Choosing an economical vocal microphone for a home studio

Many folks have discovered on their own that it's very difficult to get a good vocal sound if you try recording with the microphone you use for live performance. Yes, it's a good quality mic and sounds great through the PA, but it doesn't come off as well in the studio. How come? Short answer: response, as in frequency and transient. Let's break it down.

Dynamic vs. condenser

The microphones most often used in live applications are of the dynamic persuasion, as typified by the ubiquitous workhorse, the Shure SM-58. There's a reason you see them everywhere—they sound good and they work. They can take a lot of abuse and still sound great. They don't need batteries or external power, and they are generally less expensive than condensers. The reason they don't work as well in the studio is basically you hear more in the studio.

Frequency response is the range, treble to bass, that the mic responds to. There is a surprising amount of richness in the human voice which is lost when the mic isn't reproducing the full range. Our ears are amazingly sensitive to tiny nuances in the human voice. Additionally, dynamic mics usually have a “tailored” frequency response as opposed to the “flat” response of a condenser. This gives the engineer more to work with.

Transient response refers to how quickly the mic responds to changes in the sound. The faster response times offered by condenser mics also contribute to a more natural sound.

So what's the deal with condenser mics? First, you should know there are two main types: large-diaphragm and small-diaphragm. Large-diaphragm condenser mics are most commonly used for vocals in the studio. The good news for the home studio is that while they are still more expensive than dynamics, prices have dropped in recent years, putting a decent quality mic within many budgets. It's possible to find models around $100 these days, and if your budget can handle a little more, you'll find a lot of choices.

Condenser mics require external power in order to function. Probably the best way to provide this power is through a microphone preamp, which then sends a signal to the mixing board. However, many newer boards and home recording set ups have this “phantom power" function built-in, so a preamp may not be necessary with your equipment.

Prepare yourself to be amazed at the difference when you first hear a condenser mic plugged in to your recording rig. That's when you'll really appreciate frequency and transient response. Now you can put the vocal up front in the mix, with every nuance crystal clear.

It may take some experimentation and tweaking to find the best way to record using a condenser. You'll probably want a pop filter in front of the mic to soften those p's and sh's.

And rather than singing directly into the mic, usually working a little off-axis sounds best. But for most home studios, the addition of a large diaphragm condenser microphone will make a significant difference in the vocal quality of your recordings.

In case you're wondering: small diaphragm condenser mics are used most often when recording sounds like string instruments, where wide frequency response coupled with fast transient response is critical.

The old switcheroo

Now that I have sung the praises of condenser mics for vocals, so to speak, I will reverse myself by adding one final comment. If you can afford only one mic for your studio, or only one for now, it might make sense to consider a dynamic like the Shure SM-57 or the Audix i5. These mics are versatile by design and can do a number of jobs well. A lot depends on the type of recording you want to do. If you're mostly going to be recording vocals and acoustic guitar, a condenser will produce richer results. But if you'll be recording loud vocals, amplifiers and drums more often, a dynamic might be a better choice. Keep in mind that if you go with a dynamic, you will probably want a good preamp when using it for vocals.