Condenser or dynamic mic?

D

dumbass

New member
As always you hear two sides to each, but which mic should I use, a condenser or a dynamic mic?

I am looking to record acoustic guitar and vocals and need a mic that can do both as good as it can for a cheap price, which leads me to believe that maybe the Shure SM57 would be a good choice, as it is mentioned to be a great well rounded mic, especially for it's price range. However, I've been told that I would need a condenser to get the professional sound I need, which would mean I would need to look all over for a good condenser.

I would like to just jump into getting the SM57 because of it's rep but am hesitant because I am not knowledgeable with this. What difference would a condenser mic make? Should I not just get the SM57?
 
A good dynamic is just as good as a good condenser.


Wait for more detailed answers, as I'm just too tired where I am. :(

As for me, I think the SM57 will suit you just fine. Any condenser in that price rage pretty much all sound the same.
 
Even if the 57 doesn't get the QT that your in search of ... Have one in your microphone locker is certainly no crime.
 
dumbass said:
As always you hear two sides to each, but which mic should I use, a condenser or a dynamic mic?

I am looking to record acoustic guitar and vocals and need a mic that can do both as good as it can for a cheap price, which leads me to believe that maybe the Shure SM57 would be a good choice, as it is mentioned to be a great well rounded mic, especially for it's price range. However, I've been told that I would need a condenser to get the professional sound I need, which would mean I would need to look all over for a good condenser.

I would like to just jump into getting the SM57 because of it's rep but am hesitant because I am not knowledgeable with this. What difference would a condenser mic make? Should I not just get the SM57?
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Since you are serious and concerned about your sound quality, dumbass, (I love that handle - it makes me laugh when I write it in that context - it is useful to avoid knowing when one receives insults) for practice sessions (to check tone quality, and a dozen other qualities that I can't focus on when I'm playing), I have chosen a condenser. I am obviously a dumbass on the clarinet but a large diaphragm condenser is the wisdom most recommended for acoustic instruments generally, and woodwinds especially. A dynamic would be ok if you will always use close miking, within a foot or so. Outside of that range the sound will become thinner - less low mid and bass. Will you be using this mic for mostly live performance or for recording? For practice or performance? For live performance, the characteristics of the dynamic will probably work better for you in more situations because it doesn't pick up other sounds in the room nearly as much as a condenser would. I am going with a condenser mic 1) so that I won't be confined to keeping my instrument in close proximity to the mic; a dynamic picks up mostly what it is pointed at. Clarinet sounds come from the entire instrument, not just from one point like the bell. Similarly the entire guitar generates some portion of the sounds, not just the hole. A condenser is better at picking up the whole package. So unless you want one dynamic pointed at the tone hole, and another pointed at the fret board, one condenser a few feet away will give you more natural sound than one dynamic focused on one part of the instrument - unless you have it a few feet away in which case, again, the sound will thin out. 2) I want to pick up the natural sound of whatever room I am in. A condenser will pick up more of the ambiance of the room - it is logical to me that a condenser will generate the sounds more as the human ear in the room hears things, not focused just on just the source its pointed at - e.g. one part of the guitar.

I am in the process of testing a number of mics, including the AT2020, AT2035, the MXL990 Stereo, MCA-SP1, CAD GXL2200, (these have received the best reviews for my purposes in the lower price range of condensers) and the built in pair on my Tascam DR40 recorder. The Stereo version of the MX990 does give a nice presence and immediacy to the sound, recorded 6 feet away from the instrument. So now I am experimenting with other stereo pairs.

For me the mic hunt is half the fun.
 
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My general feeling is that at any price point, a dynamic will be better than condenser. Unless you're willing to spend more than $400, I'd stick in dynamic land.
 
Seafroggys said:
My general feeling is that at any price point, a dynamic will be better than condenser. Unless you're willing to spend more than $400, I'd stick in dynamic land.
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^^^This^^^


Aside from the different functions of the mics that Clarinet mentioned, all of those mics sound pretty much the same or could easily be EQd to sound alike.
 
The condenser is more sensitive, yes. That doesn't mean it picks up more sound.


It means that you don't have to point the mic right at the source to get any sound. I will say, the sound between an SM57 and an AT2020 is definitely different. It all depends on what you prefer. I am sure there are many samples online that have recordings of both.
 
To elaborate on how the condenser mic operates and how it could be a Pain, I'm using it to record in my garage where my air handler is located. Even when the air handler is off, there is a slight transformer hum inside the unit that the average person walking into the room wouldn't notice unless it is brought to his attention. The condenser mic picks up that background noise quite well, which rather negates the benefits of a more expensive mic with a low noise floor. I doubt the SM57 would pick that hum up at all, especially since its low end drops off beyond a couple of feet from the mic. So, a quiet room is even more essential for getting a good recording with a condenser. In fact, there is still a very small bit of hum in otherwise silent spots even after I turn off the air handler. I need to check to see if my overhead fluorescent light transformers are making a noise I wasn't even aware of.

But dumbass, (chuckle) you haven't yet mentioned what you will be using your mic for? 1) Recording practice sessions alone or with small ensemble, 2) Recording solo or w/ a small ensemble for serious work? 3) Recording during a performance in public? 4) Sound reinforcement in a public place? These all make a difference on the type of mic that will work best. Recording practice sessions, background noise won't be that critical, so a condenser would be great. More serious finished performance recording would require a silent room to best use a condenser, otherwise a close mic'ed dynamic would be best. For 3) or 4), a close mic'ed dynamics may be better.

Where the condenser is really best suited is for small ensemble practice/recording sessions where you need only one mic or a stereo pair to pick up all instruments. Any room just for practice; silent room for serious recording. If you use dynamics for this purpose, you will need a mic for each instrument/voice.
 
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CrowsofFritz said:
^^^This^^^


Aside from the different functions of the mics that Clarinet mentioned, all of those mics sound pretty much the same or could easily be EQd to sound alike.
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PureMix with Fab has a video on this exact thing. He has an SM57 against a $15,000 AKG vintage condenser microphone. They sound kinda different, but he adds just a few dB of EQ on one or two frequency ranges, and all of a sudden, they sound almost exactly alike.

If you're on a budget, I'd definitely suggest dynamics over condensers. If you have all the money on earth, just go ahead and buy a Telefunken and a U87 and some AKGC414s. ;)
 
like already stated having a 57(or 3 lol) around is never a bad deal. I have heard good things about the audix i5 but have no personal experience to comment on it, but i'm sure someone else here can. I did not see you post a budget, is there a certain price range you're looking for? I am sure others can offer better suggestions if they know your budget. You may want to get a 57 for now and save for a condensor later. There's a few, good ones for cheap like the at2020, a mid priced blue mic may be just perfect for your needs as well or maybe check out the avantone cv-12, seems to get rave reviews and is a good price for a condensor.
 
If you are going to have multiple SM57s, may as well go for others like the 57, like the i5. I have both, they are both similar in application and durability but also different sounding ever so slightly.
 
Well, just to present a minority opinion, I generally dislike the sound of large dynamics--I find them artifically warm (almost woolly) and lacking in high end detail. I find the difference similar to the differences between American and British radio--which makes sense because things like the RE20 are common in the US while the BBC uses a lot of condensers.

I've often recorded with condensers in untreated rooms by using careful positioning and aiming and maybe hanging the odd duvet or movers blanket around.

Anyway, the choice is down to what you want things to sound like--I prefer a bright, crisp sound of a a condenser many on this forum like the large dynamics. If you do go with the dynamic be careful of your audio interface--you'll need one with lots of clean gain or you'll be adding noise.
 
Bobbsy said:
Well, just to present a minority opinion, I generally dislike the sound of large dynamics--I find them artifically warm (almost woolly) and lacking in high end detail.
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Liking and disliking one mic or another most often depends on its application. I also dislike certain mics when they are used for the wrong application. I also don't care for ravioli for breakfast. Not only the location and nature of its use (small room/big room; nearfield/farfield; live room/dead room; rehearsal/performance; recording/reinforcement, etc.) but just as significantly, the type of instrument being recorded or amplified and the style of music being created. The prevailing wisdom/preference for woodwinds and many strings (violin/cello/small string ensembles) and occasionally brass) is large condenser or ribbon mics. In brighter rooms or with brighter instruments, these mics maintain the fine detail of the sound while taking the some of the less pleasant sharp edges or "bite" off the tone. Those whose music requires bite and sharp edges probably do not care much for condensers.
 
Given the caveat that I don't know what I'm talking about I find that a good large condenser will sooner highlight the inadequacy of one's recording space then will a dynamic mic.

My MK4 is female... it picks up EVERYTHING, whereas my SM7B must be a guy because it ignores a lot.
 
Clarinet said:
Liking and disliking one mic or another most often depends on its application. I also dislike certain mics when they are used for the wrong application. I also don't care for ravioli for breakfast. Not only the location and nature of its use (small room/big room; nearfield/farfield; live room/dead room; rehearsal/performance; recording/reinforcement, etc.) but just as significantly, the type of instrument being recorded or amplified and the style of music being created. The prevailing wisdom/preference for woodwinds and many strings (violin/cello/small string ensembles) and occasionally brass) is large condenser or ribbon mics. In brighter rooms or with brighter instruments, these mics maintain the fine detail of the sound while taking the some of the less pleasant sharp edges or "bite" off the tone. Those whose music requires bite and sharp edges probably do not care much for condensers.
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What does any of that even mean?

To the OP: Buy a mic, stick it in front of something, start recording.

A 57 isn't a bad place to start. As Bobbsy said, some people have ears that prefer condensers. As Clarinet says, mic choice often depends on application, recording space, and music style. But you have to start somewhere, and a 57 will be a help - not a hindrance. My recommendation is to buy a 57 now and while you are learning to use it well, you should be researching and saving up some money for a good condenser. If you start in the low end of the condenser market, you might find yourself wanting to upgrade in a short amount of time. (not to say there aren't good budget condensers, but that is another discussion)
If you buy a 57 today, I doubt you will regret it tomorrow. If you spend the equivalent cash on a condenser, the same might not be true.
 
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