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Microphones

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Contents

• Introduction
• Types of Microphone
  • Dynamic or Condenser
  • Omni-directional or Uni-directional
  • Low-impedance or High-impedance
  • Boundary or Conventional
  • Wired or Radio
  • Hand-held or Hands-free
• Microphone Noise Levels
  • Sources of Noise
  • Types of Noise Specification
  • Noise Weightings
• Use of Microphones
• Care of Microphones
• Microphone Selector − microphones ordered by application and price
  • Microphone Details − 294 microphones listed

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.
  Cardioid mics have a gradually reducing sensitivity from the front to the back, with very little sensitivity at the back.
  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.
  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.
  '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.

• 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.

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.

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:

• 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:

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):

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):

Key to polar patterns ('PP' column):

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.

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.

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	½Om	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	½Om	20-20k	20 / -34	130	600, 2k ML	16	H	PZM with plate. Low cut sw.
C562CM		Con	½Om	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       Back to start of Microphone Details       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
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       Back to start of Microphone Details       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
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.
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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
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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.
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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	½ 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.
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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.
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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.
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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.
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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.
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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	½Cd	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.
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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
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	½Cd	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
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