Microphones

Dynamic microphones use a moving coil and are rugged, inexpensive, and tolerant of high sound pressure levels, ideal for loud sources like vocals on stage, kick drums, and guitar amplifiers. They do not need external power. Condenser microphones use a thin diaphragm and a capacitor, are more sensitive and capture detail accurately, but need 48-volt phantom power from the mixer or interface. Condensers are ideal for studio recording, quiet speech, acoustic instruments, and any source where detail matters more than ruggedness. Most live performance vocals use dynamic mics; most studio and corporate AV uses condensers.

Use a lavalier (lapel) microphone when the speaker needs hands-free operation, when video is being recorded and visible microphones look unprofessional, or when the speaker moves around (presentations, broadcast hosts, theater performers). Use a handheld microphone when the speaker is at a fixed location like a podium, when the speaker uses the mic as a presentation tool (passing it between people on a panel), or when audio quality is critical (a handheld mic is closer to the mouth and picks up less room noise). Both can be wired or wireless.

Wired microphones use XLR cable directly to a mixer or interface, which is reliable, has no battery to manage, no RF coordination, and provides the highest audio quality. The downside is restricted performer movement and visible cable on stage or in video. Wireless microphones use a UHF or 2.4 GHz transmitter at the microphone and a receiver at the mixer, freeing performers to move. Wireless adds complexity (battery management, channel coordination to avoid interference, regulatory compliance) and cost but is essential when performers move. Modern digital wireless systems offer audio quality close to wired.

Phantom power is 48 volts DC supplied from the mixer or audio interface to the microphone through the same XLR cable that carries the audio. Condenser microphones need phantom power to operate (they have an active circuit and need power for the capacitor and impedance converter); dynamic microphones do not need it and are unaffected by it. Most modern mixers can supply phantom power on each XLR input, switchable per channel. Ribbon microphones generally should not receive phantom power, so be careful with mixed setups that include older ribbon mics.

The right polar pattern depends on what you're recording and the room environment. Cardioid is the most common choice: it picks up from the front and rejects sound from behind, ideal for vocals, podcasts, presentations, and most live sound. Supercardioid and hypercardioid are tighter (narrower acceptance angle, more rejection at the sides), good for noisy environments where you need maximum isolation, with the trade-off of less natural sound. Omnidirectional picks up equally from all directions, used for ambient recording, choirs, and conference boundary mics. Figure-8 picks up from front and back, used in specialized stereo recording techniques.

Conference rooms (boundary, gooseneck, and ceiling-array microphones for video conferencing), training and lecture rooms (lavaliers or wireless handhelds for presenters), broadcast and recording studios (studio condensers, dynamic mics for voice-over), houses of worship (lavalier or handheld for pastors, condensers for choir), live sound venues (handheld for vocalists, instrument mics for the band, lavaliers for theater performers), courtrooms and legislative chambers (gooseneck microphones at every seat), and education (classroom microphones for hearing-assistance and recording).