However, the microphone picks up all sounds (except speech) and is quite sensitive. I've seen a bluegrass band use a single microphone for four people on stage, and not a single instrument was amplified. The band gathers around the microphone. The microphone3.5 Headset for PC picks up all the voices and instruments, but of course the closer you are to the microphone, the louder it gets. When you're on your own, you're a little more up front.
First, I should explain the essential difference between
dynamic and condenser microphones and the value of capacitors.
One of the reasons producers use condenser mics in the
studio is to capture the finer details of a performance.
The internal construction of a condenser microphone's diaphragm
is a major contributor.
The loaded diaphragm inside the condenser vibrates in
proportion to the sound waves emanating from the singer, so the signal sent to
the audio interface is equally robust.
Therefore, the signal sent to the audio interface is equally
robust.
It means that a much wider range of frequencies can be
captured, including the softest and most subtle sounds.
If you're working with a particularly expressive singer, the
condenser is ideal for capturing the subtleties of their performance.
It also picks up higher frequencies well.
Whether a devilish baritone roar or an angelic falsetto, the
condenser is the perfect solution.
The capacitors also sound as if they want to sing. The sound
penetrates the ear in a pleasant way. Many singers want to hear their own voice
when they sing through a condenser.
This kind of fine-tuning works wonders in the studio. So we
should all start using condensers, right?
Condenser microphones are prized for their very sensitive
response and ability to handle a wide range of frequencies.
However, their sensitivity makes them susceptible to strong
transients and excessively high decibel levels. Aggressive vocals and distorted
guitar walls from a hard rock or metal band cannot withstand the sensitive
capacitors.
In these cases, you should use a solid dynamic microphone
that can handle delicate vocal techniques such as screaming, singing, and
growling.
However, if you're working in a variety of genres and vocal
styles, such as a folk or progressive rock band (as in the case of Mike
Patton), you can take advantage of the wide power spectrum of a condenser.
There are also the elements and difficulties associated with
running a show.
Condenser diaphragms are more complicated in design and
therefore more susceptible to moisture (sweaty singers), excessive heat and, what
a horror, accidental drops.
If you're a touring musician and need a rugged microphone
you can rely on while on tour, condenser mics can be a risk.
If you sing in cafes or small venues and need a minimal
setup, a condenser is a viable option to enhance your live vocal performance.
If you have a dedicated rehearsal space where you spend most
of your time, you can have a permanently installed condenser custom-made to
avoid additional transportation costs.
The choice of microphone also depends on the venue.
Ultimately, your decision will depend on your personal sound preferences, your
mode of transportation and, of course, your budget.
This section explains how to use a condenser microphone for
a successful live performance.
First of all, you need to think about your own singing
technique. If you are a professional, you have probably taken some of your
techniques for granted throughout your career. It's muscle memory.
However, when singing into a condenser, especially for your
first few performances, there are some important things to keep in mind.
First of all, the distance to the microphone should be
between 15 and 30 centimeters.
As mentioned earlier, condenser microphones are much more
sensitive than dynamic microphones and can cover a wider range of frequencies.
If your mouth is too close to the microphone, the microphone
may pick up unwanted responses in the lower frequencies. These frequencies
cancel out the subtle elements of your performance.
On the other hand, if you're too far from the microphone,
you'll get unpleasant feedback from the surrounding monitors.
If possible, choose a unidirectional condenser instead of an
omnidirectional condenser. Omnidirectional microphones pick up all the sound in
their environment.
This can be a nightmare for feedback noise. Cardioids, on
the other hand, are unidirectional.
It not only picks up sound from the front, but also
suppresses sound waves from behind. It also suppresses sound waves coming from
behind.
At the very least, this minimizes excessive feedback from
folding monitors and front PA.
The cardioid also picks up much less ambient bass from the
stage floor and vibrating microphone stands. The score
Supercardioid microphones take the benefits of the feedback
blocks mentioned above to the next level. However, with these microphones, the
singer must be in a very constant position relative to the microphone.
The choice is yours. As with most equipment issues, the
choice of microphone is a matter of personal preference.
There's nothing wrong with sticking with your trusty SM58.
However, if you're looking for a change of pace and want to add some color to
your voice, try a condenser.
As with all equipment, there are many different brands and
styles of capacitors. Go to your local music store and try out a few different
ones. Try to find a sound that suits your ears.
If you can try it out with a live band, all the better. But
that's not always possible.
