manual: the way to pick out THE high-quality MICROPHONE


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The recording studio is, of course, the perfect recording and microphone deciding on state of affairs.

you need to go for the maximum linear microphone.
so that you can be a condenser, small diaphragm microphone.

with the intention to be your simplest requirement: you don’t must fear about bad climate, bodily interferences, electronic interferences and all of the stuff that happens in the course of a stay exhibition.

a few advice?

if you want to spend some money, KM 183 Neumann are very linear and reliable microphones.
if you need to spare some money, however nonetheless with extremely good results, move for a dimension microphone. Even something as simple as Beyerdinamic and Behringer fashions could do the activity. You’ll simplest should be careful to manouver them nicely: no water, no drops and so on… Their functionality is gold standard, however they’re no longer very rugged.

keep away from some other type of MICROPHONE

This consists of:

Hypercardioids – No need for that exceptional bizarre pattern, and they’re now not linear
large diaphragm microphones – They’re all however linear
Dynamic microphones – seriously?!
Plate microphones – now not linear, and no want for them in a stabilized surroundings
stay performances are always a mess. no matter how properly you’ll plan them. you may usually must make compromises.
here’s a list of the most important disruption factors:


Humidity, wind, rain. these are all extremely dangerous elements for recording and audio tools, but also some thing you have to address in stay environments.
bodily interference
people stroll at the degree: they'll bump on the microphone, drop it, trample on the cable.
Even just strolling close to a microphone will purpose interference: the typical low booming noise when you walk on a stage with excessively realistic microphones is the footsteps reverberation that reaches the microphone drugs thru the floor – and that’s why decoupling gadgets were invented (aka spiders)! they are attempting to dampen outside vibrations, and do a “quite” respectable job (allow’s say they’re 70% effective, at maximum).
electric powered interference
live audio has nearly always some weird energy conditions, like having a electricity generator close by, awful grounding, a technician that swithces on/off wrongly the +48v and so forth…
Too touchy microphones may be interfered or even damaged via these factors.

Acoustic interference

the first requirement for capturing an tool is silence – and, on the stage, there is HELLA noise: crowd, other devices, external reverberation (it makes manner greater noise than you would possibly think). And, each degree technicians’ nightmare: degree monitors aka “the feedback manufacturing unit”.
Low FOH great
irrespective of how big is your production, the group will never hear like being at home with their home theater or home studio: all the aforementioned factors are majorly disruptive even for the live PA. And with some other thrilling perks too, like having to be -usually- mono with the intention to allow anybody from left to proper being able to hear the whole thing.
they will pay attention a variety of basses, maybe even a lot of highs, however the ensuing sonic revel in might be never as linear as a studio revel in. Even just the wind will slaughter the frequency reaction: the wind is a huge motion of air particles, that are how the sound travels – so, each air motion will disrupt the original sound (greater exactly, by generating anti-levels).
So, here you're the capabilities of your ideal microphone:


Your microphone needs to be geared up for struggle a little bit, with both energy and bodily knockdowns

crucial windshielding – continually: you can’t go at the stage at some stage in a overall performance to fix the windshields.
Non linear frequency reaction, slender reaction sample
It’s the diametral contrary of what’s wished for a recording studio – and that’s due to the fact a live stage IS the diametral opposite of a recording studio.
except you report in a motorway or an airport strip.
You don’t want to select each unmarried acoustic detail of your level’s sound when there’s a mean of as a minimum one hundred ten dB (well sufficient to cripple your ears) coming from as a minimum 4 one-of-a-kind contraptions – and also you just need to choose one.
slender reaction sample approach NO omni, 8 or form of stuff: cross for cardioid, or hypercadioid (whatchout for its bizarre “returned stab” structure: it can create a large number with level monitors).
while feasible, go for dynamic microphones
attempt keep away from condenser microphones, specially ribbons. They pick too stuff for a place as noisy as a level, they want +48v, they’re truly not rugged as a dynamic microphone.
some suitable models for a live degree:

SM57, SM58 style mics (dynamic, completely windshielded, extraordinarily rugged) are your workhorses. you could use them for almost every device feasible.

otherwise, don’t be afraid to move for other dynamic, cardioid fashions.

you can still use condenser microphones, however it is going to be like wearing a tuxedo for a sword sparring.


stay recording manner the goal to document a stay track overall performance, and try to provoke how it was like to listen to it alive.
this means a FOH recording region (trad: you placed your recording stuff in front of the degree).

They’re almost the exact kind in shape for a studio recording (click right here to study approximately it).
the main distinction is which you need to be manner greater careful about the optimistic fine of your microphone: a non functioning microphone in a studio state of affairs might imply a few minutes of delay, or a repeated take. during a live recording, might mean hell on the earth.
And, also:


Humidity, wind, rain. these are all extraordinarily risky factors for recording and audio equipment, however also some thing you have to address in live environments.
electric powered interference
stay audio has nearly continually a few bizarre power conditions, like having a power generator close by, bad grounding, a technician that swithces on/off wrongly the +48v and many others…
Too sensitive microphones may be interfered or maybe broken with the aid of these elements.
The outcoming gadgets could be equal type of studio recording. They most effective must be properly rugged (the KM183 is pleasant) and recall to deliver the windshields for out of doors performances.
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