The frequency response of a mic is represented graphically by a response curve. For starters, you’ll normally want to stick with cardioid dynamic mics on the drums, a cardioid small diaphragm condenser on the hi-hat, and a matched pair of either large- or small-diaphragm condensers for the overheads. The esteemed Sennheiser MD421 microphone falls into this category. The contoured frequency response makes it simple to engineer clean audio for a live sound mix. Note that condenser microphones can certainly be used on the snare and toms (and for the more adventurous, even kick). A bonus with these bantamweights (often referred to as pencil mics, due to their typically thin cylindrical shape) is that they are easy to position. Handles the pressure Hard knocks are just part of the show sometimes, and the SM57 is built to take them on. Many engineers swear by the Sennheiser MD421 on toms. The purpose-built AKG D112 dynamic microphone is an excellent choice for bass drum. And if you have questions about studio microphones, remember that your knowledgeable Sweetwater Sales Engineer is just a phone call away:(800) 222-4700. PAG/NAG is a concept that can be used to determine if a sound reinforcement system can produce enough gain to provide an optimal listening experience before causing feedback. If you’re overdubbing the guitar (or you can place the guitar cab in another room during tracking), you don’t have to be concerned with (drum) leakage. The frequency response is the most significant factor in determining the sound signature of a microphone. The shape of the frequency response curve of the SM58 is very similar to the SM57, with some subtle differences. The frequency response is the most significant factor in determining the sound signature of a microphone. With some experience, the process becomes streamlined: you’ll know which mics you like, and where you’re going to place them. These characteristics determine a mic's suitability for a particular application.In this post, we'll talk about frequency response. If you can spare just one studio microphone, use a dynamic (the iconic Shure SM57, for example), positioned close on the speaker cabinet. This simple mechanical system consists of a thin stretched conductive diaphragm placed close to a metal disk (backplate). Features include a thin diaphragm, a Class-A preamplifier, pad for performance consistency, and low self-noise. It converts sound into an electrical signal that can be amplified, recorded, or transmitted. Its ultra-low... Stellar Audio-Technica performance - outstanding value! A versatile, durable, and precise single cardioid polar pattern instrument microphone. Piano mic placement is highly variable, so a certain amount of experimentation is in order. The Neumann KM 184 Stereo Pair is the perfect example. The Shure SM57 unidirectional dynamic microphone is exceptional for musical instrument pickup or for vocals. This produces a pattern that looks like a “figure-8”, where the mic capsule is at the point of crossover on the 8. Today, ribbon mics are enjoying a comeback, thanks to the efforts of a handful of companies such as Royer. A flat response microphone reproduces the sound source accurately with little or no variation from the original sound. Additional engineering is then applied to create directional polar patterns. There are also piano microphone kits that take the guesswork out of mic choice and placement. The two most common types are flat response and shaped, or tailored, response. A small-diaphragm cardioid condenser microphone is preferable here. The ability to reject sound from the rear makes Cardioid patterns useful in multi-miking situations, and where it’s not desirable to capture a large amount of room ambience. The Shure SM57 unidirectional dynamic microphone is exceptional for musical instrument pickup or for vocals. The most popular snare microphone of all time is the Shure SM57 (also great on guitar amps). You can, of course, use more than two mics – just watch your phase relationships. The microphone’s diaphragm vibrates slightly in response to sound pressure, causing the capacitance to vary and producing a voltage variation – the signal output of the microphone. In theory, frequency response charts are generated at the factory by testing the microphones in an anechoic chamber. Used extensively in the golden age of radio, ribbon microphones were the first commercially successful directional microphones. A Shure associate since 1979, Davida Rochman graduated with a degree in Speech Communications and never imagined that her first post-college job would result in a lifelong career that had her marketing microphones rather than speaking into them.