1. Types of Microphones Based on Their Operating Principle

 

1.1. Dynamic Microphones

 

These work using a moving coil suspended within a magnetic field. They are robust, resistant to high sound pressure levels (SPL), and less sensitive to weak or distant sounds.

 

Characteristics:

 

• Do not require external power.
• Handle high SPL without distortion.
• Lower high-frequency response compared to condenser microphones.

 

Typical applications:

 

• High-volume instruments such as kick drums, snare drums, and guitar amplifiers.
• Live vocal performances in sound reinforcement environments.

 

1.2. Condenser Microphones

 

They use a capsule with an electrically charged diaphragm and require external power (phantom power). They are highly sensitive and capture a wide frequency response.

 

Characteristics:

 

• Excellent high-frequency response.
• Greater sensitivity and detail.
• More fragile than dynamic microphones.

 

Typical applications:

 

• Studio vocals.
• Pianos, strings, and cymbals.
• Ambient recordings in field recordings.

 

1.3. Ribbon Microphones

 

These utilize a thin metal ribbon suspended in a magnetic field, providing a warm and natural response.

 

Characteristics:

 

• Naturally bidirectional.
• Medium sensitivity.
• Capture a smooth and balanced response.

 

Typical applications:

 

• Electric and acoustic guitars.
• Brass and strings in orchestras.
• Vocals in high-fidelity recording studios.

 

2. Polar Patterns and Their Impact on Sound Capture

 

The polar pattern defines how a microphone captures sound from different directions.

 

2.1. Cardioid

 

Captures sound mainly from the front while rejecting sound from the rear.

 

Applications:

• Live vocals to minimize monitor pickup.
• Instruments in noisy environments.

 

2.2. Supercardioid and Hypercardioid

 

Offer a narrower directivity than cardioid, with slight rear pickup.

 

Applications:

• Drums and percussion in high-SPL stage environments.
• Live vocals with better sound rejection control.

 

2.3. Omnidirectional

 

Captures sound equally from all directions without attenuation.

 

Applications:

 

• Ambient recordings and measurement microphones.
• Lavalier microphones for natural dialogue capture.

 

2.4. Bidirectional (Figure-8)

 

Captures sound from the front and rear while rejecting sound from the sides.

 

Applications:

• Vocal duets.
• Ribbon microphones in studios.

 

3. Applications Based on Sound Source

 

Each instrument or voice has specific characteristics that require precise microphone selection.

 

3.1. Vocals

 

• Studio: Large-diaphragm condenser microphones for capturing nuances.
• Live: Cardioid dynamic microphones to reject stage noise.

 

3.2. Drums and Percussion

 

• Kick drum: Dynamic microphones with extended low-frequency response.
• Snare drum: Supercardioid dynamic microphones for capturing attack while minimizing bleed.
• Cymbals: Small-diaphragm condensers for detailed response.

 

3.3. Guitars and Basses

 

• Acoustic guitar: Omnidirectional or cardioid condensers depending on the environment.
• Electric guitar amplifiers: Cardioid dynamic microphones close to the speaker cone to capture harmonics.
• Electric bass: A combination of dynamic microphones and DI for a full capture.

 

3.4. Wind Instruments

 

• Brass: Ribbon or dynamic microphones with high SPL tolerance.
• Woodwinds: Small-diaphragm condensers to capture articulation and nuances.

 

3.5. Ambient and Spatial Sound

 

• Stereo XY or ORTF microphones for capturing a stereo image.
• Omnidirectional microphones for field recording or room sound in studios and concerts.

 

Conclusion

 

Selecting the right microphone is a critical process in any professional audio environment. Understanding the different types of microphones, their polar patterns, and their behavior with various sound sources allows for optimized sound capture and improved audio quality in recording, sound reinforcement, and broadcasting.