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Microphones

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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.

Omni-directional or Uni-directional

Low-impedance or High-impedance

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

Wired or Radio

Hand-held or Hands-free


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:

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:

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:

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 A-weighted figure is the one most often seen (not least because it makes the mic specs look better!). As an approximation, for mic noise measurements 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:


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)
£ (GBP)      Euros      $ (USD)
A< 50< 75< 100
B55 − 7082 − 105110 − 145
C75 − 90112 − 135150 − 185
D95 − 115142 − 172195 − 235
E120 − 150180 − 225245 − 305
F160 − 200240 − 300330 − 410
G210 − 280315 − 420430 − 572
H300 − 500450 − 750615 − 1020
J550 − 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

Application pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Lead vocals
(wired)
A       C03 e835 PG58 Audix:
OM-2 pbC
OM-3 pbD
OM-5 pbF
OM-6 pbF
OM-7 pbF

Rode:
S1 pbE

sE:
H-1 pbF

Neumann:
KMS 104 pbH
KMS 104 plus pbH
KMS 105 pbH
B D880 ATM41a Opus 59 S12 e840
e845
SM58-LC
C D3700 ATM510
ATM610
  C05    
D C900
D7
ATM41HE
ATM710
AE4100
Opus 69   e855
e935
Beta 58A
SM86
E D3800 AE6100     e865
e945
ME65
BG5.1
F C5900
C535EB
ATM89R TG-X60
M88TG
    BG2.0
BG3.0
SM87A
Beta 87A
Beta 87C
G   AE3300
AE5400
TG-X80   MD425 SM87
H   AE4054     MD431MkII BG5.0
KSM9
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Lead vocals
(radio)
A              
B            
C            
D            
E         MKE-2 (mic only)  
F            
G WMS40          
H WMS61 (+mic)
WMS300
  Opus 100 Mk II
Opus 200
  eW135
eW145
eW165
 
J WMS800   Opus 300
Opus 900
     
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Backing vocals
(wired)
A D65S
D3300
D660
    R11
R21
e825S
e835
BG1.1  
B D770
D880
ATM410 Opus 39
Opus 59
S11
S12
  SM48
588SDX
C   MB3000L       BG3.1
D         e935 SM86
BG1.0
E            
F C535EB          
G            
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Backline
(not bass)
A D65S
P4
        PG57  
B D440   Opus 39   e606  
C   ATM650        
D         e906 SM57-LC
E D190       e609 Beta 57A
F   ATM250DE        
G C3000       MD421MkII  
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Bass
Backline
A              
B P2          
C D550       e602  
D         e902 PG52
E D112   Opus 65      
F   ATM250DE       Beta 52
Beta 52A
G            
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Snare &
Toms
A              
B D440 Snare/Tom
Kick/Tom
Opus 62 QSnare
QTom
e604 PG56
C D409 ATM650 Opus 67   e608  
D   PRO25 Opus 53
Opus 66
  e904 (toms)
e905 (snare)
e906
BG6.1
SM57-LC
E C418PP PRO35x Opus 88
M201
  e609
e908D
Beta 56
F           Beta 98 D/S
G         MD421MkII  
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Kick drum A              
B   Kick/Tom        
C D550       e602  
D   PRO25   QKick e902 PG52
E D112 PRO35x
ATM250
Opus 65
Opus 99
  e901  
F   ATM250DE       Beta 52A
G C547BL         Beta 91
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Hi-hats &
Cymbals
A       C01      
B            
C C430          
D C1000S   Opus 53
Opus 83
  e614  
E   ATM450        
F         e664  
G         e914  
H C483B         SM81-LC
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Drum
overheads
A       C01      
B            
C C430 PRO37   C02   PG81
D     Opus 53
Opus 83
  e614  
E   ATM450       BG4.1
F         e664  
G         e914  
H C483B         BG4.0
SM81-LC
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Piano A             C-ducer:
B2000/2x8" pbB
B            
C            
D         e614  
E C416PP   Opus 51      
F            
G C547BL       e914 Beta 91
H           SM81-LC
J         MD441U  
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Brass & Woodwind A              
B   PRO25ax     e604  
C D409       e608  
D C419PP
C1000S
  Opus 53
Opus 83
  e904
e906 (brass)
SM57-LC
E C418PP
D190
PRO35x
PRO35ax
ATM250
M69TG   e908B (brass) Beta 57A
Beta 56
F   ATM350 M88TG     Beta 98 H/C
BG3.0
G C3000       e914
MD421MkII
 
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Acoustic
Strings
A       C01     C-ducer:
B1000/3" prA
B            
C C411PP PRO95
PRO37
ATM33a
      PG81
D C1000S       e906
e614
 
E   ATM450       BG4.1
F   ATM350     e664  
G C3000       e914
MD421MkII
SM94-LC
H           SM81-LC
J C414B-
XLS
  MC740
MC834
  MD441U  
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Rifle A              
B            
C            
D            
E            
F         ME66 +
module
 
G            
H C568EB
C489B
         
J         MKH416+
MKH816+
SM89
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Floor A C400BL            
B            
C            
D           Easyflex EZB/O
E           Easyflex EZB/C
F            
G C547BL          
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Lectern A              
B            
C   ATM33a     ME34
ME35
 
D
C580E
C647E
         
E C680BL       ME36 Easyflex EZG
F C621E         Shu_MX412SE
Shu_MX418SE
G C747          
H            
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Choir A             Behringer:
C-2 pbA
B-5 pbB
B            
C            
D C1000S          
E           Easyflex EZO
F C947CM         MX202
G         e914  
H C921CM         BG5.0
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Lavalier
(wired)
A         ME2 +pk
ME4 +pk
   
B            
C C417+          
D           WL93 +pk
WL183 +pk
E           WL185 +pk
WL184 +pk
F           SM93
G           WL50 +pk
H           WL51 +pk
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Lavalier
(radio)
A              
B            
C            
D            
E            
F            
G           UT
H         eW112
eW122
SLX
J           ULX
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Headset
(wired)
A              
B            
C           SM10A-
CN
D   ATM75        
E            
F            
G C477WR LP          
H         HS2
HSP2
HSP4
 
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Headset
(radio)
A              
B C410B          
C C444       ME3 +pk  
D C420          
E            
F            
G C477WR LP          
H         eW152  
J            
K            
  pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser    Shure    Other
Studio A       C01
C03
    Behringer:
C-1 pbA
B-2 PRO pbD

sE:
SE2200A pbE
TITAN pbH
B            
C            
D            
E            
F C2000B
P420
         
G C3000
C4000
        KSM27
H C4500B-
BC
AT4050       SM81-LC
KSM32
J C414B-
XLS

C414B-
XLII
  MC740
MC834
  MD441U
MKH40
 
K         MKH80  
Application pb AKG Audio-
Technica
Beyer-
Dynamic
Samson Sennheiser Shure Other

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:

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 phys_imgmic_img Con Cd 20-20k 10 / -40 132 200 17* G = SE300B + CK91.
C392B phys_imgmic_img Con Om 20-20k 10 / -40 132 200 17* G = SE300B + CK92.
C393B phys_imgmic_img Con Hc 20-20k 10 / -40 132 200 17* G = SE300B + CK93.
C394B phys_imgmic_img Con F8 20-20k 10 / -40 132 200 17* H = SE300B + CK94.
C397-OB phys_imgmic_img Con Om 20-20k 10 / -40 132 200 17* G = SE300B + CK97-O.
C397-CB phys_imgmic_img Con Cd 20-20k 10 / -40 132 200 17* G = SE300B + CK97-C.
C397-CVRB phys_imgmic_img Con Cd 20-20k 10 / -40 132 200 17* G = SE300B + CK97-CVR.
C398B phys_imgmic_img Con Sh 20-20k 10 / -40 132 200 17* G = SE300B + CK98.
C400BL phys_imgmic_img Con Hc 40-14k 13.5 / -37 95 200 21* A Speech.
Mini PZM.
C407 phys_imgmic_img 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 phys_imgmic_img Con Hc 20-20k 5 / -46 131 200   B Headset.
C411PP phys_imgmic_img Con F8 10-18k See
Notes
100 200,
1k ML
  C Acoustic strings.
Adhesive mini pick-up.
Sensit 1 mV/ms-2.
C414B-XLII phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Con Hc 20-20k 5 / -46 126 200,
1k ML
31 E Accordion, guitar cab, piano.
Mini gooseneck with mounting bracket.
C417PP phys_imgmic_img 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 phys_imgmic_img Con Hc 50-20k 4 / -48 131 200,
1k ML
38 E Drums, percussion, trumpet.
Clip-on.
C419PP phys_imgmic_img Con Hc 20-20k 7 / -43 126 200,
1k ML
30 D All wind instruments, percussion.
Mini clip-on gooseneck.
C420 phys_imgmic_img Con Hc 20-20k 7 / -43 126 200 33 D Headset vocals.
C430 phys_imgmic_img Con Cd 20-20k 7 / -43 126 200,
2k ML
33 C Cymbals & drum OH.
C444 phys_imgmic_img Con Cd 20-20k 40 / -28 126 200,
2k ML
22 C Headset.
C451B phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Con Cd           C Vocals headset.
C535EB phys_imgmic_img 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 phys_imgmic_img Con ½Om 20-20k 20 / -34 130 600,
2k ML
16 F Fixable PZM.
150 Hz low cut (12 dB/oct).
C547BL phys_imgmic_img Con Hc 30-18k 8.5 / -41 133 400,
1k ML
22 G Floor PZM.
Low cut sw.
C555L phys_imgmic_img Con Cd 80-20k 35 / -29   200,
2k ML
22 B Speech headset.
C562BL phys_imgmic_img Con ½Om 20-20k 20 / -34 130 600,
2k ML
16 H PZM with plate.
Low cut sw.
C562CM phys_imgmic_img Con ½Om 20-20k 20 / -34 130 600,
2k ML
16 H PZM without plate.
Low cut sw.
C568EB phys_imgmic_img Con Hc 20-20k 11 / -39 128 600 18 H Short shotgun.
C580E phys_imgmic_img Con Hc 60-15k 15 / -36 125 600   D Gooseneck. Lectern.
C621E phys_imgmic_img Con Cd 70-20k 15 / -36 125 600   F 18" gooseneck.
C647E phys_imgmic_img Con Hc 30-18k 8.5 / -41 133 400 21 D Gooseneck. Lectern.
C680BL phys_imgmic_img Con Cd 60-20k 30 / -30 115 200 27* E PZM for table or lectern.
C747 phys_imgmic_img 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 phys_imgmic_img Con Cd 20-20k 6 / -44 139 200,
2k ML
17.5 D Vocals.
Includes presence boost adaptor.
C921CM phys_imgmic_img Con Cd 60-20k 30 / -30 115 <400 27* H Choir, theatre.
Overhead suspension.
C947CM phys_imgmic_img Con Hc 20-18k 8.5 / -41 122 <400 24* F Choir, theatre.
Overhead suspension.
C1000S phys_imgmic_img 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 phys_imgmic_img Con Cd 30-20k 20 / -34 140 200 20 F Budget studio.
C3000 phys_imgmic_img 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 phys_imgmic_img Con Cd/
Hc/
Om
20-20k 25 / -32 145 200,
1k ML
8 G Studio vocals & inst.
Low cut switch.
Pad switch.
C4500B-BC phys_imgmic_img Con Cd 30-20k 20 / -34 145 <200,
1k ML
8 H Studio.
Large diaphragm.
20 dB pad.
120 Hz low cut.
Transformerless.
C5600 phys_imgmic_img 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 phys_imgmic_img Con Hc 20-22k 6 / -44 139 200,
2k ML
17.5 F Vocals.
100/150 Hz low cut.
D7 phys_imgmic_img 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 phys_imgmic_img Dyn Hc 80-20k 2.0 / -54 141 500   A Budget vocals and instruments.
On/off switch.
3% THD @ 150dB SPL
D112 phys_imgmic_img Dyn Cd 20-17k 1.8 / -55 168 210,
600 ML
21 E Kick drum, bass cab &
bass wind instruments.
D190 phys_imgmic_img Dyn Cd 30-15k 1.6 / -56 128 280,
2k5 ML
20 E Vocals, instruments,
esp. guitar cab & trumpet.
Bronze basket, cyl. body.
D224 phys_imgmic_img 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 phys_imgmic_img Dyn Hc 60-17k 1 / -60 124 600,
2k ML
  C Wind instruments, drums, percussion.
Mini clip-on gooseneck.
D440 phys_imgmic_img Dyn Cd 60-20k 2.5 / -52 147 600,
2k ML
18 B Percussion, guitar cab,
wind instruments.
Mini.
D510 phys_imgmic_img Dyn Om 140-
15k
1.1 / -59   230   D Speech.
12" dynamic omni gooseneck.
Attached cable.
Obsolete.
D541 phys_imgmic_img Dyn Cd 140-
17k
2.3 / -53   700   D Speech.
14" dynamic gooseneck.
Attached cable.
Obsolete.
D550 phys_imgmic_img Dyn Cd 20-20k 2.5 / -52 147 600,
2k ML
18 C Bass instruments,
trombone.
D660 phys_imgmic_img Dyn Hc 80-20k 2 / -54 140 500,
2k ML
20 A Budget vocals and
instruments.
D770 phys_imgmic_img Dyn Cd 60-20k 1.8 / -55 147 600,
2k ML
22 B Budget vocals and instruments.
D880 phys_imgmic_img Dyn Sc 60-20k 2.5 / -52 147 600,
2k ML
22 B Vocals.
D3300 phys_imgmic_img Dyn Hc 70-20k 2.0 / -54 141 500,
1.2k ML
20 A Budget vocals.
D3700 phys_imgmic_img Dyn Hc 40-18k 2.5 / -52 147 600,
2k ML
19 C Stage vocals.
D3800 phys_imgmic_img Dyn Hc 40-21k 2.8 / -51 147 600,
2k ML
18 E Stage vocals.
P2 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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" phys_imgmic_img 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" phys_imgmic_img 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" phys_imgmic_img 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") phys_imgmic_img 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") phys_imgmic_img 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")
phys_imgmic_img 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")
phys_imgmic_img 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 phys_imgmic_img Con Cd 30-18k 7.9 / -42 147 150 19 G Vocals & speech.
10 dB pad.
80 Hz low cut.
AE4054 phys_imgmic_img Con Cd 60-20k 5 / -46 147 200 18 H Vocals, general stage use.
Large diaphragm.
True condenser.
AE4100 phys_imgmic_img Dyn Cd 90-18k 1.7 / -55   250   D Vocals.
AE5100 phys_imgmic_img Con Cd 20-20k 15.8 / -36 148 150 11 F Instruments.
AE5400 phys_imgmic_img Con Cd 20-20k 10 / -40 147 150 14 G Vocals & speech.
Large diaphragm.
True condenser.
10 dB pad
80 Hz low cut
AE6100 phys_imgmic_img Dyn Hc 60-15k 1.7 / -55   250   E Vocals & speech.
AT835b phys_imgmic_img Con Sh 40-20k 12.5 / -38 130 500 24 G Film & TV production.
180 Hz low cut (18 dB/oct).
AT2010 phys_imgmic_img Con Cd 40-20k 3.9 / -48 136 100 23* D Vocals.
AT2020 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Con Cd 20-20k 25.1 / -32 148 250 12 E Studio.
10 dB pad.
80 Hz low cut (12 dB/oct).
AT4040 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Hc 30-15k 1.9 / -54   600   F Kick drum.
Short cyl.
ATM29HE phys_imgmic_img Dyn Hc 70-16k 1.5 / -56   200   C Instruments, vocals.
Hi-mid peak (max at 6k).
ATM31a phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Cd 50-16k 1.5 / -56   250   B Close vocals.
ATM41HE phys_imgmic_img Dyn Hc 50-17k 2.8 / -51   600   D Close vocals.
ATM61HE phys_imgmic_img Dyn Hc 50-18k 2.8 / -51   600   D Close vocals.
ATM63HE phys_imgmic_img Dyn Hc 50-18k 2.5 / -52   600   E Vocals, drums,
guit cab, piano.
Un-peaked response.
ATM75 phys_imgmic_img Con Cd           CD Bodypack operates on battery or phantom power.
ATM89R phys_imgmic_img Con Hc + 70-20k 7.9 / -42 138 100 27 F Vocals.
Alternate elements for Cd, sub-Cd & Om.
ATM250 phys_imgmic_img Dyn Hc 40-15k 1.9 / -54   600   E Instruments.
ATM250DE phys_imgmic_img 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 phys_imgmic_img Con Cd 40-20k 3.5 / -49 149 50 27* F Brass,
woodwind,
violin.
Separate power module.
Miniature UniMount clip-on.
ATM410 phys_imgmic_img Dyn Cd 90-16k 1.7 / -55   300   B Vocals.
ATM450 phys_imgmic_img 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 phys_imgmic_img Dyn Cd 90-16k 1.7 / -55   300   C Vocals.
ATM610 phys_imgmic_img Dyn Hc 40-16k 1.7 / -55   300   C Vocals.
ATM650 phys_imgmic_img Dyn Hc 80-17k 1.5 / -56   300   C Instruments.
ATM710 phys_imgmic_img Con Cd 40-20k 10 / -40 148 200 21* D Vocals.
10 dB pad.
80 Hz low cut
(12 dB/oct).
MB3000L phys_imgmic_img Dyn Cd 50-16k 2.5 / -52   250   C Close vocals.
MB4K phys_imgmic_img Con Cd 80-20k 5 / -46 137 200 24 D General purpose.
Kick/Tom phys_imgmic_img Dyn Cd 60-12k 1.1 / -59   500   B Kick, toms.
PRO25 phys_imgmic_img Dyn Hc 30-12k 1.9 / -54   600   D Kick, toms.
PRO25ax phys_imgmic_img Dyn Hc 30-12k 1.9 / -54   600   B Percussion, brass.
PRO35x phys_imgmic_img 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 phys_imgmic_img Con Cd 50-15k 5.6 / -45 145 250 30 E Sax, brass, perc.
Mini UniMount clip-on.
80 Hz low cut.
PRO37 phys_imgmic_img Con Cd 30-15k 7.9 / -42 141 200 29 C Overheads,
acoustic strings,
piano.
PRO37R phys_imgmic_img Con Cd 30-15k 7.9 / -42 141 200 29 C Overheads,
acoustic strings,
piano.
Superceded by PRO37.
PRO44 phys_imgmic_img Con Cd 70-16k 56.2 / -25 114 100 28 D Floor, lectern.
PRO45 phys_imgmic_img Con Cd 70-16k 14.1 / -37 134 100 28 A Overhead suspension.
25 ft. fixed cable with XLRM plug.
Choirs,
orchestras.
PRO95 phys_imgmic_img Con Cd 10-13k 10 / -40 105 2000 unbal. 27 C Acoustic strings.
Mini clip-on gooseneck (for internal use).
Battery powered.
Snare/Tom phys_imgmic_img Dyn Cd 100-
12k
1.2 / -58   500   B Snare, toms.
Audix 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
OM-2 phys_imgmic_img Dyn Hc 50-16k 2.3 / -53 140     C  
OM-3 phys_imgmic_img Dyn Hc 50-18k 2.0 / -54 144     D  
OM-5 phys_imgmic_img Dyn Hc 50-19k 2.4 / -52 144     F  
OM-6 phys_imgmic_img Dyn Hc 50-19k 2.3 / -53 144     F  
OM-7 phys_imgmic_img Dyn Hc 50-19k 0.9 / -61 144     F  
Behringer 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
B-2 PRO phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Con Cd 40-20k 22 / -33 136 100,
1k ML
  A Budget studio.
Transformerless.
C-2 phys_imgmic_img 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 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
M69TG phys_imgmic_img Dyn Hc 50-16k 2.3 / -53   200,
1k ML
  E Speech, vocals,
brass esp. trombone.
Cyl. body.
M88TG phys_imgmic_img Dyn Hc 30-20k 2.9 / -51   200,
1k ML
  F Vocals, speech, instruments.
Cyl. body.
M201 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Sc 50-16k 2.4 / -52   600,
1k ML
  B Vocals.
Distant freq. resp. 100-14k
Opus 51 phys_imgmic_img 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 phys_imgmic_img Con Cd 30-20k 5 / -46 136 200,
1k ML
22 D Snare, hi-hat, brass, woodwind.
Opus 59 phys_imgmic_img Dyn Sc 45-16k 2.6 / -52   600,
1k ML
  B Vocals.
Distant freq. resp. 100-14k
Opus 62 phys_imgmic_img Dyn Hc 40-12k 1.5 / -56   200   B Snare, toms, etc.
Mini clip-on gooseneck.
Opus 65 phys_imgmic_img Dyn Hc 15-18k 2 / -54   280,
1k ML
  E Kick, floor tom, congas.
Large diaphragm.
Distant freq. resp. 40-16k
Opus 66 phys_imgmic_img Dyn Sc 50-16k 2.5 / -52 140 300,
1k ML
  D Snare, toms, cymbals.
Mini.
Opus 67 phys_imgmic_img Dyn Hc 40-12k 1.5 / -56   200,
1k ML
  C Snare, toms, cymbals.
Mini clamp-on gooseneck.
Opus 69 phys_imgmic_img Dyn Sc 35-16k 2.5 / -52   290,
1k ML
  D Close vocals & speech.
Distant freq. resp. 95-14k
Opus 81 phys_imgmic_img Con Cd 50-18k 3.2 / -50 138 190,
1k ML
26 E Vocals.
Opus 83 phys_imgmic_img Con Cd 40-20k 3.2 / -50 138 190,
1k ML
26 D Hi-hats, drum overheads, brass, woodwind.
Back electret.
Opus 88 phys_imgmic_img 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 phys_imgmic_img Dyn Hc           EF Kick drum.
Optional ST 99 stand.
TG-X58 phys_imgmic_img Dyn Sc 50-15k 2 / -54   600,
1k ML
  A Budget vocals.
TG-X60 phys_imgmic_img Dyn Hc 40-18k 3 / -50   280,
1k ML
  F Vocals.
TG-X80 phys_imgmic_img Dyn Hc 30-18k 3.2 / -50   280,
1k ML
  G Vocals, esp female.
Smooth response.
Neumann 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
KMS 104 phys_imgmic_img Con Cd 20-20k 4.5 / -47 150 50,
1k ML
18 H Vocals.
KMS 104 plus phys_imgmic_img Con Cd 20-20k 4.5 / -47 150 50,
1k ML
18 H Female vocals.
KMS 105 phys_imgmic_img Con Sc 20-20k 4.5 / -47 150 50,
1k ML
18 H Vocals.
Rode 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
S1 phys_imgmic_img Con Sc 20-20k 4.5 / -47 150 50 16 E Vocals.
Samson 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
C01 phys_imgmic_img Con Cd 40-18k 22.5 / -33 136 200   A Studio, side-address.
Drums overhead,
acoustic insts,
vocals.
Large diaphragm.
C02 phys_imgmic_img Con Cd 40-20k 10 / -40 134 200 22 C Instruments.
Small diaphragm.
C03 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Con Cd 50-18k 6.3 / -44 130 200 23 C Vocals, insts, speech.
Q1 phys_imgmic_img Con Cd 50-20k   142 90,
800 ML
  A Vocals.
Rising response above 8 kHz.
Q2 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Sc 50-15k 3.2 / -50   500   A Vocals.
On/off switch.
Q7 phys_imgmic_img Dyn Sc 80-12k 2.2 / -54   200   A Vocals.
Rising response to 7 kHz, falls rapidly above 8.5 kHz.
Q8 phys_imgmic_img Dyn Sc 50-16k 2.5 / -52 150 2300   A Vocals.
QKick phys_imgmic_img Dyn Sc 50-16k 0.8 / -62 147 200   D Kick, bass drums, perc.
QSnare phys_imgmic_img Dyn Sc 50-16k 0.78 / -55 133 200   B Snare.
Rim-mount clamp.
QTom phys_imgmic_img Dyn Cd           B Toms.
Rim-mount clamp.
R11 phys_imgmic_img Dyn Hc 60-18k 0.2 / -74 130 400   A Vocals, insts.
R21 phys_imgmic_img Dyn Cd 80-12k 1.8 / -55   500   A General stage use.
S11 phys_imgmic_img Dyn Cd 60-18k 0.2 / -74 130 600   B Vocals, insts.
S12 phys_imgmic_img Dyn Hc 60-18k 0.3 / -70 130 600   B General stage use.
sE Electronics 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
H-1 phys_imgmic_img Con Cd 20-20k 2 / -54 145 200,
1k ML
18 F Vocals.
SE3 phys_imgmic_img 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 phys_imgmic_img Con Cd 20-20k 14.1 / -37 130 <200 17 E Vocals, insts.
10 dB pad.
Low cut switch.
Large diaphragm.
Transformer coupled.
TITAN phys_imgmic_img 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 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
e602 phys_imgmic_img Dyn Cd 20-16k 1 / -60   250,
1k ML
  C Kick, bass cab, tuba.
Humbucking coil.
e602MkII phys_imgmic_img Dyn Cd 20-16k 1 / -60   250,
1k ML
  C Kick, bass cab, tuba.
Humbucking coil.
e604 phys_imgmic_img Dyn Cd 40-18k 1.8 / -55 160 350,
1k ML
  B Drums, brass.
Mini clip-on.
e606 phys_imgmic_img Dyn Sc 40-15k 1.5 / -56   350,
1k ML
  B Guitar cab.
Side address.
e608 phys_imgmic_img Dyn Sc 40-16k 0.8 / -62   350,
1k ML
  C Woodwind, brass, drums.
Mini gooseneck clip.
e609 phys_imgmic_img Dyn Sc 40-16k 1.5 / -56   350,
1k ML
  E Guitar cab, toms.
Side address.
Humbucking coil.
e614 phys_imgmic_img Con Sc 40-20k 3 / -50 139 50,
1k ML
24 D Drums overhead, woodwind, string, flute, sax, cymbals, hi-hats.
e664 phys_imgmic_img Con Cd 40-20k 32 / -30 130 200,
1k ML
16 F Drums overhead, hi-hats,
acoustic insts.
e825S phys_imgmic_img Dyn Cd 80-15k 1.5 / -56   350,
1k ML
  A General stage use.
e835 phys_imgmic_img Dyn Cd 40-16k 2.7 / -51   350,
1k ML
  A Close vocals.
e840 phys_imgmic_img Dyn Cd 40-18k 2 / -54   350,
1k ML
  B Close vocals.
e845 phys_imgmic_img Dyn Sc 40-16k 1.8 / -55   350,
1k ML
  B Close vocals.
e855 phys_imgmic_img Dyn Sc 40-18k 1.8 / -55   350,
1k ML
  D Close vocals.
e865 phys_imgmic_img Con Sc 40-20k 3 / -50 150 200,
1k ML
  E Vocals.
Back electret.
e901 phys_imgmic_img Con ½Cd 20-20k 0.5 / -66 154 <100,
1k ML
  E Kick drum.
Rests on rubber mat.
e902 phys_imgmic_img Dyn Cd 20-18k 0.6 / -64   350,
1k ML
  D Kick, bass cab, tuba.
Humbucking coil.
e904 phys_imgmic_img Dyn Cd 40-18k 2 / -54   350,
1k ML
  D Drums.
Clamp included (MZH604).
Humbucking coil.
e905 phys_imgmic_img Dyn Cd 40-18k 2.6 / -52   350,
1k ML
  D Snare drum.
Integral stand-mount.
Humbucking coil.
e906 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Cd 40-16k 2.8 / -51   350,
1k ML
  D Close vocals.
Humbucking coil.
e945 phys_imgmic_img Dyn Sc 40-18k 2 / -54   350,
1k ML
  E Close vocals.
Humbucking coil.
HS2 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Cd 30-17k 2 / -54   200, matched   G Speech, acoustic guitar,
drums.
4-pos low cut.
MD425 phys_imgmic_img Dyn Sc 40-18k 1.6 / -56   350,
1k ML
  G Vocals.
MD431MkII phys_imgmic_img Dyn Sc 40-16k 2 / -54   250,
1k ML
  H Vocals, speech.
MD441U phys_imgmic_img Dyn Sc 30-20k 1.8 / -55   200,
1k ML
  J Instruments.
5-pos low cut.
Hi boost.
Square cross-section.
MD835 phys_imgmic_img Dyn Cd 40-16k 2.7 / -51   350,
1k ML
    Close vocals.
Capsule in
e835 & eW135
(green ring).
MD845 phys_imgmic_img Dyn Sc 40-16k 1.8 / -55   350,
1k ML
    Close vocals.
Capsule in
e845 & eW145
(blue ring).
MD865 phys_imgmic_img Con Sc 40-20k 3 / -50   200,
1k ML
    Vocals.
Back electret.
Capsule in
e865 & eW165
(red ring).
ME2 phys_imgmic_img Con Om 40-18k 20 / -34 130     A+ Lavalier.
Incl. with eW112
and eW312
Evolution wireless series.
ME3 phys_imgmic_img Con Sc 40-18k 1.6 / -56 150     C+ Headset.
Incl. with eW152
Evolution wireless series.
ME4 phys_imgmic_img Con Cd 40-18k 40 / -28 120     A+ Lavalier.
Incl. with eW122
and eW322
Evolution wireless series.
ME34 phys_imgmic_img Con Cd 50-20k 10 / -40   50,
1k ML
26 C Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret.
ME35 phys_imgmic_img Con Sc 50-20k 10 / -40   50,
1k ML
26 C Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret.
ME36 phys_imgmic_img Con Sh 40-20k 10 / -40   50,
1k ML
23 E Mini shotgun.
Speech, vocals.
Capsule for MZH30xx gooseneck.
Electret.
ME65 phys_imgmic_img Con Sc 40-20k 10 / -40 142
(3%)
200,
1k ML
20 E Speech & vocals.
Use K6 or K6P powering module.
Back-electret.
ME66 phys_imgmic_img Con Sh 40-20k 50 / -26 125 200,
1k ML
10 F OB & film.
Back electret.
Use K6 or K6P powering module.
MKH20 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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
phys_imgmic_img 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
phys_imgmic_img 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
phys_imgmic_img 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
phys_imgmic_img 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
phys_imgmic_img 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 phys_imgmic_img               B Pre-amp & 15 cm gooseneck for ME34, ME35 & ME36 capsules.
MZH3040 phys_imgmic_img               C Pre-amp & 40 cm gooseneck for ME34, ME35 & ME36 capsules.
MZH3042 phys_imgmic_img               D Pre-amp & 40 cm gooseneck with 2 bends for ME34, ME35 & ME36 capsules.
Shure click for website       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 phys_imgmic_img Dyn Cd 50-15k 1.3 / -58   150   F Speech, vocals.
1940's retro styled.
520DX phys_imgmic_img Dyn Om 100-5k 13 / -38   High,
100k ML
Unbal.
  F Harmonica
"Green Bullet".
Palm-held.
Volume control.
Cable attached.
565SD phys_imgmic_img Dyn Cd 50-15k 1.6 / -56   250   E Stage speech.
588SDX phys_imgmic_img Dyn Cd 80-15k 0.17 / -75   150   B Budget vocals & speech.
Beta 52 phys_imgmic_img Dyn Sc 20-10k 0.6 / -64 174 45   F Kick, bass cab.
Beta 52A phys_imgmic_img Dyn Sc 20-10k 2.7 / -51   150   F Kick, bass cab.
Beta 56 phys_imgmic_img Dyn Sc 50-16k 2.8 / -51   290   E Toms, brass, woodwind.
Mini.
Beta 57A phys_imgmic_img Dyn Sc 50-16k 2.8 / -51   290   E General stage insts,
esp. guitar cab & brass.
Beta 58A phys_imgmic_img Dyn Sc 50-16k 2.7 / -51   290   D Stage vocals.
Beta 87A phys_imgmic_img Con Sc 50-20k 2.4 / -53 140 150,
800 ML
23.5 F Stage vocals.
Beta 87C phys_imgmic_img Con Cd 50-20k 2.8 / -51 139 150,
800 ML
22 FG Stage vocals & speech.
Cd version of Beta 87A.
Beta 91 phys_imgmic_img 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 phys_imgmic_img Con Sc 20-20k 1 / -59 160 150   F Snare, toms.
Max SPL 156 @ 1k load.
Beta 98 H/C phys_imgmic_img Con Cd 20-20k 1.9 / -56 163 150   F Horns.
Max SPL 155 @ 1k load.
Beta 98 S phys_imgmic_img Con Sc 20-20k 1 / -59 160 150   F Instruments.
Max SPL 156 @ 1k load.
BG1.0 phys_imgmic_img Dyn Cd 80-12k 1.4 / -57   600   D Budget vocals.
BG1.1 phys_imgmic_img Dyn Cd 85-14k 1.5 / -56   180   A Budget vocals.
General stage use.
BG2.0 phys_imgmic_img Dyn Cd 80-14k 1.6 / -56   150   F Vocals.
BG3.0 phys_imgmic_img Dyn Cd 60-15k 1.8 / -55   150   F Vocals, brass.
BG3.1 phys_imgmic_img Dyn Cd 60-14k 2.1 / -54   290   C Vocals.
BG4.0 phys_imgmic_img Con Cd 40-18k 4.0 / -48   600   H Drum overhead.
BG4.1 phys_imgmic_img Con Cd 40-18k 4.0 / -48 129 600,
800 ML
24 E Drum overhead,
instruments.
BG5.0 phys_imgmic_img Con Cd 40-18k 3.5 / -49   600   H Vocals, choir.
BG5.1 phys_imgmic_img Con Cd 70-16k 3.5 / -49 130 600,
800 ML
25 E Vocals.
Electret.
BG6.1 phys_imgmic_img Dyn Cd 80-15k 2 / -54   290   D Instruments.
Mini.
Easyflex EZB/C phys_imgmic_img Con Cd 50-17k 11.2 / -39 122 170 23 E Speech, vocals.
Boundary, for lectern/floor.
Easyflex EZB/O phys_imgmic_img Con Om 50-17k 20 / -34 117 170 18 D Speech, vocals.
Boundary, for lectern/floor.
Easyflex EZG series phys_imgmic_img Con Cd 50-17k 5.2 / -46 129 180 29 E 12" or 18" gooseneck.
XLR or threaded flange mounting.
Easyflex EZO phys_imgmic_img Con Cd 50-17k 5.2 / -46 129 180 29 E Choir.
Overhead suspension.
Grey or white.
KSM9 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img 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 phys_imgmic_img Dyn Cd 70-15k 2.5 / -52   600   A Speech.
PG52 phys_imgmic_img Dyn Cd 30-13k 1.8 / -55   300   D Kick.
PG56 phys_imgmic_img Dyn Cd 50-15k 1.6 / -56   200   B Snare, toms.
Mini.
PG57 phys_imgmic_img Dyn Cd 50-15k 1.6 / -56   200   A Budget instrument.
PG58 phys_imgmic_img Dyn Cd 60-15k 2.2 / -53   300   A Lead vocals.
PG81 phys_imgmic_img Con Cd 40-18k 4.0 / -48 131 600,
2k ML
  C Acoustic instruments.
SM10A-CN phys_imgmic_img 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 phys_imgmic_img Dyn Cd 55-14k 1.3 / -58   150   B Speech, budget vocals.
SM57-LC phys_imgmic_img Dyn Cd 40-15k 1.9 / -54   310   D Snare, guitar cab.
SM58-LC phys_imgmic_img Dyn Cd 50-15k 1.9 / -54   150   B Stage vocals.
SM81-LC phys_imgmic_img 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 phys_imgmic_img Con Cd 50-18k 3.15 / -50 147 150,
600 ML
23 DE Stage vocals, speech.
SM87 phys_imgmic_img Con Cd 50-18k 2.0 / -54   150   G Vocals.
SM87A phys_imgmic_img Con Cd 50-18k 2.4 / -52 140 100,
800 ML
24 F Stage vocals, speech.
SM89 phys_imgmic_img Con Sh 60-20k 2.2 / -53 127 100,
800 ML
16 J Film & TV.
160 Hz low cut.
SM93 phys_imgmic_img Con Om 80-20k 7 / -43 120 90,
800 ML
22 F TV, theatre.
Lavalier.
SM94-LC phys_imgmic_img Con Cd 40-16k 3.5 / -49 141 200,
800 ML
25 G Acoustic insts.
Max SPL 123 on battery power.
WL93 phys_imgmic_img Con Om           D Lavalier.
Use with wireless mics.
WL183 phys_imgmic_img Con Om 50-17k     1800 22.5 D Lavalier.
Use with wireless mics.
WL184 phys_imgmic_img Con Sc 50-17k     1800 22.5 E Lavalier.
Use with wireless mics.
WL185 phys_imgmic_img Con Cd 50-17k     1800 22.5 E Lavalier.
Use with wireless mics.
WL50 phys_imgmic_img 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 phys_imgmic_img 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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* See the note on noise level at the top of the table.


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This page last updated 10-May-2019.