Here is a collection of interesting videos on microphones and microphone technologies:
Audio 101: Microphones
Dynamic vs Condenser Microphones, What’s the Difference?
Audio recording tutorial: The different microphone types | lynda.com
XLR vs USB Microphones, Which Should You Buy?
$22 MICROPHONE VS $3600 MICROPHONE | Andrew Huang
Voice-over Microphone || DIY or Buy
How a Neumann U87 microphone is manufactured
How to Make Your Own DIY U87 Vintage Condenser Mic
Soyuz Video #3 Capsules
The Soyuz SU-019 FET Microphone
MKH-416 counterfeit mic teardown
https://www.youtube.com/watch?v=Vdoeh7y0yeE
Disassembly – Taking apart the BM-100FX Microphone.
BEST Budget USB Microphone!? | FIFINE Honest Review
Why the Blue Yeti Sucks
Why the Blue Yeti Su cks | Pro Audio Engineer Responds
Do XLR to USB Cables Work?
Samson USB GO Mic Teardown
BM-800 Microphone Review / Teardown
Teardown of the Blue Yeti Microphone
Samson c01u usb microphone test + look inside
A quick teardown on the Samson Go Mic USB studio microphone for laptops and tablets
Samson C01U USB Mic Teardown (part of the article)
Random Teardown #001: Blue Snowball Ice Microphone
485 Comments
Tomi Engdahl says:
Recording with the Greatest Mics Ever Made? – Universal Audio Sphere Microphone Review
https://producelikeapro.com/blog/universal-audio-sphere-mic-review/
The Universal Audio Sphere DLX Modeling Microphone is a game-changer for recording professionals. This microphone combines the warmth and character of vintage microphones with the versatility and precision of modern technology.
One of the most impressive features of the Sphere DLX is its ability to model a variety of classic microphones. With the included software, users can choose from a selection of vintage microphone models, including the legendary U47 and U67.
Tomi Engdahl says:
https://scopelabs.eu/
Tomi Engdahl says:
https://www.infineon.com/cms/en/product/sensor/mems-microphones/mems-microphones-for-consumer/
Tomi Engdahl says:
“Eating The Mic” Remains A Major Problem In Recording
https://www.thebroadcastbridge.com/content/entry/14674/eating-the-mic-remains-a-major-problem-in-recording
It never ceases to amaze me how many performers ignore the rules of good microphone technique. They literally “eat the mic,” creating not only terrible sound quality but making it impossible to get decent images without the mic blocking their face.
Tomi Engdahl says:
Many situations require solutions to protect microphones from the elemental issues. Wind and rain generate noise in microphones. In addition, viruses, like Covid, can be transferred to the surface of a mic. Efficient protection in these cases is necessary, but how these solutions affect audio performance must be understood.
We dive deep into this topic in this Mic University article.
THE AUDIO CONSEQUENCES OF USING WIND, RAIN AND VIRUS PROTECTION ON MICROPHONES
https://www.dpamicrophones.com/mic-university/the-audio-consequences-of-using-wind-rain-and-virus-protection-on-microphones?utm_medium=post&utm_source=facebook&utm_campaign=mic-uni&utm_content=wind-rain-virus&fbclid=IwAR01_emYcgLrwpktD9gFZldaB1wAYGM2tUsuZ4FHGm2KTmI5PHpy-yihOrM
Many situations require solutions to protect microphones from the elemental issues. Wind and rain generate noise in microphones. In addition, viruses, like Covid, can be transferred to the surface of a mic. Efficient protection in these cases is necessary, but how these solutions affect audio performance must be understood.
Abstract
Wind: Wind creates unwanted noise in microphones requiring windscreens/shields to mitigate the issues. These practical accessories can control the noise generated under windy conditions (reduction up to 20-30 dB). In general, for these solutions, the bigger, the better. If wind is heavy, a low-frequency cut-off in the recording channel (or the mic) is good protection against driving the input too hard in the LF range.
Rain: Most windscreens can mitigate the issue of rain, at least for some amount of time. However, if the screen gets soaked, it will heavily detriment the sound. For that reason, it is a good idea to bring additional (dry) screens, since thoroughly drying a wet one can take hours. An alternative for rainy weather is using a plastic bag if the job doesn’t entail recording. Be warned though, if the windshield is wet when the plastic bag is placed over it, the humidity around the mic may exceed the limit for proper performance.
Vocal wind: To reduce pops and blows in nearfield voice recording, a pop filter is an effective tool in the studio as it leaves the performance of the mic almost completely unaffected. Usually, the filter can stop the flow at a larger distance compared to a normal wind screen.
Virus protection: Covering a mic with a plastic bag to protect from viral transference is a practical idea. However, it is essential to use a very soft and thin (<10 µm) plastic. In addition, the bag must only be loosely placed around the mic (not packed), or it may change the directivity.
To prevent unwanted noise generation, it is common to protect the microphones from the weather using windjammers, windshields, windscreens and other specialized solutions. However, not only does the effectiveness of these solutions vary greatly, specific and complete specifications characterizing noise reduction, spectral damping, influence from rain, and so on are seldom given. The missing information is probably in part because of the lack of complete standards in this area.
To prevent unwanted noise generation, it is common to protect the microphones from the weather using windjammers, windshields, windscreens and other specialized solutions. However, not only does the effectiveness of these solutions vary greatly, specific and complete specifications characterizing noise reduction, spectral damping, influence from rain, and so on are seldom given. The missing information is probably in part because of the lack of complete standards in this area.
Wind noise in unprotected microphones
A microphone without extra wind protection accessories is subject to low-frequency fluctuations of the wind. The mic may create, due to its configuration, fluctuations in wind pressure, due to turbulence around itself, even in a steady wind otherwise free from pressure fluctuations. The result may be unwanted audible sound.
Stronger wind creates more noise. Generally, omnidirectional microphones (pressure microphones) are less sensitive to wind than directional microphones (pressure gradient types). However, the noise level varies with the wind's incidence, even if the mic is omnidirectional to sound. One reason is that the housing and mic shape may influence the level of noise generated.
Below, two diagrams show generated noise vs. direction for a 16 mm omni and a 19 mm cardioid condenser microphone. The noise level difference is around 20-30 dB at low frequencies.
The purpose of various wind protection solutions
Wind protection should leave the audio free of noise and free of coloration/spectral damping. Unfortunately, it is difficult to optimize for both simultaneously.
The best protection against wind is a closed rigid box [29]. However, sound will not be able to pass through. On the opposite end, an acoustically transparent device does not stop the wind. The best compromise of these two extremes must be found.
Foam windscreens/shields/jammers
Most windscreens/shields (used interchangeably in the article) are made of an open-cell type of foam that allows for acoustic transparency. The foam can either consist of Polyurethane (PUR) or similar material. Metal foam, with equivalent flow resistance, can also obtain the same result [9]. These windscreens are often circular/ball-shaped, providing the best wind damping from all directions. In general, the larger the diameter of the windshield, the more it reduces wind noise [5, 9, 16, 17, 19]. Omnidirectional mics are not very sensitive to the windshield design as long as the capsule is positioned in the middle. However, cardioid mic performance can suffer if foam covers the front and rear inlet to the diaphragm, which can change the actual directivity of the mic. Some popular windscreens leave airspace close to these inlets to retain the directionality
Shell-type windscreens (often called basket-types) aim to stop wind as far from the diaphragm as possible. They often don’t add any absorption or damping material between the shell and the microphone. The shell/basket consists of a rigid grid covered with one or more layers of fine mesh. Also here, the ball shape is the most efficient, however it is possible to change the form factor (for long microphones) by expanding the ball, or rather, by inserting a cylinder.
This kind of windshield is also known by the nickname "Zeppelin" due to its shape.
It is important that the shell surface does not vibrate in the wind
Most vocal microphones integrate a (smaller) basket-shaped grid. It consists of a rigid grid on the outside, which also provides mechanical protection. On the inside, it may have a thin layer of foam as well as an additional mesh.
The effect of a foam windscreen, wind noise
The purpose of a windscreen is to reduce the noise created in the microphone, not the sound of the wind itself.
The wind noise predominantly appears in the low-frequency range as long as the microphone (or preamplifier) does not distort. The shape of the windscreen also affects the damping. As mentioned, noise reduction depends on the shield's diameter. So, in this case, bigger is better.
The screen reduces the wind by approximately 15-25 dB in the low-frequency range.
As mentioned earlier, it is challenging to add wind protection without also introducing some spectral damping.
There is a roll-off above 6-8 kHz, with the maximum attenuation being less than 2.5 dB @ 20 kHz. A small gain around 2-4 kHz is negligible.
In broadcast, it is common to add logos to windshields.
Pro tip! Don’t address the handheld interview microphone from the side if it is equipped with protection with logos.
Sometimes, windscreens also must protect against rain. Usually, a few raindrops do not make a difference. Some windscreens have a somewhat water-repellent surface due to a nano coating on the foam. This allows that most of the water runs on the exterior of the screen instead of penetrating inside. This, however, doesn’t work if the foam windscreen is soaked. Microphones are typically not guaranteed to work in humidity above 90%. However, the main problem in this situation is probably not the humidity, but rather the clogging of the open-cell foam.
Pro tip! Make sure to bring additional dry foam screens when working in heavy rain.
Many shotgun microphones are equipped with a built-in compensation filter. However, if a fur windscreen gets soaked, the attenuation is significant (and is impossible to compensate for).
In rainy weather, a plastic bag can be placed over the top of the foam windscreen. This should only be done before the rain begins to fall, not if the foam is already wet. If the foam is wet, the heat inside the bag may cause the water to evaporate, which then condenses inside the mic. Some mics tend to generate "click" sounds due to this "injected" humidity (unwanted discharging). A better solution is to leave the windscreen and replace it with a dry one when the rain stops.
Pop filter
A pop filter is usually a ring (Ø = 150-200 mm) with one or two layers of cloth (like nylon stockings) or a thin foam disc. It is primarily used for single-person vocal recordings.
The filter should be placed as close as possible to the speaker's or singer's lips
As the device only covers one side of the microphone, it does not cause any change of directivity, and the HF-loss is at an absolute minimum.
Nose cone
A nose cone replaces the standard grid on a pencil mic and give it a perfect omnidirectional response across the audio frequency range. It counteracts the directional characteristics that omnidirectional microphones exhibit at higher frequencies. It also guarantees an even tonal balance of sound arriving at all angles of incidence but with a high-frequency boost on axis.
Nose cones are efficient for wind noise reduction but only apply on-axis to omnidirectional microphones in strong uni-directional airstreams [9].
Virus protection
During the Covid pandemic, using replaceable covers (like plastic bags) to prevent the virus transferring to mic surface, was common practice. While a fantastic solution to keep mics clean, it does affect the sound.
a plastic bag (one at a time) of various thicknesses: 6 µm, 15 µm, 20 µm, and 120 µm, respectively.
Even the thinnest bag has an audible, negative influence even though it is acceptable for most purposes.
Pro tip! Thin, soft plastic bags (on top of a foam wind shield) can be handy for mic protection. If the plastic is too hard or thick, it may generate noise under windy conditions. Also, if the plastic is too thick, an unacceptable reduction of higher frequencies occurs.
Tomi Engdahl says:
https://www.pro-tools-expert.com/production-expert-1/microphone-polar-patterns-and-why-they-matter
Tomi Engdahl says:
Game-changer: How 32-Bit Float Recording Makes Clipping a Thing of the Past
https://m.youtube.com/watch?v=05fzb5nj4SA&feature=youtu.be
Game-changer: Demonstrating How 32-Bit Float Recording Works
https://m.youtube.com/watch?v=5pY6EW4Hx2g
Tomi Engdahl says:
Why I always work in 32bit float | 24 bit vs 32 bit shootout | Ableton Comparison Test
https://m.youtube.com/watch?v=DjjV08YaZZs
Tomi Engdahl says:
https://www.gemtracks.com/guides/view.php?title=behringer-c3-review&id=2466
Tomi Engdahl says:
https://www.dpamicrophones.com/mic-university/the-audio-consequences-of-using-wind-rain-and-virus-protection-on-microphones
Tomi Engdahl says:
https://community.element14.com/learn/learning-center/essentials/w/documents/27957/an-introductory-guide-to-microphone-operation
Tomi Engdahl says:
A Studio Condenser Microphone For A Constrained Budget
https://hackaday.com/2023/03/22/a-studio-condenser-microphone-for-a-constrained-budget/
As the Internet has turned so many of us into content creators, we’ve seen the quality of webcams and microphones steadily increase to the point at which even a fairly modestly-equipped YouTuber now captures their wisdom at a quality far exceeding that you might have found in some broadcast studios not so long ago. Still, decent quality costs money, and for that reason [Spirit532] has built his own high quality condenser microphone for less expenditure.
https://github.com/Spirit532/studio_mic
Tomi Engdahl says:
The Telephone XLR8OR
A Phantom Powered Analogue Telephone to XLR Adapter
https://hackaday.io/project/182794-the-telephone-xlr8or
https://cdn.hackaday.io/images/9830021638112648349.png
Tomi Engdahl says:
https://www.epanorama.net/newepa/2017/05/23/electret-microphone-phantom-powering-idea/
Tomi Engdahl says:
Ultrasound Microphones for the
Avisoft-Bioacoustics UltraSoundGate Devices
https://www.avisoft.com/ultrasound-microphones/
Tomi Engdahl says:
Cheap Microphones for Ultrasound
https://www.zachpoff.com/resources/cheap-microphones-for-ultrasound/
This page documents my experiments using inexpensive microphone capsules to record ultrasound signals. I tested several capsules using a 192kHz audio recorder and cheap piezo tweater. For each mic you’ll see a spectrograph showing a frequency sweep through the ultrasound range from 100kHz down to 28kHz. This shows the maximum frequency each mic can detect, along with the relative noise floor and the consistency of the response across the tested frequency range. I
All of the tested mics have usable response into the 40kHz range. Overall I recommend the Primo EM258 since it’s easily available, cheap, and works like any other electret mic capsule.
https://micbooster.com/ultrasonic-microphones/88-primo-em258n-6-mm-omni-electret-capsules-fc033.html
Tomi Engdahl says:
Ultrasonic Microphones
Ultrasonic Microphones for the detection of bats. You can link these devices directly to your smartphone
https://www.veldshop.nl/en/fieldwork/bat-detectors/ultrasonic-microphones/?return=https%3A%2F%2Fwww.veldshop.nl%2Fen%2Ffieldwork%2Fbat-detectors%2Fultrasonic-microphones%2F
Tomi Engdahl says:
Ultrasonic Mic Board Knowles SPU0410LR5H-QB
Knowles Ultrasonic MEMS mic SPU0410LR5H-QB mounted on a small PCB for easy connections Good usable ultrasonic response up to 80 kHz 3 wire connection20Hz to 10kHz +/- 2 dB10kHz to 80kHz +/- 10 dB For connection details and full specification please see the Knowles datasheet below: KNOWLES SPU0410LR5H-QB DATA SHEET
https://micbooster.com/14-ultrasonic-microphones
https://micbooster.com/ultrasonic-microphones/146-ultrasonic-mic-board.html
https://micbooster.com/ultrasonic-microphones/128-knowles-spu0410lr5h-qb.html
Tomi Engdahl says:
Most microphones are designed to capture only the scope of our hearing: 20 Hz to 20,000 Hz. However, some elite microphones reach farther into the ultrasonic spectrum, capturing frequencies as high as 100,000 Hz!
https://www.creativefieldrecording.com/2020/08/05/article-ultrasonic-parabolic-experiments/
Tomi Engdahl says:
This claims to handle ultrasounds also, no personal experience on this
Feature
An omnidirectional super wide range condenser microphone
with unprecedented 20Hz to 100kHz frequency response
・ 20Hz to 100kHz Microphone
・ Unique Diaphragm Design
・ For Professional Recording
https://sanken-mic.com/en/product/product.cfm/3.1000400
seems to be $ 2500 at
https://vintageking.com/sanken-co-100k-100khz-super-wide-range-microphone
Tomi Engdahl says:
$4 vs. $4000 Microphone #Shorts #microphones #cover #twentyonepilots
https://www.youtube.com/shorts/MeAIiox3Dok
Tomi Engdahl says:
Behringer C-2 Review / Test (vs. C02, SM81, KM184, U87ai)
https://www.youtube.com/watch?v=l1hKYh-4NJE
Today i review probably the most affordable small diaphragm condensers on the market, the Behringer C2′s. These cost $60 for a pair, so essentially $30/each. The sound is surprisingly good for that price, but it’s not without it’s flaws. On some sound sources the bass and low mids can get out of hand, and the treble boost is a bit artificial and harsh. If you’re able to work around these issues, for $30/each, I think they’re pretty good.
Tomi Engdahl says:
WHICH IS BETTER? TLM 102 or TLM 103???
https://www.youtube.com/watch?v=UFjhVNjBUIE
Neumann TLM102 vs TLM103 – Lead Male Vocals (Versus Video) MMP: Ep 1
https://www.youtube.com/watch?v=XqkcwxQJXAs
Tomi Engdahl says:
SHOULD YOU BUY THE SAMSON CO2 MICS??
https://www.youtube.com/watch?v=rI1uIEHFFns
Tomi Engdahl says:
3 Cheap Mics for Interior Dialogue
https://www.youtube.com/watch?v=astg00qz50k
Testing 3 inexpensive microphones for interior dialogue. Samson C02 vs LyxPro SDPC-2 vs Generic 14.37″ shotgun microphone, compared to a Sennheiser MKH-416.
Tomi Engdahl says:
Samson CO2 Mic Pair Review – Best Mics for Recording Choirs?
https://www.youtube.com/watch?v=HTT13oD4Ycg
Today at J.W. Pepper, I want to talk about a great-sounding and affordable microphone pair that can give PRO results for everything from rehearsals to performances and recordings. And…I’m going to give some tips on how YOU can get great results using these microphones!
Tomi Engdahl says:
WHICH SHOULD YOU BUY?? – Rode NT1 OR NT2A
https://www.youtube.com/watch?v=R4w-1TkyV5s
Time Stamps –
00:00 Intro
00:40 About The Mic
01:18 Build Quality
01:49 Specs
02:22 Off Axis Rejection
02:39 Plosive Rejection
02:52 Proximity Effect
03:05 Female Voice Test
03:25 Mic Comparisons
04:49 Guitar Testing
05:30 Showdown with NT2A
06:31 Final Thoughts
Tomi Engdahl says:
No One Cares About Your Audio Gear – Diminishing Returns on Microphones
https://www.youtube.com/watch?v=Z7-tnf0j0vs&t=706s
When Should You Upgrade Your Microphone or Interface? (FAQ Series)
https://www.youtube.com/watch?v=MNeqQC9iyI4
Tomi Engdahl says:
CAUTION: Fake Shure SM7Bs on the rise! What’s the deal??? – (How to spot a fake)
https://www.youtube.com/watch?v=loRkIJ1bPdM
How does a fake SM7B compare to the real one? That’s what we’ll find out in this video and I’ll also tell you might spot a fake mic.
00:00 Intro
00:55 Real / Fake differences
03:37 Audio comparison
05:54 Verdict
Tomi Engdahl says:
How to spot a FAKE SM57 Microphone (FAKE vs REAL)
https://www.youtube.com/watch?v=Wf6TqBIz22s
As a guitarist, you know the importance of having a reliable microphone to capture your tone and sound. The Shure SM57 microphone is a popular choice among guitarists, but unfortunately, there are many counterfeit versions of this mic on the market.
In this video, I’ll show you how to spot a fake SM57 microphone, so you can avoid getting scammed and ensure you’re getting the genuine article. I’ll cover everything you need to know, from the appearance and feel to the build quality and sound performance.
I’ll also discuss some common signs that may indicate you have a fake SM57 microphone, such as poor sound quality and differences in weight or construction materials. These are all important things to keep in mind when shopping for a new microphone for your guitar.
By the end of this video, you’ll have the knowledge and confidence to spot a fake SM57 microphone, and make an informed decision when investing in a high-quality microphone for your guitar. So, whether you’re a beginner or a seasoned pro, this video is a must-watch for any guitarist looking to buy an SM57 microphone.
Tomi Engdahl says:
https://www.dpamicrophones.com/mic-university/measuring-how-vibrations-effect-microphones
Tomi Engdahl says:
Microphone Cardi B Threw At Fan Sells For Nearly $100,000 On Ebay
https://www.forbes.com/sites/anafaguy/2023/08/08/microphone-cardi-b-threw-at-fan-sells-for-nearly-100000-on-ebay/
Tomi Engdahl says:
Teardown & Repair Shure SM57 & Beta58a
https://www.youtube.com/watch?v=d0-vd-PWi4o
00:00 Introduction
02:00 Troubleshoot SM57
03:08 Remove SM57 Grill
05:57 Remove Capsule
07:04 Fix Lead Wire
09:49 Test Capsule
10:38 Mount SM57 Capsule
12:32 Attach SM57 Grill
14:08 Disassemble Beta58a
17:25 Assemble Beta58a
19:38 Test Mic Polarity By Ear
21:16 Outro
Tomi Engdahl says:
Shure Sm81 Microphone Tear Down & Repair
https://www.youtube.com/watch?v=TWHReeHF3HI
In this video, the Dave repairs Shure SM81 microphones explaining the various components and their functions throughout the process. The engineer identifies mistakes made by a previous repair attempt, and successfully tests and repairs by replacing missing parts like the high pass filter knob and a friction ring to prevent unwanted movement. Additionally, he notes the importance of a proper screw replacement in alignment and identifying a 10 dB pad circuit that’s responsible for reducing output. The host concludes the video by saying he will create more repair videos like this in the future.
Tomi Engdahl says:
LISTEN TO YOUR POLAR PATTERN
https://www.dpamicrophones.com/mic-university/listen-to-your-polar-pattern
Tomi Engdahl says:
https://www.ifixit.com/Guide/Plugging+in+Shure+SM58+XLR+Cable/10978
Tomi Engdahl says:
Does Proper Mic Technique Really Exist?
https://www.youtube.com/watch?v=Y8wFWV2oRkk
The video explores different mic techniques using four different microphones. Discuss the concept of proper mic technique and suggest that it is subjective. Demonstrate techniques such as slight distance, lips to the grill, and cupping of the microphone. Also emphasize how the technique can affect sound quality and add complexity for sound engineers. Overall, the different ways in which mic technique can be employed to enhance or modify sound.
Microphone techniques like cupping, which narrows the sound range. Testing a Coles 4104 microphone that has a lip bumper to help maintain the correct distance between the microphone and the speaker’s lips. Various techniques, such as singing over the microphone, speaking far away and then getting closer, and moving side to side, are tested. Dave introduces background noise by using a compressor and compares the performance of different microphones, including the Shure SM58, Heil PR35, Audix OM7, and the Coles 4104 mic.
00:00 Introduction
00:22 Shure SM58 near far, cup and off axis
03:17 Heil PR35 near far, cup and off axis
04:32 Audix om7 near far, cup and off axis
05:18 Coles 4104 near far, cup and off axis
06:39 Test with Compressor
06:56 Shure SM58 with Background Noise
07:13 Heil PR35 with Background Noise
07:30 Audix om7 with Background Noise
08:00 Coles 4104 with Background Noise
08:34 Retest without Air Noise
09:00 Input Sensitivity
10:00 Coles 4104 and F1
10:14 Outro
Tomi Engdahl says:
Stig’s Roy Orbison, was made in his kitchen. Stig came to Salovaara and told about the idea of a song where he drives all night like Roy Orbison.
- We composed this on our kitchen dining table. In fact, even the songs were recorded with the microphone of a small Mac laptop. That’s why it has such a piquant sound, says JS16.
https://yle.fi/aihe/artikkeli/2015/02/08/hittituottaja-stigin-orbison-hitin-laulut-aanitettiin-lapparin-mikrofonilla
Tomi Engdahl says:
https://www.soundonsound.com/reviews/warm-audio-wa-8000
Tomi Engdahl says:
https://thegreatestsong.com/what-is-transient-response/
Tomi Engdahl says:
The Difference Between Large-Diaphragm and Small-Diaphragm Condenser Microphones
https://rode.com/en/about/news-info/the-difference-between-large-diaphragm-and-small-diaphragm-condenser-microphones
What is a Large-Diaphragm Condenser Microphone and When to Use One?
As their name suggests, large-diaphragm condenser microphones such as the RØDE NT1-A have a larger membrane in their capsule. There isn’t a written standard when it comes to just how big this diaphragm needs to be to qualify as ‘large’, but a diameter of 1 inch or greater (25.4mm) is the rule of thumb.
Lower Self-Noise
When it comes to technical performance, one of the main advantages of these mics is that their larger diaphragms generate a higher signal voltage, and in turn, they tend to produce less self-noise (i.e., noise that comes from the microphone itself, rather than what it records).
‘Big’, ‘Lush’ and ‘Warm’ Character
With that said, lower self-noise likely won’t be the driving factor when choosing one over the other, but rather their character and sonic performance.
Large-diaphragm condenser mics tend to sound, for lack of a better word, ‘bigger’ than their small-diaphragm counterparts, and offer a more characterful and colourful quality. The pickup pattern of large-diaphragm condenser mics is less consistent than small-diaphragm counterparts, and their frequency response is generally less neutral. Both of these factors help to impart a ‘lush’ and ‘warm’ character to the recorded material, a trait that is especially desirable on vocals but can help add colour and fullness to a huge variety of instruments and other sound sources.
Marrying this character with the wider frequency response and superior precision that all condenser microphones exhibit makes for a potent combination, and large-diaphragm condensers are incredibly versatile beasts as a result.
What is a Small-Diaphragm Condenser Microphone and When to Use One?
Small-diaphragm condenser microphones like the RØDE NT5 are defined by their (you guessed it) smaller diaphragm. Just like with their larger counterparts, there isn’t a hard-and-fast rule for what qualifies as ‘small’, but it’s generally accepted that it refers to anything with a diameter of ½-inch or less (12.7mm).
‘Neutral’, ‘Uncoloured’ and ‘Consistent’
Thanks to their smaller membranes, these mics offer a number of advantages. They boast an extended low and high frequency response, meaning they can pick up lower lows and higher highs that other mics aren’t as sensitive to. This makes them ideal for recording every detail of a sound source, as the extended frequency response results in a very accurate audio image and a more ‘natural’ sound.
They also feature a relatively flat and neutral sound profile when compared to a large-diaphragm condenser, as well as a consistent pickup pattern across the frequency range. All up, these qualities make small-diaphragm condensers great for recording audio that’s very true to its source.
Superior Transient Response
‘Small-diaphragm condenser mics also offer a superior transient response when compared to their larger siblings, due to their smaller and lighter membrane being more sensitive to sound pressure.
This quality makes them ideal for recording sources with a fast attack. Examples of these sounds include pianos, acoustic guitars and other string instruments, as well as drums and percussion more broadly.
Usually End-Address
While almost all large-diaphragm microphones are side-address (meaning, you aim the sound source perpendicular to the microphone body), small-diaphragm mics are usually end-address, making them easier to position in some recording scenarios.
Should you Choose a Large- or Small-Diaphragm Condenser Microphone?
Both large- and small-diaphragm condenser microphones are great for recording a wide variety of sound sources with exceptional detail and clarity, and the differences between the two are less significant than the difference between condenser and other microphone types, such as dynamics and ribbons. So, which one should you choose?
This depends on what you are recording. If you are buying a microphone for recording vocals (or spoken word) or need a mic that will perform admirably in a wide variety of applications, choose a large-diaphragm condenser like the NT1-A. If you are starting to explore different recording techniques and recording different types of instruments or sound sources (particularly stringed instruments, drums and percussion, or piano) get a small-diaphragm condenser like the NT5 – as well.
Having both types on hand in your locker – maybe even multiple variations of each – will mean you’ll have the ideal microphone for any recording situation you find yourself in. You can never have too many microphones, and it’s always important (and fun) to experiment with different types on different sound sources.
Tomi Engdahl says:
DIY Large Diaphragm True Condenser Microphone Capsule – From Scratch!
https://www.instructables.com/DIY-Large-Diaphragm-True-Condenser-Microphone-Caps/
There comes a point in time in every DIY microphone builder’s life where making a microphone by soldering together PCB circuits and off-the-shelf capsules is not enough. They want to get full control over the sound of the microphone, so they embark upon trying to build their own condenser microphone capsule.
Historically, home built capsules are often mediocre in sound, and this is mostly due to the tight tolerances needed to get a diaphragm membrane hovering within 100µm above a smooth metal backplate, and also difficulty in getting hold of materials such as gold sputtered Mylar.
Here I’ll show you how to do it and get good results, without needing a micrometer tolerance lathe or a clean room or a gold sputtering vapouriser…
Tomi Engdahl says:
http://www.aurycle.com/aurycle-a460-large-diaphragm-fet-condenser-diy-microphone.html
Tomi Engdahl says:
Sound Sleuth Hydrophone Build
https://www.youtube.com/watch?v=KQ_KqJDaOM4
This is my Hydrophone Build. It is the video portion of an Instructable.
https://www.instructables.com/Lets-Build-Some-World-Class-Hydrophones/
Tomi Engdahl says:
Creative Process| Underwater re-amp with Hydrophones & LOM Geofon
https://www.youtube.com/watch?v=PtWmsSET61A
Tomi Engdahl says:
DIY – Hydrophone – How to
https://www.youtube.com/watch?v=sOlLynvWEqg
Tomi Engdahl says:
RILEY REID DEEPTHROATS MICROPHONE!
https://www.youtube.com/watch?v=rCeJ1g2NsPU
Tomi Engdahl says:
DIY Mic Booster (Cloudlifter style)?
https://messageboard.tapeop.com/viewtopic.php?t=90166
https://gearspace.com/board/geekzone/1254512-diy-mic-activator.html
https://www.jp137.com/lis/Alctron.MA.1.jpg
Tomi Engdahl says:
https://www.cloudmicrophones.com/single-post/cloud-licenses-cloudlifter-technology-to-shure-for-new-sm7db?fbclid=IwAR0QV0FVU0xI0A4ydscyELvL0J3iEESZJcbBPFWLjU6cqD2TFpHn8UTYKpc
Cloud Licenses Cloudlifter Technology to Shure for New SM7dB
Tomi Engdahl says:
Integrated phantom-powered JFET circuit module in portable electronic device for creating hi-fidelity sound characteristics
https://patents.google.com/patent/US9668045B1/en