There are two main types of microphone design: condenser and dynamic. So, what are the differences? How do they work? Where are they best suited? What are their advantages and disadvantages?
Let’s take a look at these questions – after all, they surround everybody’s first microphone purchase. We’ll explore condenser vs. dynamic mics and try to answer the all-important question: which one do you need?
Key takeaways
| Condenser | Dynamic |
|---|---|
| Signal transmitted through electrostatics | Signal transmitted through electromagnetic induction |
| Sensitive, detailed sound with increased high-frequencies and a flatter frequency response | Less detailed sound quality overall |
| Requires additional voltage through phantom power to work | Plug in and get signal |
| Sensitive to noise and background sounds | High noise rejection |
| Can distort from high-volume signals | Can reach high levels without distortion, resisting feedback |
| Delicate, complex internal circuitry can be sensitive to temperature and humidity | Rugged simple components better handle temperature and humidity |
How do microphones work?
On a basic level, sound is just variations in pressure, so the purpose of a microphone is to convert these changes in air pressure to an electrical signal. This allows it to be recorded or amplified. Different microphone types have different methods of doing this, but all utilise some form of thin membrane or material called a diaphragm.
The changes in air pressure move this diaphragm, creating changes in an electrical signal that match the sound wave.
Microphones are referred to in engineering as transducers. Transducers convert one form of energy into another, which is exactly what we see happening here!
Condenser vs. dynamic mics
So, let’s get specific. How do condenser and dynamic microphones work?
Condensers use electrostatics to create their electrical current. The diaphragm is made of a very thin sheet of metal which conducts electricity. Then, a thicker fixed plate behind the diaphragm is full of charged particles.
Functionally, the diaphragm and this fixed back plate form a common electrical component called a capacitor. As the diaphragm moves, the charge of the back plate changes, which creates the signal.
Dynamic microphones use electromagnetic induction. This common way of creating electrical current utilises a static magnet and a coil of wire attached to the diaphragm. As the diaphragm gets pushed and the coil is moved into the magnetic field, it generates a current within the coil.
Knowing how these designs function is all well and good, but how does this affect the behaviour of the microphones?
Condenser microphones
Sensitive mics that are suitable for studios
To put it simply, condenser microphones are detailed and sensitive. This is both to their benefit in terms of sound quality and to their detriment in certain use cases.
The detail and full frequency response of condensers make them great for studio recording when you want to capture the full signal range of a source without needing multiple mics or an elaborate recording setup.
They tend to have a smooth high-frequency extension that makes them especially shine on vocals, a smooth midrange, and a neutral low-end.
The trade-off is that condensers are extremely sensitive to external noise, which means that they perform best in an acoustically treated space. They can also distort relatively easily. Some very popular condensers can’t handle loud or close sources like snare drums very well, resulting in a distorted, blown-out signal.
This is a big reason why condensers tend to be more common in studios; you need that extra space to set the mic in a good position for the sound.
Lower SPL handling
Modern designs have gotten better at handling higher sound pressures, and some condensers do well on snare, kick, or tom drums, cranked guitar amps, and even live vocals in some cases nowadays, but you need to be mindful of their SPL handling to make sure they don’t distort too severely.
Phantom power required
Condenser microphones also require phantom power to operate, which is an extra voltage that boosts the signal to audible levels. This can be supplied from mixers, audio interfaces, or dedicated phantom power boxes, so it’s possible to use live, but they tend to be better suited to acoustic instrumentation, from guitars and orchestral string instruments to lead vocals.
Our condenser mic recommendations
For good condenser microphones that can fit anywhere with the right placement, we recommend the Audio Technica AT2020, Neumann TLM 102, and the Rode NT1 Signature Series. All three of these mics are versatile, having found placements in home and professional studios as a primary vocal mic that can do a great job of capturing acoustic instruments and guitar amps too.
They’ve similarly been proven capable of use in live venues on sources like guitar amps or drum overheads. With careful placement and good gain staging, these condensers can fit into anything.
Shure, a titan in both professional and home studios, have also recently released the SM4 Dual Diaphragm Condenser Microphone. This mic has a one-inch brass dual-diaphragm capsule, Interference Shielding Technology for blocking radio frequency noise from wireless devices, and high SPL handling of up to 14 dB. It’s great for achieving professional results in a home recording studio.
Dynamic microphones
Higher SPL handling for live sound
Dynamic microphones are far more robust, both in build quality and sound pressure handling. This makes them great for live sound, capturing louder sources, and for things like podcasting or streaming where there can be wide fluctuations in volume.
Versatile mics that reject unwanted noise
Dynamics can be good at rejecting unwanted noise, like ambient background sounds, or bleed from other sources, which also makes them great on stage.
They do excellently on all kinds of drums, horns, guitar amps, and live vocals. The trade-off is that dynamic microphones tend to have lower sound quality overall, but their robustness and versatility make them a very useful tool for all kinds of audio.
Our dynamic mic recommendations
Our recommended dynamic microphones are the Shure SM58, which has solidified itself as the gold standard of live vocal mics that also sees use for reinforcement in studios, and the Sennheiser e906, which is a very versatile instrument microphone that’s found popularity on guitars and guitar amps but is equally suited to snare and tom drums and brass instruments.
We also suggest the Electro-Voice RE-20, which is a tried and tested classic design that can be used on vocals and pretty much every instrument under the sun. Its variable-D technology prevents any off-axis sound colouration, making it equally popular for content creation and podcasting.
Which one should I use?
In the end, both condenser and dynamic microphones have plenty of overlap; both can do well with most sources. But they also fare better in different environments because of their particular strengths and weaknesses.
Condensers do best in spacious environments that allow for proper positioning to avoid distortion and within acoustically treated spaces that prevent unwanted background noise. They’re suited to the studio and are largely seen as vocal mics.
Dynamics are durable, rugged, and more resistant to extreme temperatures and humidity. They also do very well at handling loud sounds and rejecting unwanted nearby sounds from other instruments, or external sources, so it’s no surprise that they’re the preferred choice for live sound!
But the modern engineer tends to dabble in both studio and live sound work, especially while building their careers. As such, it’s worth having at least one good model of each, perhaps multiple depending on the scale of your work.
Plus, combining both a dynamic and condenser microphone on a single source in a studio to blend together in the mix helps achieve a bigger, fuller sound on things like acoustic guitars, guitar amps, or even room microphones thanks to the difference in tonalities.
Other things to consider
Condenser vs. dynamic microphones is not the only debate to be had; ribbon mics and small-diaphragm condensers may also be worth considering for certain contexts. For further information on this, check out our guide to different microphone types. But there’s a lot more that goes into a mic design.
Polar pattern
Polar pattern is key to how a sound source is picked up by a microphone, dictating its directionality. For example, cardioid gives you just the source in front of the capsule. Supercardioid is tighter and rejects the sides more strictly. Figure eight picks up both the front and back equally while rejecting the sides, and omnidirectional picks up equally around the microphone.
Most mics will be cardioid or supercardioid, but some designs offer other available polar patterns or have a multi-pattern feature that lets you switch between several or all of these.
Frequency response
Frequency response gives you a measure of the overall sound of the microphone by how it responds to frequency information, which can be key to understanding what you want to get out of the instrument: do you want brightness on a stringed instrument? Depth for a bass guitar or kick drum? A smooth midrange for a guitar that cuts out muddy ultra-low frequencies?
The frequency response graph will help give you a visual representation of this information.
SPL handling
SPL handling is a measure of how loud a sound source can be before the microphone distorts. This will help inform you of how and what to best use it on. High SPL means you can use it on something big and loud, like drums or percussion, and probably positioned closely enough to capture it clearly.
Hopefully, this breakdown will help you understand what you’re looking at when you read the specifications, so you know how best to use the microphone you have your eye on and work out if it’s right for you.
FAQs
Which is better, condenser or dynamic mics?
Condenser and dynamic mics each have their strengths and are suited to different purposes. Condenser mics excel in capturing high-frequency details and are ideal for studio settings. Dynamic mics are more durable and better for live performances and high-volume sources.
Do dynamic mics sound better?
Dynamic mics do not inherently sound better; it depends on the application. They’re rugged and great for handling loud sounds, making them ideal for live performances. However, condenser mics generally provide better sound quality for studio recordings due to their sensitivity and accuracy.
Should I use a dynamic or condenser mic for voiceover?
You should use a condenser mic for voiceover work. Condenser mics capture a wider range of frequencies and provide greater detail and clarity, which is essential for high-quality voice recordings. Dynamic mics are less sensitive and may not capture the nuances needed for professional voiceovers.
Final thoughts
Neither the condenser nor dynamic is better than the other, but hopefully you come away from this condenser vs. dynamic mic guide more confident in what fits your musical needs best. So to answer to the question, “Which one do I need?”, it’s quite simply both!
0 Comments