This is Pro Audio Review's 11th annual Microphone issue. It's the issue where we jam in a lot of mic and mic preamp reviews as well as double Buyers Guides. Microphones are always hot products for whatever pro audio line of work you are into: studio, live, broadcast, podcasting, etc.
The mic industry has changed a lot in the last 10 years. The microphone world used to consist of German-made (Neumann, Sennheiser, Schoeps, Microtech Gefell); Austrian-made (AKG), and U.S.-made (Shure and Electro-Voice) models. Then came the Japanese mics (Sony and Audio-Technica).
But now, we have all those mics plus scores of microphones from China. Companies from other countries have gotten into the mic biz as well; Australia, the Baltic countries, and even some new companies in the U.S. now offer more mic choices. Bob Heil, the live sound guru from the 1960s and 1970s, has resurrected the studio dynamic microphone to great success.
ADK, known for its price/performance Chinese mics, is now making “custom shop” units in the U.S. using Australian capsules. Gene Lawson, who has been making custom U.S. mics from his Nashville-based operation for more than 20 years, makes nearly every component of his hand-built mics (read the feature on page 26).
It's obvious by the number of companies that produce microphones that mics continue to be must-buy equipment in our industry. In survey after survey, PAR readers say that mics are the number one item on their shopping list.
Why is the microphone so popular? It's simple. The microphone is still the direct link to the sound. You gotta have 'em to pass on that vocal or musical signal through the electronic chain. That is exactly why so many companies still produce microphones and more are getting into it all the time. This plethora of microphone choices may be daunting to sort through but ultimately good for the product-buying professional's checkbook.
A few of my favorites
I always get questions about what microphones I prefer. I have sampled many in the last 15 years or so, but prefer those that accurately relay or flatter acoustic guitar, clean electric guitar, banjo, mandolin, piano and/or vocal. Here are a dozen or so that I really like; the list is not meant to be a definitive list of all the best microphones, but some of my favorites.
- Audix SCX-25 — The lollipop cardioid mic is perfect for recording acoustic guitar. It has a natural, open sound with just a tinge of presence boost that make a Martin dreadnought sound perfect.
- Audix i5 — The i5 dynamic is a workhorse intended for those who use SM57s, but it has more top end for enhanced versatility.
- Lawson L251 — The sort-of copy of the legendary Telefunken L251, the Lawson tube condenser is quieter and has more top end than the old Telefunkens I have heard. Excellent vocal mic.
- Shure KSM32 — Flat sounding electret condenser that works well for brass, piano or orchestra string instruments.
- Neumann KM-184 — Incredible accuracy and transient response from this small instrument condenser. Recommended for piano and acoustic guitar.
- DPA SMK4061 — Some of the best for piano miking.
- Earthworks SR-71 — Measures like a measurement mic, but they are good for stringed instruments.
- Royer and AEA ribbons — All models sound good, smooth, and present with mellow top end. Pick one that suits your application.
- sE 1A — A high-quality, Chinese-made, cardioid instrument mic with very good accuracy on piano and strings.
- AT4047 — The 1990s-introduced FET condenser is big and warm without the slop. A great vocal mic.
- Heil Sound PR-40 — Kick-ass dynamic with bass extension to under 30 Hz, but with top end as well. Its low cost and versatility make it suitable for everybody and almost any application you can think of.
- Sennheiser MKH-800 — Another example of German-engineered accuracy for musical instrument recording, piano and guitar are ideal uses for these mics.
That is my list. I am sure every reader also has his or her own favorite mics as well. Drop me an e-mail and let me know about your go-to mic collection. Happy miking!