Defining budget

Well what about the budget wireless mics you may think? First, the four brands I mentioned are actually consumer-friendly. In professional circles, they will often use brands like Lectrosonics for comparison, whose wireless transmitters range from around $3000-$6000. Thus, when I’m pointing you to anything sub $1000 it actually isn’t that bad in terms of budget. They are still costly, just like all audio equipment, but at least it’s better to be realistic than delusional. Having said that, there are still a lot of users who don’t really need the quality nor reliability. That’s why I’ve made a second list, which includes wireless mics of dirty cheap, angry and unknown brands.

Transmitter types

All right, that was about the intro and now I’m going to cover some of the important distinctions. Any wireless mic requires two components, the receiver and the transmitter. Transmitters can be generally divided into two, the bodypacks and handhelds. Handhelds look like stage mics with no wires attached; a miniature transmitter circuit is embedded into the mic’s handle. They come with switchable capsules, which can be bought separately in order to change the properties of the mic. Now the bodypacks are little boxes fixed on your waist. They are used in combination with miniature mics also known as lavaliers – visible, concealed and headworn varieties.

Receiver types

I always point out that the transmitter type should be decided first, depending on your application and not the other way around. The choice usually comes down to a bodypack + lavalier or handheld. Then, decide on the type of receiver. Here once again, we are usually presented with two options: on camera and non-camera receivers. Obviously, the on-camera solutions must be minimalistic or at least compact enough for a comfortable placement. You don’t want to use bulky and awkward monstrosities with bulging antennas for a comfortable use. If your camera or recorder has an XLR input, you may want a receiver with an XLR output for optimal quality.

Connector types

Otherwise, you can always fallback to a more compact but unbalanced 3.5mm output. If you don’t care about portability, you should opt for a small rack-type receiver that does not have any space limitations and usually offers much more functionality, display features and capabilities. The connector types are a little bit out of scope of this publication, but some basic considerations to have in mind will also prove useful. Different brands use different mic connectors, so once you bought a particular transmitter you may be locked to a certain type of connector. Shure uses TA4F, Sennheiser 3.5mm locking, Rode 3.5mm and Audio Technica 4-pin.

Recommended options

Now if you’ve understood all of the above points, then you are ready to choose your wireless mic setup. The branded options given below are all reliable in terms of quality, so you can simply choose the ones that fit your needs. Although I would love them ordered, from best to worst, this isn’t going to be as straightforward. If there is an option to upgrade your mic to a higher tier capsule for a handheld, or a top lavalier mic, then opting for upgrade will have a direct impact on the sound and can tremendously improve performance, but will also naturally have to stretch your budget. However, all of these are great and you will get what you are paying for.

Name / score	Receiver	Transmitter options	Notes	Min price*
Sennheiser EW 100 9.8/10		·         b/p: ME2 ·         b/p: ME3 head ·         b/p: ME4 ·         b/p: instrument ·         b/p: ME2 +h/h ·         h/h: e835 ·         h/h: e845 ·         h/h: e865 ·         h/h: e935 ·         h/h: e945	Very versatile modern rack setup. For bodypack, ME2 is a viable omni lav, and e935 is an excellent handheld.	Buy Now $699 ( search amazon for other options)
Sennheiser XSW 2 9.2/10		·         b/p: ME2 ·         b/p: ME3 head ·         b/p: instrument ·         h/h: e835 ·         h/h: e865	More basic rack type from Sennheiser. Viable omni lav, cardioid + supercardioid handhelds.	Buy Now $349
Sennheiser XSW 1 8.8/10		·         b/p: ME2 ·         b/p: ME3 head ·         h/h: e825 ·         h/h: e835	Simple, cheap and affordable. Same omni lav and entry cardioid handheld.	Buy Now $249
Sennheiser AVX 9.2/10		·         b/p: ME2 ·         b/p: MKE2 ·         b/p: ME2 +h/h ·         h/h: e835	Advanced, compact receiver. MKE2 lavalier is especially amazing.	Buy Now $699
Shure GLXD24 9.4/10		·         h/h: Beta58A ·         h/h: Beta87A ·         h/h: SM58 ·         h/h: SM86	A very popular Shure transmitter in both standard and rack variations. Great choice of their signature capsules.	Buy Now $499
Shure GLXD14R 9.6/10		·         b/p: 98H/C ·         b/p: mx153 head ·         b/p: wl185 ·         b/p: wl93	Same as above but with bodypack mics. WL93 is a very good miniature mic and the MX153 is amazing.	Buy Now $519
Shure PGXD14 9.2/10		·         b/p: wl93	The cheaper version of the above, with a very good miniature mic WL93.	Buy Now $??? Discontinued
Shure BLX14R 9.4/10		·         b/p: mx153 head	The cheaper version with an amazing MX153 headset.	Buy Now $549
Audio-Technica ATW-21** 9.6/10		·         b/p ·         b/p: cardioid ·         b/p: head ·         h/h	Very simple, affordable wireless from AT with a basic cardioid lav, handheld and an expensive headmic.	Buy Now $300 Phasing Out
Rode Wireless GO II 9.6/10		·         3.5mm	Very compact on-camera receiver and transmitter.	Buy Now $209
Rode RODELink 9/10		·         b/p: XLR ·         h/h (wired)	An unusual on-camera receiver that has a transmitter with XLR input and phantom power.	Buy Now $??? Discontinued

* min price does not always represent the actual price, but merely an estimate. the price may vary due to availability, selected options and promos.

Budget options

Well as for the budget wireless, there are countless options but it’s hard to vouch for their quality. If you are buying a cheap one, you must be willing to take risks. Also, accept the restricted capabilities for upgrade or having to swap the whole set entirely, should they fail to meet your expectations. That said I have spent a lot of research, and relying to my experience was able to come up with a list of the most prominent ones here. Thus hoping to spare you from having to browse through all those heaps of buzzing and crackling trash piles of audio industry waste that could sound like a walkie-talkie, which accompany search results for any budget equipment.

Name	Receiver	Transmitter options	Notes	Min price*
Xvive U3 9.2/10		·         b/p: XLR dyn. ·         b/p: XLR cond.	Plug-on Microphone Wireless System for XLR mics.	Buy Now $159
TONOR TW820 9.2/10		·         h/h x2	Basic pair of wireless mics from Tonor.	Buy Now $109
TONOR TW630 9.2/10		·         h/h x2	Similar but with a compact line-out receiver.	Buy Now $59
GTD Audio 2×800 9/10		·         h/h x2	Pair of mics from GTD Audio.	Buy Now $169
GTD Audio 2×100 9.2/10		·         h/h x2	Another popular version from the same vendor.	Buy Now $159
Innopow 80 9/10		·         b/p: lav+head x2	A very cheap set of lav and head mics with 2 bodypacks.	Buy Now $137
Honhand wireless 9.4/10		·         h/h	Another very cheap mic with line out.	Buy Now $60
Lekato K380S 9.2/10		·         h/h	A pair of wireless mics with line out.	Buy Now $68
Kithouse K380S 9/10		·         h/h	This one is from Kithouse. Same mic, different looks.	Buy Now $70
BONAOK Wireless 9/10		·         h/h	Can you go wireless for $30 bucks? Yup, via Bluetooth. To hell with haters.	Buy Now $30

Further reading

• 7 Best Headworn Mics for Wireless Systems Review
• Best Live Vocal Microphones
• Best Lapel Microphones
• All you need to know about wireless microphones

1. Sennheiser MKH416 – Best shotgun overall

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2. Sennheiser MKH 8050 – Best indoor supercardioid

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3. Sennheiser MKE 600 – Best budget shotgun

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4. Rode VideoMic Pro Plus – Best 3.5 mm shotgun

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5. Audio-Technica 875R – Best price shotgun

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6. Comica VM20 – Cheapest 3.5mm shotgun

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⦁ Need more options? click here to see the full list of our shotgun reviews

⦁ Already familiar with these mics? Please share your experience & opinion in the comments below!

In order to use headworns it is necessary to have a wireless receiver and transmitter. Those mics plug directly into transmitter also known as bodypack. However, different wireless manufacturers use different plugs that are not compatible. In this review, we will refer to four most popular plug types, which are listed in the table below. Do compare with your transmitter to make sure it will match.

TA4F (TQG)	TA3F (mini XLR)	3.5mm locking	4-pin locking (UniPak)
Shure, Carvin, JTS, Trantec	AKG, Audix, Gemini, Airwave, Samson	Sennheiser	Audio Technica

1. Countryman E6

This mic can be considered the industry’s quality standard and it is by far the best headworn we’ve reviewed. Not only does it blow you away with its pristine sound quality, which is something that goes without saying, but it is also quite very durable so don’t be surprised when it outlasts other models! It uses a detachable cable, for which replacements are easily available, although breaking that aramid-reinforced cable may prove to be a challenge. Simple as it is, Countryman E6 is very lightweight and comfortable to wear. Sometimes I even forget that I’m wearing anything. While the rear part is kind of springy, the boom is more adjustable. Once done with adjustments, it will maintain that position and stay on your ear securely.

best price on	TA4F	TA3F	3.5mm	4-pin
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2. Shure MX153

Shure MX153 is another awesome single-ear mic, which costs less yet provides a nice combination of superior sound quality, decent durability and pleasant, comfortable design. It boasts to have a solid, flat frequency response and since it’s omnidirectional, it is not affected by proximity. Actually, all of those mics except #6 are omni as well, so there is no proximity issue. MX153 will give you a consistent performance in any situation for both speech and vocals and thus I can’t recommend it enough. Design is another forte of this model – it is well thought out, comfortable and aesthetically pleasing. Despite the fact that it has a non-detachable wire, the rubber portion protects it from snapping at the base.

best price on	TA4F	TA3F	3.5mm	4-pin
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3. Shure DuraPlex

Lightweight and comfortable to wear, the DuraPlex DH5 headset microphone offers a neutral, full sound that will lift your performance, speech, musical, or broadcast. Rely on the DH5 headset microphone in the harshest environments, thanks to its long-lasting Shure Plex cable and a certified IP57 rating, which means you’re protected against water, sweat, moisture, dust, and dirt. Capture every moment with confidence. Creates tailored frequency response provides additional vocal clarity and presence (3-4 dB boost near 10 kHz). 5 mm omnidirectional subminiature design for discrete placement and improved gain-before-feedback.

best price on	TA4F	TA3F	3.5mm	4-pin
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4. Audio Technica Microset Omni

This headworn mic from Audio Technica is also among the best in terms of the sound. It has a very crisp, extended response with a slightly elevated brilliance, which works well for lavs and head mics alike. It has an ergonomic design that rests comfortably on your ear. You may also attach the included neck support so that it connects to both ears and stays more secured in place. It is also quite lightweight (only 2.6g) but is not very durable. There are two vulnerable points where the boom and the wire connect to the body. If you can handle it delicately without readjusting every time, then it shouldn’t be a problem! However, if you trust it to someone who has little clue like untrained personnel, eventually they will kill it.

best price on	TA4F	TA3F	3.5mm	4-pin
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5. Airwave HSD Slimline SE

Slimline SE is a budget model and among others, it brings a great quality for the buck. It is no different from the others in that it uses an omnidirectional condenser capsule. While condensers can sometimes sound harsh in the upper register, this mic doesn’t have that issue. Overall, the sound is quite balanced and although it may not be as good as MX153 it seems to get pretty close. If you don’t want to spend multiple amounts for premium gear then you should really give it a try and you won’t be sorry. Slimline’s design has nothing fancy about it, though a replaceable wire certainly earns it some credit. The boom and over-the-ear thing are easy to adjust, although awkward movements can potentially cause slipping.

best price on	TA4F	TA3F	3.5mm	4-pin
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6. Shure SM31FH

Shure SM31FH is a unique headworn made for fitness and sports instructors. Even though it looks huge compared to the rest, it is still quite lightweight and that rubber finish actually gives it a nice feel. This design provides maximum fixation and I assure you, it will not slip even if you stand on your head. It is also very easy to take on and off – overall, it’s quite comfortable. Aside from peculiar design, SM31FH features directional capsule with a cardioid pattern, which helps both rejecting a fair amount of extraneous sounds and improving feedback resistance. The sound quality is quite decent though you wouldn’t want to use it for signing. If you are into sports and workouts then this mic is for you.

best price on	TA4F	TA3F	3.5mm	4-pin
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7. Av-Jefes Avl630

Avl630 is another budget headworn that boasts quite a professional sound. It may be a less recognized brand and yet the performance is as good as twice more expensive units! Notably, it features a stable frequency response with some added brightness to the upper range, which sounds pretty well balanced. For a single-ear mic, it is also comfortable. The cable is connected directly to the base of the boom and it looks unusual, but guess it’s even better that way with nothing extra hanging in between. Can’t say anything about Avl630’s durability except that a detachable cable could be an advantage. The cable does seem to be reinforced though and other than that, there isn’t much to break.

best price on	TA4F	TA3F	3.5mm	4-pin
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8. Point Source Audio CO-3

The CO-3 Microphone is our entry-level earworn microphone designed for speech reinforcement for church liturgy, lecturing, and other applications that require good quality vocal pick up in a hands-free environment. It has an omnidirectional polar pattern which allows a full 360 degree pick up of sound providing a natural blend of voice and ambience. The design of the CO-3 earworn microphone lends itself to reduced speech produced “popping sounds” and voice overloads in close mic applications and the convenient placement near the mouth greatly reduces noise from wind and clothing.

best price on	TA4F	TA3F	3.5mm	4-pin
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9. JK Pro MIC-J 071S

JK MIC-J 071S omnidirectional microphone is perfect for presentation, fitness and vocal applications. This low profile, miniature condenser mic provides accurate audio reproduction through its compact 3.0mm capsule. With microdot detachable cable, easily convert/replace your connectors. Manufactured with extreme care and the highest quality components, the JK MIC-J 071S delivers exceptionally clear, articulate sound with reliable performance in an extremely low profile design. Despite its low price, this mic offers relatively low self-noise and decent overall quality, making it a suitable replacement for your original headworn mic.

best price on	TA4F	TA3F	3.5mm	4-pin
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10. Apex 570

This mic’s unique feature is that in addition to a detachable wire it comes with four most common interchangeable plugs. I find it very convenient especially if you intend using it with different brands of bodypacks, whereas other mics do not offer this possibility. Similar to the rest of the mics (aside from Shure Sm31), this mic offers a condenser capsule with omnidirectional response. Apex 570 has a brighter tone and a slightly higher sensitivity so it feels more emphatic. Good clarity and crispy response also make it into the list of its advantages. The over-the-ear part is springier and it stays in place better. Finally, Apex comes with an attachable neck headband, which is another pleasant addition.

best price on	TA4F	TA3F	3.5mm	4-pin
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Need more options? Check out our Best Lapel Microphones.

Reflection

Although any solid object can possibly reflect the sound, the degree of reflection as well as frequency specter of reflected waves may vary. Usually if an object is large enough, it can reflect any frequencies and if an object is small only higher frequencies will be reflected. Hence, room walls can reflect the sound pretty evenly while any other things in the interior will likely add some coloration to the sound. You may easily verify it by voicing in an empty room, then in a furnished or a cluttered room. They won’t sound the same at all.

In recording, mics are much more pickier to those sound reflections than human ears. This is why, even though you may sound great playing or singing live, when you try to record it sometimes it just doesn’t work. There are three basic kinds of reflection that can be easily distinguished by anyone. First is called echo. Echo is simply a repeated sound with a delay, the larger the distance, the bigger the delay. Second is reverberation. Reverberation is when the sound ‘stays’ in one room by keeping on reflecting back and forth. Every room has its own, unique reverberation, which can be both pleasant and unpleasant.

However, in recording you always want to keep it down to minimum, especially home and in studio. Otherwise, even if you have a fantastic voice you will still sound dull and surreal. Being able to sing or play instruments is one thing, but being able to record is another and both are equally important. And guess what, an amateur singer recorded on tape professionally will sound more acceptable than a professional singer with amateur recording. Finally, there is a third type of reflection called a standing wave. In a standing wave, the sound is being reflected in the same phase that results in increase of the sonic amplitude. Keeping down the theory, this will mean added coloration for some frequencies, and may also result in resonation with different objects, producing different rattling or ringing sounds.

Absorption

Absorption can be described as the opposite of reflection. When the sound isn’t reflected it is being absorbed. Generally, soft and porous materials do quite well for absorbing sound. This would include things like styrofoam, fiberglass, soft woods, cotton, etc. Every material provides different amount of absorption, which as well varies depending to the frequency. For instance, cotton does much better for mid to higher end frequencies while fiberglass equally works for low end. The thickness of material plays an important factor. The thicker the insulator, the better is the absorption.

You will always find some insulating materials in studios that are meant to absorb unwanted sounds. The main reason of their use is to combat the room reflections. The sounds from the environment are being filtered by the solid walls of a studio rather than damping materials inside the room. A basement without windows would provide a great isolation from the outside noise, but would still need a bit if insulation in order to achieve a decent recording. The good thing, you don’t have to insulate the whole room if you are using directional microphones.

Directionality

Supposing you already know about the polar patterns, different mics have different directionality. While a cardioid mic picks up sound directly in front of it but also from the sides, you would have to dampen both, the wall behind you and the sidewalls as well. If you record at home, it is also important to make sure no environment noises are coming anywhere from the sides, which can be a difficult task. It is also possible however to use a smaller piece of material to shield the mic itself and a singer rather than insulating the entire walls. While a cardioid mic can still work at home, you should never use an omni mic, as it would need isolation from every direction, which is hardly achievable even in studios.

A better move could be the use of more directional mics, particularly hypercardioids. In fact, in any movies where they have to record sound inside an interior, they use shotgun mics that have a narrow focus. The reason behind this is that such mics only capture the sound of what is directly in front of them. If there is any noise or reflection coming from the sides, it will not be captured. This allows for an easy setup, as all you have to do is to position it away from any noises and bare walls that can reflect the sound. Keep in mind; those mics are also sensitive to the sounds coming from behind.

If you don’t have any insulators at home, you can improvise with the things like duvets, rubberfoams, carpets and even mattress. You may want to position those materials behind yourself so that nothing else is being reflected and captured. Other tip is to record from an upward / downward angle and make sure the other end of the mic is not pointing at any source of noise. It is also preferable to keep the rear end away from walls or if possible apply some shield behind it. Although with a hypercardioid mic you will get stronger proximity effects, you will still sound better in rooms with poor acoustics.

Advantages of wireless microphones

The first advantage that comes to mind is the freedom of movement. With a wireless mic, you can move around the stage freely and never have to worry about the tangling cables. Such microphone would even allow you to dance without stepping on the cable. The stepping itself is unlikely to cause any damage or noise but it often causes the connector to unplug, which is the least thing you want during your performance. Another advantage is that it brings a clean and simple, aesthetic look. In modern age, wireless technology is everywhere and it’s quite very trendy.

Wires by itself also tend to distort and add a degree of noise to the signal. The most obvious effect is called circumference. In this case, a wire basically serves an antenna that captures all kinds of different signals from the environment. Those signals are relatively weak but they are also amplified along with the microphone output and in the end may become quite significant. In theory, they may add any extraneous signals from radio broadcasts to GSM phones but most often, they appear as hissing and humming sounds caused by industrial net.

Apart from circumference, another less obvious wire disadvantage affects the clarity of the signal. I’ll bring an analogy with a proximity effect. In any directional microphone, different frequencies have different gain, so a change of the frequency can greatly affect the polar pattern. As the signal travels through a wire, different signal frequencies also do not behave the same way. They actually travel with different speed, which results in a smeared signal. To keep the long story short this may affect the very dynamics of the sound, making it less expressive and weak.

Disadvantages of wireless microphones

Wireless technology also brings a number of disadvantages that may limit its usage. Perhaps the most significant one is the use of batteries. Although there are plenty of different models that may keep it going for days, you just never know when it drains. Nothing is more annoying than a mic that runs out of charge, especially if you don’t have any replacement. Human factor also tends to play a lot, as people simply forget changing those batteries. Sometimes a battery gets poor contact with the connector inside microphone and results in the same symptoms just like if it was drained.

Although the use of wireless helps to eliminate some wire noise, radio frequencies tend to distort the signal in its own ways. This is very similar to what you get while watching the TV. If you have a poor performing antenna, the picture does get distorted and even good antennas can’t avoid a degree of distortion. Just like TVs though, some microphones use digital sampling, which can be compared to satellite TVs. In a satellite television, you get almost no distortion as long as the signal is clear. However, the signal has to undergo the digital sampling, which results in degrading of quality. In case with TVs, it can be observed as tiny square blocks and other sings of compression. In case with microphones, the digital sampling will downgrade the high-end specter. Very likely, you’ll not notice it, and yet it’s still there.

Aside from the distortion of the signal itself, wireless system also often tend to interfere with other wireless devices. For instance if you have two microphones that work in a similar frequency range, this will render their use inapplicable. Not only that, there are tons of radio signals everywhere in the environment and some of them may potentially interfere. This may result in any kinds of noises from white noise to different beeps and other weird sounds. Moreover, like any radio signal it can be easily ruined with a radio silencer. Any beginner radio engineer is able to make such device.

There is yet another disadvantage of wireless, which is a limited range of use. Typically those devices work within range of 30 meters, and although this figure may vary from model to model, higher coverage will likely result in higher cost and quicker battery draining. Talking about the cost, wireless systems are also significantly more expensive. Oftentimes you will find them about two to three times more expensive compared to equivalent XLR microphone models including the appropriate cables. Finally, just like cables, wireless systems also break and won’t always last forever.

Conclusion

To conclude the above, I would advise using wireless technology only when necessary. For TV shows or news reporters, they are certainly indispensable. The actors have to move around a lot and cannot afford being limited by wires. Even more so for the hidden lapel microphones that are clipped onto the clothes, as that would make no sense if they have been wired. For karaoke singing, this can also be useful, though expensive. You will likely want to move around as you entertain your guests and then pass the mic to someone else, so if you can afford spending 2-3 times more then it’s totally fine.

On the other hand, you will find XLR mics preferred much more for most live stages, for a number of reasons. First, it is the reliability. Second, it is simplicity, as the artist can simply replace for any other XLR mic without messing with back end. Finally, on most especially louder stages you can’t allow moving the mic. The mic position is often carefully chosen by sound engineer and any voluntary movement can possibly decrease its performance and even trigger a PA squeal. In this case, the most valuable wireless advantage – the freedom of movement becomes inapplicable. For studio recording you’ll never want the wireless either.

Omnidirectional

The omnidirectional pattern allows picking sound from all directions. With omni mics, no matter how you twist or rotate them, it will all sound the same. Of course, if you bring such mic closer or farther away from the source of sound, the output level will still vary. It is just the angle, which doesn’t matter. Omnidirectional mics can theoretically deliver a more natural sound, but in reality it isn’t that simple. As they do literally pick up everything – needed and not, their use is typically limited to some specific scenarios. Here are the most obvious examples:

• Recording a group of people simultaneously
• Interviews: this is a very convenient use, in which case both the interviewer and interviewee would be equally heard. Moreover, you can also easily pass the mic without having to worry about its picking angles.
• When you want an experience of being there: omni mic can capture all the sounds naturally occurring in the environment with a good accuracy.
• Recording a choir of orchestra: can produce great results for rooms with great acoustics.
• Outdoor usage: omni microphones are less affected by the wind noises.

Among other benefits, omnidirectional microphones are less susceptible to what is called a proximity effect. A proximity effect makes bass levels vary depending to the distance from the microphone, so getting to close may result in unnecessary low frequency boost and vice-versa. With an omni mic, you won’t be having this problem. Moreover, because the vibration and handling noise mainly consist of low frequencies, omni mics will better tolerate shock. This can be especially useful for lavalier mics that cannot have a shock mount. In addition, omnidirectional mics have less problems with plosive sounds.

Of course, the omnidirectional mics also have their own disadvantages, which limit their usage. First, you don’t want the omni pattern when recording in a noisy environment. Even a slight amount of noise can easily outweigh all of its benefits. If you use an omnidirectional mic inside a room, the noise will get reflected from walls, often resulting in a terrible sound. This can be a factor even in the professional studios, so the usage will generally require a superb level of room acoustics. Omni mics also tend to get into feedback loop with the speakers, hence are unsuitable for stage performance.

Cardioid

Cardioid microphones have a picking pattern that is shaped in the form of a heart. They pick up most of the sound from the front side, within the range of 120 degrees. The sides of a cardioid microphone are fairly less sensible, while sounds coming from the rear are completely inaudible. Those mics are most commonly used for studio recordings. Cardioids can provide a good sound quality, at the same time benefitting from the noise cancellation, which makes them an invaluable recording tool. The logic here is quite simple, the less noise you get while recording the better.

The noise is not something that can be easily turned on and off by a push of a button, this is why noise isolation takes a lot of care. Not only will you always pick up a degree of environmental noise, unless your studio is completely soundproof, but the sound reflected from walls also counts as noise. For a quality recording all this has to be eliminated and a cardioid mic perfectly serves this purpose. Another advantage of a cardioid mic is a complete sound cancellation from the back. Thus, if you will position your monitor speakers directly behind the mic, you’ll get no feedback. Music played through the monitors positioned in such way will also be reduced on recordings.

Aside from studio use, cardioids are used for live and stage performance. Once again, in this case it helps to reduce the overall noise and avoid the feedback loops. Cardioids are also used for recording instruments and drums. However, as the cardioid’s picking radius is fairly large, it may still require some decent acoustics of the recording environment. When the environment is more aggressive or we want to isolate the sounds coming from a smaller degree, narrower polar patterns are required. Keep in mind a cardioid is more susceptible to wind, proximity effect and plosives.

Subcardioid

Subcardioid falls somewhere in between the omnidirectional and cardioid patterns. It picks up sound from a wider radius in front, gradually reducing towards the rear; hence, also often called a wide cardioid. This pattern also picks up a fair bit from the rear, however less audible. Although subcardioid microphones are less common, they are not at all inferior. The advantage is it can provide a transparent sound with less proximity effect and so a more natural low-end. The disadvantages are once again, picking up more noise and more likely to trigger a feedback loop. These mics will suit quieter stages as well as professional studios with some very good acoustics. Note, because subcardioids do not provide a 100% sound cancellation from any particular angle, you must use in-ear monitors for your recordings.

Supercardioid

Supercardioid polar pattern is narrower than a typical cardioid and allows a higher level of cancellation. Such microphones are thus used for a more focused recording and particularly for the reinforcement of a live sound. The use of supercardioids also allows achieving a better isolation while minimizing the bleed between two nearby sound sources, such as a singer and his own guitar or even two different drums in a set. Nevertheless, a reduced angle inevitably results in added sensitivity to the sounds coming from the rear. In case with supercardioids this isn’t particularly prominent, yet should still be taken into account.

Hypercardioid

Hypercardioid is similar to supercardioid, except that it offers an even narrower picking pattern. At the same time, it is also more sensitive to the sounds coming from the rear. Sounds from the rear end are being picked from a wider angle and with a greater amplitude than that of a supercardioid. Although a hypercardioid is commonly used in the most aggressive environments, it is important not to point the rear end to any other sources of sounds or noise, and especially speakers. On the other hand, this polar pattern will still perfectly reject the sounds coming from the angles of 110 and 260 degrees.

You can use it to your advantage with the stereo speakers positioned accordingly. When performing on the stage you will notice that speakers aren’t placed in the middle but more on to the sides. For this reason, hypercardioid becomes more advantageous in terms of feedback than a standard cardioid, which cancels only directly from the back. This is especially true for the weaker vocals requiring more amplification. Hypercardioids are also preferred indoors for rooms with little to no sound isolation. This helps rejecting the unwanted sound reflections typically coming from the sides.

Bidirectional

Bidirectional polar pattern has a natural, transparent sound similar to that of omnidirectional pattern. However, it is sensitive only to the sounds coming from the front and rear ends. Sounds from the sides are being completely rejected. If you look at the diagram, it looks like a “figure of eight”, hence its other name. Another important difference is that bidirectional pattern among any others has the strongest proximity effect. Next in line are the hypercardioids, then supercardioids and cardioids. Most of the ribbon microphones utilize this pattern, and it’s common for higher end condensers too.

Bidirectional mics will sound great for recording of instruments such as acoustic guitar. In a live environment you can record a typical jazz or acoustic band. These mics will also work well for drum overheads and recording of voice. In fact, Elvis Presley used bidirectional microphones. Morever, they find use in advanced stereo recording known as “mid-side”. The main disadvantage of bidirectional mics is an inability to digest the loud and noisy environments along with zero cancellation from the rear. Finally, you should never discount their prominent proximity effects that may come into play.

Lobar

Lobar pattern has the narrowest picking angle. With such angle, the pattern is twisted further, starting to pick up a little bit of sounds coming from the sides. Most shotgun microphones have lobar pattern, especially those longer shotguns, and yet this pattern can vary greatly. Technically, they can also be labeled as a number of things, including supercardioid and hypercardioid, but in the end, what matters is the mic’s individual polar diagram. Once you learn to understand the polar diagrams, you won’t have any problems of choosing the right model as according to your needs and particular usage.

Shotgun mics are typically used in video production. They are more difficult to produce and so usually also cost more, but they have two indispensable advantages. First, they use a very narrow picking pattern that allows picking up only exactly what you need, e.g. a particular actor amidst a busy street. Second, while picking sounds at a range, they can be kept out of the camera’s view. A typical mistake would be to mount such mic directly onto the camera. In this case not only will it pick all the noise behind the target, but also the reflections coming from other objects. The right way of using shotgun mic requires a boom operator who will point it from an upward angle directly onto the target.

Dynamic microphones

Dynamic microphones work similar to speakers. Inside such mic, a round membrane connects to a coil, which is positioned between magnets. This construction allows the vibrations caused by sound to induce a voltage in the coil. Thus, the acoustic energy is being effectively transformed into electrical energy. Speakers do exactly the opposite, though using the same principle. Such microphones are relatively easy to manufacture. They are usually cheap and unpretentious, and can withstand harsh conditions.

Among other advantages, dynamic mics can best tolerate high sound pressure. They are thus typically being used for live performances and recording of loud sounds such as from drums or percussion instruments. On the other hand, they have its own limitations. Due to use of coils, extra weight is being added to the membrane. This sets a number of requirements, particularly for the diaphragm thickness, which limits its sensitivity. The sounds may lose clarity to a degree, but it will also depend on the mic.

Another thing you should know is that the membranes of dynamic mics typically have a non-linear frequency response. This means their usage will be most effective only in a particular frequency range. Good news, there are many dynamic mics to choose from for each specific usage, be it singing, drums or double bass. Also note: the directional patterns of dynamic microphones are limited to cardioid, supercardioid and omnidirectional. You can read more about patterns in our other guide.

Condenser microphones

Condenser microphones have a more sophisticated design than dynamics. The diaphragm of a condenser microphone is electrically conductive but unlike the other, it does not produce any voltage by itself. Instead, the vibrations cause changes in capacitance between the movable diaphragm and another fixed plate. This has to be further converted into electrical signal, for which purpose condenser mics use some built-in electronics. They also require a source of external power, usually being powered through the same cord that connects them to a preamp.

Condenser mics have a much higher sensitivity. The diaphragm of such microphones can be made as thin as 3 microns, allowing it to capture even the subtlest sounds that are normally not heard by humans. This is especially true for ones that have a large diaphragm. Any diaphragm of about an inch in diameter is considered large. Large diaphragm condensers produce less noise but are also more expensive. Keep in mind; the larger diaphragms have a more prominent proximity effect, resulting in a lower frequency boost when placed near the source of sound.

Condenser microphones are most often used for studio recordings. You may also use them whenever precision and quality becomes important. If you have a rough voice, or especially if you use screaming, then you’re better off with dynamic mic. Rock bands also tend to use dynamic mics more often. As for live performance, condenser mics can still be used but with caution. For example, a peaceful performance from someone singing and playing piano should go without any problems, but if you plan to rumble on open air or some underground club then a condenser mic would be a no-no.

Finally, the condenser mics should always be handled with care. Not only their membranes are more sensitive, they also have electronics inside that may not tolerate shock. This is especially true for high-end models using vacuum tubes meant to improve the sound quality. Condenser mics also do not like the humidity. If the membrane gets moist, it may result in some cracking sounds. Fortunately, this is only a temporary effect. At last, for those who don’t like to read much, here is an informative video that not only explains the differences but also lets you actually hear it.

Podcasting and voiceovers

For this purpose, you will need to use studio mics. Those are typically condenser type, and thus have a good amount of sensitivity to produce crispy and accurate speech recordings. Condenser mics typically have a better frequency response so they are capable of capturing natural-sounding voices. Unless you want to record multiple persons at once, you will need to use a directional type, e.g. cardioid in order to cancel some of the room noise. Do not forget about shock mounts and pop filters that can help reducing the unwanted sounds. Finally, you will have a choice of using an XLR mic + preamp or an integrated USB version. Although a USB mic will lack in terms of quality, it can be the simplest low-end solution that can as well be used in field.

Karaoke and stage singing

For live singing, the most logical solution would be a handheld microphone. Most common are dynamic microphones. You can also get a condenser handheld that delivers more crispiness and less color altogether, though such mics do have a higher price. Stationary mics are a bit less common for this purpose but can also occasionally be used. Some artists will use studio grade mics for live performance to get clearer voice, though it will never work for a moderately loud stage. If you expect being loud and noisy, pay attention to the things like gain before feedback and cut through. Cardioid mics will have a smother response but may not work that well in a very loud environment. In such scenario hypercardioid will perform better, but it may get you an overblown bass. If you like moving around the place, you may consider using a wireless mic, though it will cost significantly more, about 2-3 times of the price for a same quality output.

Instrument and vocal recording

Same as podcasting, you will need to use studio microphones. In this case though, you may want to get a bit of extra quality so do not skimp when choosing an appropriate model. Depending on your voice type or tonality of the instrument different models may be required, as some seem to work better for high end specter and vice-versa. Most decent quality microphones can deliver an excellent sound with both. Make it sure by looking at the frequency pattern. You want to get a flatter line in your working range. Take note, recording instrumental microphones aren’t advertised as such, but anything that works great for vocal will most likely work for the instruments too. In case with live performance, you can still use those studio mics for a quiet stage, but otherwise it’s better to stick with specialized or in-built mics for your particular instruments.

Drums

When recording drums, as a rule of thumb you need a mic designed for high sound pressure, especially when placed next to drums or cymbals. Some mics are not designed for such use, so they overload and produce harmonic distortions, which is the least thing you want. Both dynamic and condenser types are widely used. The same applies for different polar patterns. Some microphones make use of proximity effects to deliver a more prominent bass, particularly for kick drums. For a good drum recording in studios, they usually use individual mics for each particular drum or cymbal. The good thing, there are plenty of specialized mics that will fit this purpose. Above the drum set go the so-called overhead drums – usually two cardioid condensers, the same type as for vocal recording.