A Singer's Best Friend: Choosing the Right Microphone for You
Your Other Instrument
There’s one piece of equipment that’s as crucial to your performance as your own voice – your microphone.
Your microphone is an extension of your voice; it’s your other instrument. When you have one that works for you, it amplifies your voice and your artistry. Singing into a mic that fits you like a glove is a joy. It feels natural, and you can trust that the sound reaching your audience’s ears is close to what you intended.
A microphone that’s a good fit for your voice will magnify all the effort you’ve put into crafting your unique vocal sound; your artistic palette, vowel color, tone, and texture remain intact and undistorted. On the flip side, a mic that’s not the right fit can turn your performance into a frustrating chore and may even harm your vocal health. I learned that the hard way.
Owning your own microphone is essential. It’s not just a tool to amplify your voice — it’s also an investment in your health. When you share a microphone, it’s like joining a viral exchange program - it’s way too easy to catch a cold or something more serious from the previous user. And the lingering smells from a mic that hasn’t been cleaned can totally take the fun out of performing!
My advice? Invest in your own microphone. You’ll improve your vocal performance, safeguard your health, and enhance the overall joy you get from performing.
In this blog post, you’ll learn about the different types of microphones so you can identify those that best suit your voice. I’ll share a few tips to help you navigate the buying process and a list of a few of the favorite microphones used by my friends and colleagues in the music industry. These are experienced singers and audio technicians who have tested these mics on stage, day in and day out.
For now, we’ll focus on the microphones you’ll use for live performance. (See the Diving Deeper section below for more information on what to look for in a studio microphone.)
Let’s dive in with a simple explanation of how microphones work.
How Microphones Work
Microphones are essentially transducers. So, what’s a transducer? It’s simply a device that’s good at transforming energy types. When you sing, the transducer takes the sound energy, which is your voice, and converts it into electrical energy in the form of an audio signal.
With me so far?
OK, let’s move on with a simple explanation of how your microphone works with your voice.
Think of sound as a dance of rhythmic air pressure changes. Sound waves move through space until they hit an object, in this case, the diaphragm inside your microphone. The diaphragm responds to the pressure of the sound waves by vibrating. These vibrations, which are identical to the rhythm of the air pressure changes, get transformed into electrical energy - or an electrical current. This current, or audio signal, flows down the mic cable, into a mixing board, and out a speaker. And voila! Your voice is now amplified.
Every Microphone Has Its Own Sonic “Fingerprint”
Every microphone has its own sonic “fingerprint” — a frequency range and amplitude that’s specific to that model of microphone. In a way, they’re like cars — on one end of the spectrum, you have the Ferrari, and on the other, the Dodge Minivan. One is a race car well-known for its power, speed, and responsiveness. It offers a thrilling drive but comes with a hefty price tag. The other is a workhorse that plods along reliably but isn’t much fun to maneuver. In between the race car and the workhorse are a wide range of possible driving experiences. The trick is finding one that fits your driving style and your budget.
CONDENSER AND DYNAMIC MICROPHONES
There are two main types of microphones used in live performance — condenser and dynamic microphones.
Dynamic Microphones
Dynamic microphones are the typical go-to for live performances because they’re designed to take a beating. They can withstand rough handling and are less prone to damage if dropped, thanks to their stiffer diaphragm. But that stiffness has a downside — it makes the diaphragm less sensitive to air pressure, which means it’s less responsive to your voice.
Despite being less responsive, dynamic microphones are more durable, can handle a little moisture, and are generally more affordable.
The SM 58 has been a popular dynamic mic for years, and it’s held its $99 price for what seems like forever. Many people use and recommend them for their durability, price, and ease of use. They’re the industry standard for live performance and are well-known by audio engineers who appreciate their durability and that they’re easier to adjust in a mix because of their proximity effect — other instruments on stage don’t “bleed” into an SM 58 as easily.
While the SM58 may be a popular choice, it doesn’t get my vote as the top pick. It demands a hefty amount of air to get its diaphragm moving, which can lead to vocal strain for some singers as you push harder to activate that diaphragm. However, it is a mic that works well with many voices, so it’s worth considering. The crucial thing is to find a mic that fits your voice. For instance, I had a towering, powerfully built student, and the SM58 was ideal for his low, booming voice.
But my experience was different. When I used the SM 58, I ended up with nodules. One of the things that helped me sing with more finesse and less strain was simply changing my microphone to one that was more responsive. In the early days of Nu Shooz, I bought a Beyerdynamic M88. I loved that microphone. It was my trusty live performance mic for years. When it finally fell apart, I switched to a condenser microphone, the Audio-Technica AE5400. I loved its responsiveness; it felt so smooth to sing through! And the sound quality was fantastic. But condenser microphones can be tricky in a live setting.
Here’s why.
Condenser Microphones
Most condenser microphones are used in the recording studio. Because of their sensitivity, they have a greater frequency response and pick up more of the subtleties in your voice — which is fantastic — especially when you’re recording. But that sensitivity in a live setting can be a liability. It makes most condenser microphones too fragile for the rigors of the stage. There are some durable condenser microphones, but they require two things that make them a little tricker to use in a live setting. The first is phantom power.
Phantom Power
Condenser microphones need something called phantom power to work because the microphone’s diaphragm can only carry sound with the help of an external power source. Dynamic microphones don’t need an external power source.
Another difference? With dynamic microphones, the sound pressure from your voice alone causes the microphone’s components to vibrate. But in condenser microphones, a kind of electrical tension, or ‘potential gradient,’ is created between the diaphragm and another component called the ‘counter electrode.’
When the sound pressure changes (like when you sing louder or softer), it moves the diaphragm, which changes the distance between the diaphragm and the counter electrode. This change in distance causes a change in voltage, which creates the electrical signal that carries your voice.
This “dance” between the diaphragm and the counter electrode makes the microphone more sensitive to the air pressure you use while singing. That sensitivity feels incredible, but, as I mentioned before, there are some downsides.
The Challenge of Mixing a Condenser Microphone
First, because microphones that use phantom power require an external power source, you need sound equipment compatible with your microphone for it to function.
Second, condenser mics are more challenging to mix. They feed back more easily than dynamic microphones because of their high-end sensitivity. This feedback often manifests as a high-pitched squeal — which neither you or your audience wants to hear. Feedback is hard on your hearing and sometimes even painful! When you use a condenser mic on stage, it’s crucial to have an audio technician who’s experienced with them and can manage those high-end frequencies to prevent feedback issues.
Dialing in the correct frequencies for your condenser mic during sound check can be time-consuming. It’s hard to achieve the perfect mix when you’re under pressure and short on time. So, for gigs where the time for a sound check is short or non-existent, using a condenser mic may not be practical.
I loved my condenser mic but went back to using a dynamic microphone after an outdoor show with a big band that was a feedback disaster. Even with a sound check and an experienced engineer, for some reason, my microphone went off the rails. The high-pitched squealing was impossible to ignore, so it ruined the performance for me and probably the audience, too.
Still, a condenser mic might work for you. You might be in performance situations where you can control the variables to a high degree, or you sing a style of music that requires the audience to hear more subtleties and nuance in your voice. Ultimately, it’s all about the mic that fits your voice and the situation you’re performing in.
So far, we’ve focused on microphones that require a mic cord to connect them to the sound system. A corded mic may be your best choice if you’re performing on a small stage or primarily singing while playing an instrument. It’s also ideal for beginners. Learning to handle a mic cord in performance is an art form, and mastering it can enhance your comfort and appearance on stage. (More on how to do this in another blog post coming soon!)
But for larger stages or performances that require a great deal of movement, a cordless mic can be liberating.
Cordless Microphones
Just like corded microphones, there are numerous cordless options available at various price points. This includes several affordable choices that offer excellent sound quality and durability.
The two cordless options commonly used by singers are the standard hand-held and hands-free versions. Here’s a brief overview of how they function and the situations each is best suited for.
Hand-Held Cordless Microphones
Hand-held cordless microphones are typically powered by either disposable or rechargeable batteries. They operate by converting the sound of your voice into an electrical signal, similar to corded microphones. This signal is then transmitted via radio waves to a receiver connected to the sound system. The receiver decodes these radio waves back into an electrical signal, which is then amplified and played through the speakers.
While offering freedom from cords, hand-held cordless microphones do have some downsides. They can suffer from signal interference or loss of connection, particularly in environments with multiple wireless devices.
My friend, Clive Farrington, from the English synth-pop group When in Rome, had this to say about why he stopped using cordless microphones:
“I was brought up at a time when, when using radio mics, a taxi company would hop on to the same frequency & you know what’s next? Ruined moment, or an unexpected lift!”
Battery life can also be an issue, requiring constant monitoring to prevent unexpected power loss during performances. With my cordless mic, I always made sure I had fresh batteries on hand and would switch out the old ones before every performance.
Another drawback? The sound quality may not be as robust as a wired microphone due to the limitations of wireless transmissions, such as potential signal interference (like my friend Clive experienced), signal loss, or reduced audio fidelity due to data compression.
Finally, they tend to be more expensive than wired options. However, the freedom and flexibility they provide often justify the cost, both in monetary terms and convenience!
Hands-Free Microphones
Hands-free cordless microphones, also known as lavalier or lapel microphones, are usually powered by a small, battery-operated pack that clips onto the performer’s belt or is concealed in their clothing. They’re ideal for performances that require a lot of movement, like musical theater, concerts with dance moves, or live broadcasts like the Grammy Awards.
Like hand-held types, hands-free cordless microphones can face signal interference issues and limited battery life. However, they present a unique challenge - their placement. If the distance between the mic and your mouth isn’t consistent, your volume levels end up all over the place, a nightmare for you and the audio engineer. You have to be careful about initial placement and possibly make adjustments during the performance.
Some singers use tape to keep the microphone in place, but that doesn’t work for everyone. One of my bearded students mentioned the difficulty of making the tape stick and the pain of removing it. But, if freedom of movement is crucial to the performance, it might be worth considering shaving your beard (if you have one!)
Now that you have some idea of the type of microphone you’d like to use, it’s time to purchase one. But where do you begin? And how do you make a final decision with all the choices out there? With so many options, it’s easy to feel overwhelmed. But fear not. Here are a few ideas to make your microphone shopping a little easier and more fun.
Narrow Down Your Options
My first suggestion is to narrow down your options. Unless you already have one, purchase a corded mic first. They’re less expensive. Plus, learning to handle a mic cord is an essential skill that will help you look and feel more confident on stage.
Three Steps to Purchasing A Microphone
Whether you’re in the market for a corded or cordless mic, there are three steps to the buying process:
Step 1: Gather information and make your wish list.
By reading this article, you’ve already begun! You can also ask your singer and audio engineer friends for microphone recommendations. For this article, I called my friend Pete Plympton, an audio engineer friend who works with the globe-trotting band Pink Martini. We had an enlightening hour-long discussion about his preferred microphones. I also reached out to my professional singer and audio engineer friends on Facebook to ask about their favorite mics. The response was overwhelming! (You can find their recommendations in the list of microphones below.)
Step 2: Test before you buy.
a. With your wish list in hand, call your favorite local music store and ask them which microphones they have in stock and the best days and times to come in and test them. You can call and ask for the sales associate who specializes in vocal mics. They might not have everything on your wish list, but it’s a place to start.
If they say yes, we do allow in-store testing, ask them if you can bring a backing track with you to sing over. When you’re testing the microphones on your list, you’ll want to hear them with and without the backing track. The closer you can approximate a live setting, the better.
b. On the day of your testing session, bring music you’re familiar with — a song you can sing in your sleep so you can focus on what you’re hearing when you’re testing. Make sure it has a wide range of dynamics and pitches, too. You’ll want to get a feel for how responsive the microphone is to different intensities of volume and pitch. Also, pack some alcohol wipes (for before and after cleansing of the mic screens) in case they don’t have them in the store.
c. Mic in hand, it’s time to make some sounds.
Singing in a music store with a sales rep and other customers around can be a bit awkward. To stay focused, I do a quick centering exercise. First, I ground myself by focusing on my feet. Then, I take a deep breath, exhale, and clear my mind. Finally, I visualize myself as a sound scientist. It’s all an experiment!
Starting with a backing track might be an excellent way to ease into it. Sing through a verse and chorus with each microphone to understand how it responds. Once you’ve narrowed it down to two or three microphones, try singing without the track. I recommend doing a few sirens in each microphone to test its response across your entire range, along with a bit of talking: “Hello. Check. Test. Check.”
What To Listen For In A Vocal Mic
Clarity: This refers to how well the microphone can capture and reproduce the subtle nuances of your voice. A mic with good clarity will make your voice sound natural and pure.
Evenness and tone quality: The microphone should evenly capture all the different frequencies of the voice, from the low to the high notes. Also, the quality of the tone should be high; your voice should sound rich and full, not thin or tinny.
Ease: The microphone should feel comfortable and easy to sing into. It shouldn’t require you to push too hard or strain your voice to get your sound across.
Step 3: It’s Time To Buy!
Now that you’ve found your favorite microphone, it’s time to buy it! I like to buy from local stores if possible. But if you’re in an area without a great local music store with plenty of microphones to choose from, Guitar Center might be a good option. They’re a national company, but they have many physical stores in both large and small cities and a singer-friendly policy of allowing you to test microphones in-store before buying.
If you prefer to buy online, Sweetwater Sound is my favorite store to purchase from. They have an incredibly friendly, knowledgeable staff who are up on the latest gear and can answer your questions about which microphone to choose if you’re having difficulty deciding. They also have a 30-day return policy (you pay for shipping), so if you regret your choice, you don’t have to live with a microphone you don’t love.
Buying a microphone is a personal process.
It’s about finding a tool that enhances your vocal performance and allows you to connect with your audience in a meaningful way. By doing your research, testing out various options, and considering your specific needs, you can find a microphone that genuinely feels like an extension of your voice. Remember, the most expensive or popular microphone isn’t necessarily the best one for you. The best microphone is the one that brings out the best in your voice and lets you perform with confidence and joy.
Happy singing!
GO DEEPER:
Microphones Mentioned In This Post:
Audix OM5 Hypercardioid Dynamic Vocal Microphone
Audio-Technica AE5400 Cardioid Condenser Handheld Vocal Microphone
(This condenser mic has the same diaphragm as their studio microphone.
Audio-Technica ATW-T220C Wireless Handheld Microphone Transmitter - I Band
The Beginner’s Guide To Microphones. A Helpful guide that takes a deeper dive into things like Polar Patterns, Frequency Response, Electrical Current, and more.
Cordless Mic Buying Guide from Sweetwater Sound
The Microphone List!
These are the microphones that my friends and colleagues recommended when I asked them for their microphone preferences on Facebook. There are 25 in all, listed from most mentioned to least mentioned.
I am deeply grateful for the singers and sound technicians who generously shared their expertise. Their vast and diverse experience, spanning from jazz to heavy metal, small stages to arenas, is invaluable. While the internet and AI can provide answers, having a trusted community to rely on is truly priceless.
If you're in the research phase of your microphone-buying journey, their recommendations are a great place to start!
Sennheiser e935
Beyer M88 & Neumann KMS105 (Tied for 2nd place)
Telefunken M80
Audix OM-3
Audix OM5
Audix OM-7
DPA 4018VL
Shure SM58
Sennheiser 835
Beta 87A
Beta 58
AKG 757
Audix VX10
Audio Technica
EV 757
Sennheiser 945
SEV7
Sennheiser 845
Sennheiser 441
Sennheiser MD 431/435
Earthworks SR314
Sennheiser E 835
Shure KSM8
Audix VX5
SINGER PRO TIP!
If you end up on a show where you can’t use your own mic and have to sing on a Shure SM58, check out this tip from my friend Anny Celsi:
“A sound man long ago hipped me to touring with my own SM58 cover (the wire mesh ball that covers the mic) — you just unscrew the germy cover on the house mic and replace it with your own, then take it off when you’re done. Singer pro tip!”
