Choosing the right microphone for capturing your guitar
sound in the studio is an important
part of crafting your recorded tone.
But, with literally hundreds of
microphones on the market, how
can you possibly decide which is
the “right” one? The first step is to
understand how different types of
mics work. Let’s begin by looking
at the three main types of microphones: dynamics, condensers,
and ribbons.
Dynamic microphones operate
exactly like a speaker in reverse
(in fact, you can actually hook up
a raw speaker to a microphone
preamp and use it to capture
sound). Sound waves strike and
move a dynamic microphone’s
diaphragm—a very thin sheet of
mylar—which is connected to a
coil of wire and wrapped around
a magnet. The coil moves back
and forth around the magnet as
the diaphragm moves, creating
an electrical current in the wire.
This very small electrical signal is
sent to a microphone preamp or
mixer input, where it is amplified
to a level where other electrical
components (equalizers, com-
pressors, etc.) can deal with it.
Dynamics are the standard for live
vocals, and they are commonly
used to mic electric-guitar amps,
drums, and brass in the studio
and onstage. Popular dynamic
microphones used for guitar amps
include the ubiquitous Shure
SM57, Sennheiser MD-421 and
e609, and Audix i5.
Left: For decades, engineers have used Shure’s SM57 dynamic mic for capturing electric-guitar sounds onstage and in the studio. Middle: The Mojave
Audio MA- 200 is one of the many excellent condenser mics on the market.
Right: The Royer R- 121 launched a new wave of ribbon-mic design.
“With literally hundreds of microphones
on the market, how can you possibly decide
which is the ‘right’ one? The first step is to
understand how different types of mics work.”
a dynamic mic), a ribbon mic uses
a long, thin strip of lightweight
metal suspended in a magnetic
field. Sound waves cause the ribbon to move in the field, creating
a tiny electrical signal. This signal
is routed to a mic preamp or mixer
input. In the studio, ribbons are
used on acoustic instruments,
vocals, brass, and guitar amps,
DYnAMiC
• Physically durable
• Withstand high sound pressure
levels without distorting
• Moderately wide frequency
response
• Generally inexpensive compared
to other mic types of similar
quality
• Punchy, warm sound
ConDenSeR
• Typically less durable than
dynamics
• Handle moderate sound
pressure levels and may require
a “pad” (which reduces the level)
to cleanly deliver high-volume
signals
• Offer an excellent, wide frequency
response
• Range in price from inexpensive
to super expensive
• Usually require external power
(called “phantom power”), though
some can use batteries
• Use onboard tube or solid-state
electronics
• Generally have hi-fi sound quality
with excellent clarity
RiBBon
• Generally more fragile than other
mic types, though newer designs
are more durable
• Don’t handle high sound pressure
levels well (at high levels, the ribbon
may stretch or even break)
• Don’t handle bursts of air—such
as from a voice or a kick drum—well
(this may also stretch or break the
thin ribbon)
• Limited frequency response
• Generally expensive, though
inexpensive models have appeared
recently
• Sensitive to preamp coloration
(though some modern models have
electronics that eliminate this)
• Renowned for warm, natural sound
quality
The Lowdown on Mic Types Be sure to take the following considerations into mind
when you’re deciding which mics to use for different applications—each mic type has its pros and cons.
and as drum overheads and distant mics. Examples of modern
ribbon mics that work well for
recording guitar amps include the
Royer R- 121, AEA R84 and R92,
Audio-Technica AT4081, and
Beyerdynamic M 160 and M 130.
In the past, ribbon mics were pretty much reserved for the studio,
but some new models—such as
the Royer R- 121 Live and R- 122
Live—are intended for the rigors
of live stage use.
That’s it for this time around.
Next issue, we’ll delve more
deeply into the mysteries of the
world of microphones and look
at how different microphones can
help you refine and tailor your
recorded tone.
Mi TCH GALLAGHeR is
the former editor in chief of
EQ magazine. He’s written
more than 1000 articles
and six books on recording
and music technology, and
has released an instruction-
al DVD on mastering. He has played guitar
for more than 30 years, and his upcoming
book is entitled Guitar Tone: Pursuing the
Ultimate Electric Guitar Sound. To learn
more, visit mitchgallagher.com.
