Every vocalist should become very familiar with microphones. I repeat. Every vocalist, should become very familiar with microphones. They are part of your instrument, they are part of your performance, and they should be given thought, and consideration. Modern vocal technique for live performance has to include consideration for your amplification, and that begins with your microphone.

You should own your own microphone. In order to choose that mic, you’ll need to know what types of microphones work well with YOUR voice. You should understand how they work, how you can use them effectively, and how to manipulate them to allow your performance to shine through. I can’t tell you how many times, I’ve heard a fantastic young singer on a terrible mic! This is absolutely and completely avoidable. Do not allow others to pick a microphone for you, the exception being higher end studio mics, or large professionally produced sound venues where you have a whole team of engineers working on your behalf. Even then I have my microphone, or my requested microphones list. Microphones are extremely important, and sadly, often last on the list of thought for a performance. I will often ask vocalists what type of mic they use, and it’s shocking how many either don’t own one, or don’t know what type of microphone they do own. You will want to choose your own microphone, and use that microphone for all your performances.

Let’s take a moment and talk briefly about the history of modern day handheld live performance microphones. What do I mean by “modern”? I mean a microphone that was specifically designed for live performance, designed to reject sounds that were not right in front of it. The first of this class of microphones that were truly viable became popular and dominated the live sound market in the late 60’s. These were predominately unidirectional mics with a “Cardiod” pattern. These microphones were the first to limit the amount of feedback from surrounding stage sound sources, and reject those sounds, helping to control microphone feedback. Prior to the rise and popularity of unidirectional mics (one direction), microphones picked up everything around them. Microphones were generally a variety of omnidirectional (all directions) or bi-directional (two-directions, front and back) patterns. These classes of microphones had little to no sound rejection. What the heck does that mean? Imagine yourself, up on stage, surrounded by a loud band. Ideally, you want your mic to pick up you, and you alone. Prior to the Unidirectional mics, vocalists would have to use their bodies to block the sound from the rest of the instruments on stage, which is why you would often see bands staged more in a line, or grouped together around a single mic. Unidirectional mics allow performers to have more freedom of movement in live situations, without the constant threat of uncontrollable feedback. So what’s the bottom line about modern cardiod pattern mics? They allow microphones to pick up more of what is right in front of it, and less of everything else, and that is a game changer for vocalists (see microphone patterns below).

The history of microphones, and types of microphones that have been around since the 1800’s, is a deep and complicated subject, and I have barely scratched the surface, but for our purposes here today, I’m focusing on Unidirectional hand held, cardiod patterned microphones. This includes both the dynamic and condenser microphones with cardiod pattern attributes. What’s important to know is that with these two classes of live mics, we now have tonal choices, power choices, pattern choices, all of which give vocalists a huge range of microphones to use and more importantly, to match to their own particular amplification preference. A well picked microphone can transform you as performer, allowing the depth, tone and dynamics of your performance to soar.

You don’t need to know the entire history of microphones, or become a sound engineer. However, knowing the basics of how microphones work, what patterns work best for you and your voice, and which microphones work best in a particular performance situation, will dramatically increase the consistency of your performances. Think about your microphone. Practice with it and realize it is an essential part of your instrument! Ideally your microphone techniques will become so practiced and part of your vocal practice, that an audience member wouldn’t even notice your microphone, just you. Just your voice. That’s what we want! We want to hear your voice! So let’s take a moment, and talk about what microphones are, and what types are out there, and what their “patterns” look like, so that you can choose the right microphone for you.

Websters defines “Microphone” as: noun

1. an instrument for converting sound waves into electrical energy variations which may then be amplified, transmitted, or recorded.

Dynamic microphones work by electromagnetic induction. When a magnet moves past a wire, or coil of wire, the magnet induces current to flow in the wire. In a dynamic microphone, the diaphragm moves either a magnet or a coil when sound waves hit the diaphragm, and the movement creates a small current. Dynamic microphones are microphones that convert sound into an electrical signal by means of electromagnetism.

Dynamic mics fall into two categories, moving coil and ribbon microphones. Dynamic microphones have a unidirectional pattern, otherwise known as a cardioid pattern microphone. For the different types of cardioid patterns, see the illustrations below. Note, that even though ribbon microphones are Dynamic microphones, in general, when sound engineers are referring to a dynamic microphone, they are referring to a moving coil mic, not a ribbon.

Microphones use all sorts of vocal polar patterns, you might see mics that are called Cardiod, SuperCardioid, Hypercardiod, Omni Directional, Bi-Directional etc.  All of these names refer to the type of “pattern” your microphone is using. Unidirectional mics with cardioid patterns capture sound that's located in front of and on the sides of the mic - but not behind it. A polar plot of the gain for cardioid is heart-shaped (hence the name), with the highest sensitivity located directly in front of the mic, and slightly less on the sides. Because of this, cardioid mics are ideal for recording live performances without capturing too much crowd noise or stage noise. Many handheld microphones used to amplify vocals in particular are cardioid mics. In general, you will be using a Dynamic Microphone with some type of cardioid pattern, or a condenser (powered) microphone with a cardio pattern. Both types of microphones offer Cardioid, Supercardioid, and Hyper Cardiod patterns. It’s all a matter of preference for the type of performance and room requirements.

Ribbon Microphone: has a thin ribbon -- usually aluminum, duraluminum or nanofilm -- suspended in a magnetic field. Sound waves move the ribbon, which changes the current flowing through it. Ribbon microphones are bidirectional, meaning they pick up sounds from both sides of the mic. The RCA PB-31 was one of the first ribbon microphones. It was produced in 1931, and changed the audio and broadcasting industries because it set a new standard when it came to clarity.

Condenser Microphone:  is essentially a capacitor, (think battery, or battery capacitor) with one plate of the capacitor moving in response to sound waves. The movement changes the capacitance of the capacitor, and these changes are amplified to create a measurable signal. Condenser microphones usually need a small battery to provide a voltage across the capacitor. This is your powered mic, or a mic that requires phantom power. This simply means it requires more juice than your basic dynamic mic. Download Cardio Patterns here: PDF

Dynamic Microphones Live Performance Choices:
Blue’s enCore 100 Dynamic microphone  I think it’s the best in this price range in this category. It’s a good all around sturdy mic you’ll have and use for years. For me, it’s the replacement for the SM58, with more sensitive sound reproduction. $100

Another good all round mic that is hardy and good for all vocal ranges is the Sennheiser e835/E935. If your move your air a lot and put a lot of pressure on your mic, this might be the best choice for you. This is a good mic for strong, soaring ranges, as it picks up a larger part of your vocal pattern. In general I like Sennheiser’s a lot, and find them to be nice and even toned throughout a vocalist’s range. I consider this to be a nicely transparent mic. The upgrade to the E935 is well worth it, and I think it’s one of the best mid-ranged live mics on the market. $99/$179

Electro Voice N/D767a (EV) is a solid mic that does very well with clear, clean vocals. This is a good choice for both genders. It also does well on stage with background noise and low feedback, like most Dynamics. EV mics also tend to work well with quiet voices $129. The ND96 is also solid low feedback workhorse. $160.

Condenser Microphone Live Performance Choices (Powered Microphones):
You’ll often be asked, does your mic need phantom power or power. If you have a condenser mic, the answer is yes. Condenser mics have a extra required electric boost. They will pull additional power directly to the coils to essentially be able to project more, or to have a broader sensitivity. These are my favorite mic, mainly because for me, they are the most transparent. You’ve heard me mention Transparent a few times in this section. I literally mean, that a transparent microphone, sounds the most like your voice. When a mic turns your voice into an electrical signal, then sends it through cables, and out to speakers, it then has to “interpret” your voice. Some mics lose more of the sound of your real voice in this process. Others are better at reproducing a closer replica of your voice. Every mic has a different flavor of reproduction, hence why it is so important to try lots of mics, and pick one that you like how you sound on it. Some vocalists love a mic that doesn’t sound like their natural voice. They prefer a mic that provides a narrow, dark, or muddy sound profile. Some vocalists like microphone sound profiles to be more style or genre matched. They don’t care as much about how they personally sound, but want a mic that sounds like a certain era or genre. Think R&B records from the 60’s, Country records from the 20’s, Rock & Roll from the 70’s, or classic jazz records from the 50’s. Me personally, I like to sound the MOST like me that I can. I’ve worked hard to have dynamics, and range and depth, and I’d like my microphone to work toward showcasing those abilities.

Blue’s enCore 300 is a great live condenser mic, perfect for an open, present vocal sound. If you want to pick up everything and have more room to grow, this is a good choice. $200

Neumann’s KMS 105  is by far my current favorite mic. This is a very good mic for live performance. Neumann’s, who iis know for their studio microphones, came out with this hand held model and it quickly became one of the top mics in the world market. I personally use it for all my large concert venues and stadium venues. $800

Microphones are a rabbit hole and I confess to being a sound geek, mainly from having to figure out by trial and error over the years what works best for what situation. If you want a baseline mic that will work with every PA, with little feedback, and is generally good for every voice, go with the Blue 100. If you want a little extra juice, and you’re screaming over a 9 piece R&B band, get a condenser, like the Blue 300 or a Sennhieser. For the most transparent quiet concerts and performances, you just can’t beat the Neumann KMS 105, and the budget version, the powered Blue 300. I frequently hold master classes on modern microphone techniques, and you can contact me to participate in the next class, or set up a private lesson to test, and sample a variety of microphones.

Note: A transparent mic, will allow you to reproduce your sound as closely as possible to your un-amplified voice.

The Microphone Bottom Line: Picking a mic is a personal choice for sure and you’ll want to educate yourself on which mics are geared better for you. Eventually you will want to have several mics on hand for different situations. If you currently don’t own a microphone, for now, pick a solid work horse that your voice sounds good on, and practice with that mic on a regular basis. Use it in as many auditory situations as possible, so your ears get used to hearing yourself in all those variations. You don’t have to become an expert to choose a good mic, you simply need to try 2 or 3 mics, so that you have a solid comparison.  So what’s the good news about live mics in general? The good news is that these days, you don’t have to trade vocal mic quality for live performance feedback protection, you can have both!

It bears repeating, that finding the right microphone for you and your vocal style is important. Learning to use your microphone properly is fun! Hearing your own voice clearly is heaven!

My Personal Microphone Choices: For close stage proximity (to other speakers and amps) microphone usage, I use a Blue 100 microphone (cardioid pattern). If I have a room that is prone to less feed back, I will use the phantom powered Blue 300 (condenser cardioid pattern). For quiet rooms and concerts I will use a Neumann KMS 105 (supercardioid condenser) with great off axis response for large vocal range fluidity.

All of the microphones above are very transparent microphones, and allow the vocalist to have their vocal representation be extremely close to their actual voice.  They all have very open patterns with great off access response, and perform well in live sound situations.  I will always have the Blue 100, and Blue 300 in my bag, and reserve the KMS 105 for concerts, and very quiet venues.   That being said, I like a lot of the EV microphones in the 457-575 number range as well as the Sennheiser e835-900’s series.  They all perform very well. In fact, the only wireless microphone I carry in my live kit is a Sennheiser.   I work primarily with wired mics.  I=Overall, they have better, more consistent sound quality sound for small venues (under 1000), without any concerns about channel interference with wireless sets.  If you are working on a giant stage, then XLR cables can and will become cumbersome, in which case I would recommend using the KMS 105 in conjunction with a wireless box set like the Sure ULX wireless system.  

A quick mention about Shure SM58 microphones, which are prodominent in venues and institutions throughout the country. These microphones in particular became popular, because they had a great feedback rejection and are universally adaptable for instruments, amps and voice alike, making them very cost effective for venues and institutions. These microphones are not listed in my recommended microphones list. I do include a picture of the SM58 below for the sole purpose that you will be able to identify it easily, when you encounter it.

My gig bag:
Blue 100 $99.00 - Link
Blue 300 (powered) $199.00 - Link
KMS 105 (powered) $800.00 - Link
1 - Mogami Gold Stage Microphone Cable 20’, XLRM-XLRF
1 - Monster Microphone Cable (extra shielding) 15’ XLRM-XLRF
1- K&M U-Weighted Slide Handle Mic stand with Y-Clip and removable base.
1- Extra Hosa mic clip (yes, I’ve had them break on stage, and always carry a back up)

Tip: Never store your mic in plastic wrapping, or bubble wrap. Your microphone will accumulate moisture during use, you want that moisture to dissipate, and dry out. You can wrap them in any natural fiber, cotton, wool, or wool felt, and slide them back into their case. I personally wrap all my mics in a 1/4” piece of felted wool, to keep my mics fresh and the thickness adds a bit of protection for the mic as well. For more about microphone maintenance, please see my video on microphone cleaning, and storage. (coming soon).

A note about Blue mics: There is a mic between the 100 and the 300, the Blue 200, but for the price difference and quality jump, I’d not consider it, and move directly into the 300, which in my opinion is one of the best sounding live mics for the money.

Studio Quality Microphones:

Studio microphoness, like all microphones are all about about what you like, which microphone makes you sound the way you want to sound, and what you can afford, for a particular recording. Once you get into a certain price range, they’re ALL great mics, it’s about finding which one suits you and your particular voice. I’m personally in love with a vintage U87, that I have been recording on for the past 30 years. For me and my voice, nothing comes close, it my #1, no question. I’ve listed some of the other Studio microphones that I have sung on over the years for various recordings, and liked for their various qualities. I will list some of the pre-amp configurations, but I won’t go down the complete chain of the studio set up here. Keep in mind when it comes to studio microphones and equipment, that one of the things you are paying for when booking studio time at a professional recording studio is access to their microphones. So be sure to inquire ahead of time about which mics you will have access to during your session. If you have a particular question about microphone recommendations or a pre-amp, mic combination, feel free to contact me directly.

Neumann U87 Studio Condenser Microphone: In my opinion is hands down the warmest, most transparent mic I’ve ever used in the studio. Of course we are talking the vintage variety U87’s or the New U87, that has been modified to be as warm as the vintage versions. This studio standard is an extremely versatile large diaphragm mic, with an open cardioid, omnidirectional, and figure-8 patterns to choose from, plus a switchable highpass filter and 10dB pre-attenuation pad. $3,600.00 - Link

Blue Kiwi Multi-Pattern Condenser Microphone: This is my go to home studio microphone. It is beautiful, warm, and most importantly for me and my personal vocal recording taste, transparent. Of all the mics I’ve listened to in the past 10 years or so, this comes the closest in my opinion to the U87’s vintage sound, and at almost half the price, a great choice for any vocalist. $1,999.00 - Link

Peluso 2247SE: A great mic that can be manipulated to have a bit colder sound, which would be perfect for vocals that want an edge, like R&B, or pop, If unmodified. Modified versions of this mic can be very warm. In particular, I’ve tested this mic, modified by Bees Knees, and it was beautiful. More Details: The Peluso 22 47 Standard Edition is styled after the legendary Neumann U 47. Manufactured in the 1950s and 60s, the revolutionary sensitivity of the U 47 brought extraordinary detail to recorded sound. Remembered for its use by artists from Frank Sinatra to the Beatles, it is perhaps the most well known microphone of all time. This mic is an excellent choice for wide range of applications, from rock drums and guitar amps, to brass instruments and vocals. The SE is built with the highest quality modern components and designed to perform as the U 47 did when it was new. The U 47 was designed around its Telefunken steel-covered tube, and the SE employs the steel 6SJ7 tube, a modern sonic equivalent to the vintage VF14. The 22 47 SE brings all of the subtlety of tone, detail, and character of a vintage  U 47 combined with the reliability and quiet noise floor required in the modern recording environment.

M-Audio Sputnik Large Diaphragm Condenser Microphone: These mics have a cult following and to my ear are similar to the Peluso, but more open sounding. More Details: The Sputnik is based on classic vacuum tube microphones, this multi-pattern, large diaphragm studio condenser delivers the lush, classic sound normally associated with rare and expensive vintage mics like the Neumann U47 and AKG C12. Sputnik's combination of hand-picked military-grade vacuum tube, ultrasensitive evaporated gold Mylar diaphragm, solid brass construction, and multiple polar patterns makes it ideal for a wide variety of voices, instruments, and applications--especially putting that signature sound in the spotlight. M-Audio engineered this amazing microphone from scratch with input from top recording industry studio engineers. 

Bock Audio 251 Large-diaphragm Tube Condenser Microphone: This is a microphone that I found to be VERY open sounding, capturing all the nuances of both ends of the voice, and very expressive dynamically. It captures everything. I like it! More details:  The Bock Audio 251 microphone re-creates the sonic beauty of the fabled Telefunken ELAM 251, one of the most sought after vintage mics ever built. Formerly known as Soundelux, Bock Audio makes incredible high-end mics that faithfully re-create the sound of some vintage classics. The 251 has a strong, powerful bottom and airy, unabrasive top puts this mic leagues ahead of others; its performance simply cannot be found in cheaper microphones. You'll hear the difference immediately when you put this mic on vocals; for clarity, full sound, and premium handbuilt quality, So transparent. $5, 9995.00

RCA 44 (Ribbon Mic): The RCA 44 is your classic Ribbon mic, and you’ve heard it on so many recordings from the 40’s and 50’s. It has a very specific tonal sound, that you can’t mistake for anything else. In general I like this mic, and it’s fun to reproduce that classic smooth vocal sound that is synomomus with this ribbon microphone. A little bit about the history of The RCA 44 BX: The RCA 44 series was an instant success upon its initial release in the 1930s, and continued to dominate recording and broadcast for many years. The successor was the RCA 77, which offered multiple polar patterns and a lighter, smaller body. The increasing popularity of the 77 Series, as well as the greatly improved condenser mics of the early 50s led to the demise of the 44BX and it was finally discontinued in 1955. But the RCA 44 Series remains highly revered to this day. The unique tone of the RCA 44 has lent a certain magic to countless recordings for the last eight decades. Side note: If you want to hear this mic, in a modern vocal context you can check out some of the recordings from the early days of EMI Studios at Abbey Road, although it was rarely used by the time of the Beatles era. It did, however, get pressed into service to mic John Lennon's distinctive vocal on 'Yer Blues' from the White Album.

Audio-Technica AT4047/SV Cardioid Large-diaphragm Condenser Microphone: This microphone reminds me a lot of the warm fluid tones of a vintage U87, and as that is my favorite microphone, I found this mic to have so many nice qualities, and a solid alternative to the U87. It’s similar to old F.E.T. studio microphones by the way it coaxes out all the nuance and subtleties of quieter, more textured sounds that are sometimes difficult to capture during recording.  I find it very transparent and warm. $800.00