
acoustic insts. |
e825S |
  |
Dyn |
Cd |
80-15k |
1.5 / -56 |
|
350, 1k ML |
|
A |
General stage use. |
e835 |
  |
Dyn |
Cd |
40-16k |
2.7 / -51 |
|
350, 1k ML |
|
A |
Close vocals. |
e840 |
  |
Dyn |
Cd |
40-18k |
2 / -54 |
|
350, 1k ML |
|
B |
Close vocals. |
e845 |
  |
Dyn |
Sc |
40-16k |
1.8 / -55 |
|
350, 1k ML |
|
B |
Close vocals. |
e855 |
  |
Dyn |
Sc |
40-18k |
1.8 / -55 |
|
350, 1k ML |
|
D |
Close vocals. |
e865 |
  |
Con |
Sc |
40-20k |
3 / -50 |
150 |
200, 1k ML |
|
E |
Vocals.
Back electret. |
e901 |
  |
Con |
˝Cd |
20-20k |
0.5 / -66 |
154 |
<100, 1k ML |
|
E |
Kick drum.
Rests on rubber mat. |
e902 |
  |
Dyn |
Cd |
20-18k |
0.6 / -64 |
|
350, 1k ML |
|
D |
Kick, bass cab, tuba.
Humbucking coil. |
e904 |
  |
Dyn |
Cd |
40-18k |
2 / -54 |
|
350, 1k ML |
|
D |
Drums.
Clamp included (MZH604).
Humbucking coil. |
e905 |
  |
Dyn |
Cd |
40-18k |
2.6 / -52 |
|
350, 1k ML |
|
D |
Snare drum.
Integral stand-mount.
Humbucking coil. |
e906 |
  |
Dyn |
Sc |
40-18k |
2.2 / -53 |
|
350, 1k ML |
|
D |
Guitar cabs, percussion,
brass, acoustic strings.
Switchable presence peak ('bright',
'normal' or 'smooth').
Side address.
Humbucking coil. |
e908B |
  |
Con |
Cd |
40-20k |
4 / -48 |
147 |
100, 2k ML |
35 |
E |
Wind instruments,
congas.
Gooseneck + clamp.
Includes MZA900P in-line
pre-amp (unless suffix 'ew'). |
e908D |
  |
Con |
Cd |
40-20k |
4 / -48 |
147 |
100, 2k ML |
35 |
E |
Drums, percussion.
Gooseneck + clamp.
Includes MZA900P in-line
pre-amp (unless suffix 'ew'). |
e914 |
  |
Con |
Cd |
20-20k |
12 / -38 |
136 |
100, 1k ML |
19 |
G |
Piano, cymbals,
acoustic guitar, orchestra overhead, choir.
3-pos low cut.
10 or 20 dB pad. |
e935 |
  |
Dyn |
Cd |
40-16k |
2.8 / -51 |
|
350, 1k ML |
|
D |
Close vocals.
Humbucking coil. |
e945 |
  |
Dyn |
Sc |
40-18k |
2 / -54 |
|
350, 1k ML |
|
E |
Close vocals.
Humbucking coil. |
HS2 |
  |
Con |
Om |
20-20k |
5 / -46 |
142 |
1k, 4.7k ML |
26 |
H+ |
Speech.
Very thin boom.
Anthracite.
3-pin Lemo plug (for radio packs
SK 50, 250, 5012, 3063).
-1 variant has short capsule,
-2 variant has long capsule. |
HSP2 |
  |
Con |
Om |
20-20k |
2 / -54 |
150 |
1k, 4.7k ML |
28 |
H+ |
Speech.
Very thin boom.
No-suffix variant is anthracite
with 3-pin plug (for radio packs
SK 50, 250, 5012, 3063).
-3 variant is beige,
-EW variant has 3.5mm TRS jack (for radio packs
SK 100, 300, 500 or for MZA900P power module),
-5 variant has no plug,
-M variant is for smaller heads. |
HSP4 |
  |
Con |
Cd |
40-20k |
4 / -48 |
150 |
1k, 4.7k ML |
37 |
H+ |
Vocals.
Very thin boom.
No-suffix variant is anthracite
with 3-pin Lemo plug (for radio packs
SK 50, 250, 5012, 3063).
-3 variant is beige,
-EW variant has 3.5mm TRS jack (for radio packs
SK 100, 300, 500 or for MZA900P power module),
-5 variant has no plug,
-M variant is for smaller heads. |
MD421MkII |
  |
Dyn |
Cd |
30-17k |
2 / -54 |
|
200, matched |
|
G |
Speech, acoustic guitar,
drums.
4-pos low cut. |
MD425 |
  |
Dyn |
Sc |
40-18k |
1.6 / -56 |
|
350, 1k ML |
|
G |
Vocals. |
MD431MkII |
  |
Dyn |
Sc |
40-16k |
2 / -54 |
|
250, 1k ML |
|
H |
Vocals, speech. |
MD441U |
  |
Dyn |
Sc |
30-20k |
1.8 / -55 |
|
200, 1k ML |
|
J |
Instruments.
5-pos low cut.
Hi boost.
Square cross-section. |
MD835 |
  |
Dyn |
Cd |
40-16k |
2.7 / -51 |
|
350, 1k ML |
|
|
Close vocals.
Capsule in
e835 & eW135
(green ring). |
MD845 |
  |
Dyn |
Sc |
40-16k |
1.8 / -55 |
|
350, 1k ML |
|
|
Close vocals.
Capsule in
e845 & eW145
(blue ring). |
MD865 |
  |
Con |
Sc |
40-20k |
3 / -50 |
|
200, 1k ML |
|
|
Vocals.
Back electret.
Capsule in
e865 & eW165
(red ring). |
ME2 |
  |
Con |
Om |
40-18k |
20 / -34 |
130 |
|
|
A+ |
Lavalier.
Incl. with eW112 and eW312
Evolution wireless series. |
ME3 |
  |
Con |
Sc |
40-18k |
1.6 / -56 |
150 |
|
|
C+ |
Headset.
Incl. with eW152
Evolution wireless series. |
ME4 |
  |
Con |
Cd |
40-18k |
40 / -28 |
120 |
|
|
A+ |
Lavalier.
Incl. with eW122 and eW322
Evolution wireless series. |
ME34 |
  |
Con |
Cd |
50-20k |
10 / -40 |
|
50, 1k ML |
26 |
C |
Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret. |
ME35 |
  |
Con |
Sc |
50-20k |
10 / -40 |
|
50, 1k ML |
26 |
C |
Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret. |
ME36 |
  |
Con |
Sh |
40-20k |
10 / -40 |
|
50, 1k ML |
23 |
E |
Mini shotgun.
Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret. |
ME65 |
  |
Con |
Sc |
40-20k |
10 / -40 |
142 (3%) |
200, 1k ML |
20 |
E |
Speech & vocals.
Use K6 or K6P powering module.
Back-electret. |
ME66 |
  |
Con |
Sh |
40-20k |
50 / -26 |
125 |
200, 1k ML |
10 |
F |
OB & film.
Back electret.
Use K6 or K6P powering module. |
MKH20 |
  |
Con |
Om |
12-20k |
40 / -28 |
134 |
150, 1k ML |
10 |
J |
Insts, ambience recording.
10 kHz boost +6 dB.
10 dB pad.
RF condenser.
Transformerless. |
MKH30 |
  |
Con |
F8 |
40-20k |
25 / -32 |
134 |
150, 1k ML |
13 |
J |
'S' of M-S pair.
100 Hz low cut -5 dB.
10 dB pad.
RF condenser.
Transformerless. |
MKH40 |
  |
Con |
Cd |
40-20k |
25 / -32 |
134 |
150, 1k ML |
12 |
J |
Insts, speech.
100 Hz low cut -3 dB.
10 dB pad.
RF condenser.
Transformerless. |
MKH80 |
  |
Con |
Sw |
30-20k |
40 / -28 |
136 |
150, 1k ML |
10 |
K |
Vocals, insts.
50 Hz low cut -3 or -6 dB.
10 kHz boost +3 or +6 dB.
6 or 12 dB pad.
RF condenser. |
MKH416 P48U-3 |
  |
Con |
Sh |
40-20k |
25 / -32 |
130 |
25, 800 ML |
13 |
J |
Film, radio, TV.
48V version of MKH416TU-3.
RF condenser.
Transformerless. |
MKH416 TU-3 |
  |
Con |
Sh |
40-20k |
20 / -34 |
130 |
15, 1k ML |
14 |
J |
Film, radio, TV.
12V version of MKH416P48U-3.
RF condenser.
Transformerless. |
MKH800 P48 |
  |
Con |
Sw |
30-50k |
40 / -28 |
136 |
150, 2k ML |
10 |
K |
Om/Cd-wide/Cd/F8.
Instrument recording.
Piano, strings,
drum overheads.
50 Hz low cut -3 or -6 dB.
8 kHz boost +3 or +6 dB.
6 or 12 dB pad.
RF condenser. |
MKH816 P48V |
  |
Con |
Sh |
40-20k |
40 / -28 |
128 |
8, 400 ML |
|
|
News gathering, film.
Hc below 500 Hz.
48V version of MKH816TU-3.
RF condenser.
Transformerless. |
MKH816 TU-3 |
  |
Con |
Sh |
40-20k |
40 / -28 |
118 |
8, 400 ML |
|
|
News gathering, film.
Hc below 500 Hz.
12V version of MKH816P48V.
RF condenser.
Transformerless. |
MZH3015 |
  |
|
|
|
|
|
|
|
B |
Pre-amp & 15 cm gooseneck for
ME34, ME35 & ME36 capsules. |
MZH3040 |
  |
|
|
|
|
|
|
|
C |
Pre-amp & 40 cm gooseneck for
ME34, ME35 & ME36 capsules. |
MZH3042 |
  |
|
|
|
|
|
|
|
D |
Pre-amp & 40 cm gooseneck
with 2 bends for
ME34, ME35 & ME36 capsules. |
Shure
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Back to start of
Microphone Details
|
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
55SH |
  |
Dyn |
Cd |
50-15k |
1.3 / -58 |
|
150 |
|
F |
Speech, vocals.
1940's retro styled. |
520DX |
  |
Dyn |
Om |
100-5k |
13 / -38 |
|
High, 100k ML Unbal. |
|
F |
Harmonica
"Green Bullet".
Palm-held.
Volume control.
Cable attached. |
565SD |
  |
Dyn |
Cd |
50-15k |
1.6 / -56 |
|
250 |
|
E |
Stage speech. |
588SDX |
  |
Dyn |
Cd |
80-15k |
0.17 / -75 |
|
150 |
|
B |
Budget vocals & speech. |
Beta 52 |
  |
Dyn |
Sc |
20-10k |
0.6 / -64 |
174 |
45 |
|
F |
Kick, bass cab. |
Beta 52A |
  |
Dyn |
Sc |
20-10k |
2.7 / -51 |
|
150 |
|
F |
Kick, bass cab. |
Beta 56 |
  |
Dyn |
Sc |
50-16k |
2.8 / -51 |
|
290 |
|
E |
Toms, brass, woodwind.
Mini. |
Beta 57A |
  |
Dyn |
Sc |
50-16k |
2.8 / -51 |
|
290 |
|
E |
General stage insts,
esp. guitar cab & brass. |
Beta 58A |
  |
Dyn |
Sc |
50-16k |
2.7 / -51 |
|
290 |
|
D |
Stage vocals. |
Beta 87A |
  |
Con |
Sc |
50-20k |
2.4 / -53 |
140 |
150, 800 ML |
23.5 |
F |
Stage vocals. |
Beta 87C |
  |
Con |
Cd |
50-20k |
2.8 / -51 |
139 |
150, 800 ML |
22 |
FG |
Stage vocals & speech.
Cd version of Beta 87A. |
Beta 91 |
  |
Con |
˝Cd |
20-20k |
1.1 / -59 |
160 |
150, 1k ML |
35 |
G |
Kick, piano.
Boundary.
Max SPL 156 @ 1k load. |
Beta 98 D/S |
  |
Con |
Sc |
20-20k |
1 / -59 |
160 |
150 |
|
F |
Snare, toms.
Max SPL 156 @ 1k load. |
Beta 98 H/C |
  |
Con |
Cd |
20-20k |
1.9 / -56 |
163 |
150 |
|
F |
Horns.
Max SPL 155 @ 1k load. |
Beta 98 S |
  |
Con |
Sc |
20-20k |
1 / -59 |
160 |
150 |
|
F |
Instruments.
Max SPL 156 @ 1k load. |
BG1.0 |
  |
Dyn |
Cd |
80-12k |
1.4 / -57 |
|
600 |
|
D |
Budget vocals. |
BG1.1 |
  |
Dyn |
Cd |
85-14k |
1.5 / -56 |
|
180 |
|
A |
Budget vocals.
General stage use. |
BG2.0 |
  |
Dyn |
Cd |
80-14k |
1.6 / -56 |
|
150 |
|
F |
Vocals. |
BG3.0 |
  |
Dyn |
Cd |
60-15k |
1.8 / -55 |
|
150 |
|
F |
Vocals, brass. |
BG3.1 |
  |
Dyn |
Cd |
60-14k |
2.1 / -54 |
|
290 |
|
C |
Vocals. |
BG4.0 |
  |
Con |
Cd |
40-18k |
4.0 / -48 |
|
600 |
|
H |
Drum overhead. |
BG4.1 |
  |
Con |
Cd |
40-18k |
4.0 / -48 |
129 |
600, 800 ML |
24 |
E |
Drum overhead,
instruments. |
BG5.0 |
  |
Con |
Cd |
40-18k |
3.5 / -49 |
|
600 |
|
H |
Vocals, choir. |
BG5.1 |
  |
Con |
Cd |
70-16k |
3.5 / -49 |
130 |
600, 800 ML |
25 |
E |
Vocals.
Electret. |
BG6.1 |
  |
Dyn |
Cd |
80-15k |
2 / -54 |
|
290 |
|
D |
Instruments.
Mini. |
Easyflex EZB/C |
  |
Con |
Cd |
50-17k |
11.2 / -39 |
122 |
170 |
23 |
E |
Speech, vocals.
Boundary, for lectern/floor. |
Easyflex EZB/O |
  |
Con |
Om |
50-17k |
20 / -34 |
117 |
170 |
18 |
D |
Speech, vocals.
Boundary, for lectern/floor. |
Easyflex EZG series |
  |
Con |
Cd |
50-17k |
5.2 / -46 |
129 |
180 |
29 |
E |
12" or 18" gooseneck.
XLR or threaded flange mounting. |
Easyflex EZO |
  |
Con |
Cd |
50-17k |
5.2 / -46 |
129 |
180 |
29 |
E |
Choir.
Overhead suspension.
Grey or white. |
KSM9 |
  |
Con |
Cd/ Sc |
50-20k |
2.8 / -51 |
152 |
150, 1k ML |
22 |
H |
Vocals.
Switchable pattern.
Central section of body is cylindrical.
Charcoal or champagne finish. |
KSM27 |
  |
Con |
Cd |
20-20k |
14 / -37 |
138 |
150 |
14 |
FG |
Budget studio.
80 Hz (18 dB/oct) low cut.
115 Hz (6 dB/oct) low cut.
15 dB pad.
Rec load 2.5k.
Large diaphragm.
Shock mount included. |
KSM32 |
  |
Con |
Cd |
20-20k |
16 / -36 |
133 |
150, 1k ML |
13 |
H |
Studio vocals.
80 Hz (18 dB/oct) low cut.
115 Hz (6 dB/oct) low cut.
15 dB pad.
Max SPL 139 @ 2.5k load.
Large diaphragm.
Transformerless. |
KSM137 |
  |
Con |
Cd |
20-20k |
14.1 / -37 |
134 |
150, 1k ML |
14 |
H |
Studio strings,
piano, drum overhead,
woodwind & double bass.
80 Hz (18 dB/oct) low cut.
115 Hz (6 dB/oct) low cut.
15 / 25 dB pad.
Max SPL 145 @ 5k load
(170 @ 5k & 25 dB Att).
Transformerless. |
KSM141 |
  |
Con |
Sw |
20-20k |
14.1 / -37 |
134 |
150, 1k ML |
14 |
H |
Studio strings,
drum overhead,
woodwind & double bass.
Switchable Om / Cd.
80 Hz (18 dB/oct) low cut.
115 Hz (6 dB/oct) low cut.
15 / 25 dB pad.
Max SPL 145 @ 5k load
(170 @ 5k & 25 dB Att).
Transformerless. |
MX202 |
  |
Con |
Om |
50-17k |
42.2 / -27 |
117 |
180, 1k ML |
21 |
F |
Choir.
Overhead suspension.
Interchangeable cartridges
(R183=Om, R185=Cd, R184=Sc).
101mm gooseneck attached.
Black or white. |
Cd |
17.8 / -35 |
124 |
28 |
Sc |
21.1 / -34 |
123 |
27 |
MX412SE |
  |
Con |
/O Om |
50-17k |
42.2 / -27 |
117 |
180, 1k ML |
21 |
F |
Lectern.
Microflex series.
Interchangeable cartridges
(R183B=Om, R185B=Cd, R184B=Sc).
12" gooseneck.
Permanent mount flange. |
/C Cd |
17.8 / -35 |
124 |
28 |
/S Sc |
21.1 / -34 |
123 |
27 |
MX418SE |
  |
Con |
/O Om |
50-17k |
42.2 / -27 |
117 |
180, 1k ML |
21 |
F |
Lectern.
Microflex series.
Interchangeable cartridges
(R183B=Om, R185B=Cd, R184B=Sc).
18" gooseneck.
Permanent mount flange. |
/C Cd |
17.8 / -35 |
124 |
28 |
/S Sc |
21.1 / -34 |
123 |
27 |
PG48 |
  |
Dyn |
Cd |
70-15k |
2.5 / -52 |
|
600 |
|
A |
Speech. |
PG52 |
  |
Dyn |
Cd |
30-13k |
1.8 / -55 |
|
300 |
|
D |
Kick. |
PG56 |
  |
Dyn |
Cd |
50-15k |
1.6 / -56 |
|
200 |
|
B |
Snare, toms.
Mini. |
PG57 |
  |
Dyn |
Cd |
50-15k |
1.6 / -56 |
|
200 |
|
A |
Budget instrument. |
PG58 |
  |
Dyn |
Cd |
60-15k |
2.2 / -53 |
|
300 |
|
A |
Lead vocals. |
PG81 |
  |
Con |
Cd |
40-18k |
4.0 / -48 |
131 |
600, 2k ML |
|
C |
Acoustic instruments. |
SM10A-CN |
  |
Dyn |
Cd |
50-15k |
0.45 / -65 |
|
223 |
|
C |
Speech, vocals, sports broadcast,
intercom.
Freq. resp. & sensit. @ 8 mm.
XLR connector clips to belt (no pack). |
SM48-LC |
  |
Dyn |
Cd |
55-14k |
1.3 / -58 |
|
150 |
|
B |
Speech, budget vocals. |
SM57-LC |
  |
Dyn |
Cd |
40-15k |
1.9 / -54 |
|
310 |
|
D |
Snare, guitar cab. |
SM58-LC |
  |
Dyn |
Cd |
50-15k |
1.9 / -54 |
|
150 |
|
B |
Stage vocals. |
SM81-LC |
  |
Con |
Cd |
20-20k |
5.6 / -45 |
136 |
85, 150 ML |
16 |
H |
Acoustic guitar,
piano, woodwind,
drum overhead,
cymbals.
Studio & live orchestras.
100 Hz low cut.
10 dB pad. |
SM86 |
  |
Con |
Cd |
50-18k |
3.15 / -50 |
147 |
150, 600 ML |
23 |
DE |
Stage vocals, speech. |
SM87 |
  |
Con |
Cd |
50-18k |
2.0 / -54 |
|
150 |
|
G |
Vocals. |
SM87A |
  |
Con |
Cd |
50-18k |
2.4 / -52 |
140 |
100, 800 ML |
24 |
F |
Stage vocals, speech. |
SM89 |
  |
Con |
Sh |
60-20k |
2.2 / -53 |
127 |
100, 800 ML |
16 |
J |
Film & TV.
160 Hz low cut. |
SM93 |
  |
Con |
Om |
80-20k |
7 / -43 |
120 |
90, 800 ML |
22 |
F |
TV, theatre.
Lavalier. |
SM94-LC |
  |
Con |
Cd |
40-16k |
3.5 / -49 |
141 |
200, 800 ML |
25 |
G |
Acoustic insts.
Max SPL 123 on battery power. |
WL93 |
  |
Con |
Om |
|
|
|
|
|
D |
Lavalier.
Use with wireless mics. |
WL183 |
  |
Con |
Om |
50-17k |
|
|
1800 |
22.5 |
D |
Lavalier.
Use with wireless mics. |
WL184 |
  |
Con |
Sc |
50-17k |
|
|
1800 |
22.5 |
E |
Lavalier.
Use with wireless mics. |
WL185 |
  |
Con |
Cd |
50-17k |
|
|
1800 |
22.5 |
E |
Lavalier.
Use with wireless mics. |
WL50 |
  |
Con |
Om |
20-20k |
5.5 / -45 |
133 |
20k ML |
30 |
G |
Lavalier.
Variable HF response (cap).
Use with wireless mics.
Various colours (suffix letter).
5V supply. |
WL51 |
  |
Con |
Cd |
20-20k |
10 / -50 |
138 |
20k ML |
35 |
H |
Lavalier.
Flat LF response.
Variable HF response (change grille).
Use with wireless mics.
Various colours (suffix letter).
5-9V supply. |
Model |
Phy |
Elem |
PP |
Freq resp. (Hz) |
Sensit. @ 1 Pa or 94 dB SPL (mV/dBV) |
Max SPL (dB) |
Imped. (ohms) ML means
min. load |
Noise (dB (A) SPL) |
Price band |
Suggested application & notes |
Back to start of
Microphone Details
|
* See the
note on noise level at the top of the table.
Go to the top of this page.
This page last updated 27-Mar-2018.
|