Getting a mic: condenser or dynamic

irthwirm

irthwirm

New member
i Just picked up a akg 200 which is a condenser mic. The main use would be for hip hop vocals and singing. I guess i got the wrong info because some people are saying dynamic is the way to go for hip hop especially in a home studio. Is this entirely true and should i exchange my condeser mic for a dynamic???
 
I tend to use dynamics on vocals (specifically, EV RE20's, Shure SM7's) probably 75% of the time. 95% of the time on aggressive styles (rock, rap & HH would fall into the "aggressive" category).

Not to keep the room sounds down - Although they're quite good at rejecting a lot more crap than a condenser will pick up.

It's somewhat of a personal choice... But lately, there definitely is a marketing trend toward using cheesy Chinese condensers on vocals. The sensitivity and presence peak on most of them can "fool" the ear into thinking that the clarity is improved. And on some vocals (generally soft or very timbrally broad vocalists) condensers are more of a "go to" to some point.

Then there's the "dynamics are for live use" types... I have no idea where that ever started... I still do a fair amount of live work on some reasonably high-profile artists. My mic selection criterion is exactly the same whether live or studio. Sure, I won't use a U47 in front of a vocalist for a concert - But if it's the choice of whether a vocalist will sound better with a condenser, I'm using a condenser. Just like anything else.
 
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i think you'll find it easier to record with a dynamic microphone for rap. i know i do.

the only vocalist i use condensor on 100 percent of the time is my bandmate jason, but i mean if you listen to our tracks (and his voice) you'll see why, and you'll see why micing technique is going to be VERY different with him...
 
so would you say for singing r & b type stuff female/male use a condenser what if the emcee is smooth though not shout'n either but for that raw emcee vocals use a dynamic? What about guitar?
 
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Transients

My understanding is that Dynamic mics are generally but not limited to a decent quality sound for sounds that don't have sharp transients.

A condensor mic would be better for sharp Transients. But again it depends on what you're trying to do.
 
It would almost be more accurate the other way around. Sharp transients & aggressive sounds in general are almost always captured with a dynamic. Highly textured, timbrally rich, smoother sounds with condensers.
 
MASSIVE Mastering said:
It would almost be more accurate the other way around. Sharp transients & aggressive sounds in general are almost always captured with a dynamic. Highly textured, timbrally rich, smoother sounds with condensers.
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A dynamic mic takes a little longer than a condensor when picking up sound due to the fact that the dynamic microphone has a larger, heavier daiphragm than a condensor.

It takes more effort to move the diaphragm of a dynamic Microphone.

Generally because condensor mics respond better to transients, it would be wise to use a condensor on sharp transients.

Dynamic microphones are great one reason being that they handle higher levels of sound. They are also a lot more durable and great for live performances.

It again depends on your setting and what sound you are trying to caputre whether Vocal or Instrument.

I
 
Kadaken said:
A dynamic mic takes a little longer than a condensor when picking up sound due to the fact that the dynamic microphone has a larger, heavier daiphragm than a condensor.

It takes more effort to move the diaphragm of a dynamic Microphone.
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Which is exactly why you use it to capture strong transients.
Generally because condensor mics respond better to transients, it would be wise to use a condensor on sharp transients.
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No, that's why you use them on softer material and non-transients.
Put a LDC in a kick drum and let me know what you think (if it even survives). Condensers are more sensitive - MICRO transients. Not super-transients.

You won't get any argument though that dynamics are generally much more robust - But the applications are the same as they would be for live or studio use.

The mic *itself* might be different - Such as, I'm certainly not going to hand a vocalist jumping around on stage a bulky mic such as a RE-20 or a PR-40. I'd hand him a 58. On the occasion that a vocalist would sound better with a condenser (it happens) then I'd hand (usually "her") a condenser - a KMS105 perhaps.
 
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My general rule of thumb is use whatever works. I've cut tracks for mixtapes where I've literally just handed the dude a cheap little Audio Technica and the vocals came out pretty decently. I don't have a mic closet per se, but I have a few dynamics and few condensers to choose from. I've had success with condensers on Hip Hop artists, so I won't personally say it's not the way to go. However, some really great sounding vocals have been cut with dynamics, so the belief in condensers being the "sure shot" is somewhat misplaced.

My advice is to at least get one dynamic and one condenser in your life (so in your case keep your AKG and get a dynamic, be it an SM58, SM7, etc), try them out on each vocalist you work with and choose from there.
Peace
 
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MASSIVE Mastering said:
Which is exactly why you use it to capture strong transients.

No, that's why you use them on softer material and non-transients.
Put a LDC in a kick drum and let me know what you think (if it even survives). Condensers are more sensitive - MICRO transients. Not super-transients.

You won't get any argument though that dynamics are generally much more robust - But the applications are the same as they would be for live or studio use.

The mic *itself* might be different - Such as, I'm certainly not going to hand a vocalist jumping around on stage a bulky mic such as a RE-20 or a PR-40. I'd hand him a 58. On the occasion that a vocalist would sound better with a condenser (it happens) then I'd hand (usually "her") a condenser - a KMS105 perhaps.
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I agree that The dynamic mic is just as usefull in the studio as on stage. I generally favor Sm57's on snares and Guitar amps.

(If you've tried it) What do you think about the Sennheiser 609 paired with an SM57 on a Marshall AVT100? (I Perssonally like the 609 alone just off center of the cone)

Also What do you think about Nuemann U87AI for OH?

The only reason I ask is to see how different/similar our tastes are in recording techniques.

I also don't mean to argue I hope I don't come off that way. I'm very interested in knowing every bodys view.
 
Haven't tried it on that specific amp, but 57's and 609's are wonderful mics for guitar amps. 87's for overheads... Eh, nothing wrong with them, but I tend to go with SDC's most of the time. 87's are so rich in the bottom... You roll it all off and you're left wishing you had more body in the mids.

A U87 20 feet away on the other hand... Or as "sole" OH's on a jazz kit where nothing else is mic'd (maybe the kick - maybe) and you're relying on them to capture the essence of the entire kit... There's something.
 
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MASSIVE Mastering said:
I tend to use dynamics on vocals (specifically, EV RE20's, Shure SM7's) probably 75% of the time. 95% of the time on aggressive styles (rock, rap & HH would fall into the "aggressive" category).
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I'm in the midst of adding/upgrading mics, and went with an EV RE27 as my first "real" vocal mic. I liked it a bit more than the RE20, especially for the ladies.


Massive(or anyone esle in the know),

Could you recommend a ribbon mic? It would be used mostly for vocals, but I record acoustic & electric guitars, bass, percussion & an occasional horn too. I'm looking for something under $1,000. Peluso R14 or Beyer M160 maybe?
 
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aliengroover said:
My general rule of thumb is use whatever works. I've cut tracks for mixtapes where I've literally just handed the dude a cheap little Audio Technica and the vocals came out pretty decently. I don't have a mic closet per se, but I have a few dynamics and few condensers to choose from. I've had success with condensers on Hip Hop artists, so I won't personally say it's not the way to go. However, some really great sounding vocals have been cut with dynamics, so the belief in condensers being the "sure shot" is somewhat misplaced.

My advice is to at least get one dynamic and one condenser in your life (so in your case keep your AKG and get a dynamic, be it an SM58, SM7, etc), try them out on each vocalist you work with and choose from there.
Peace
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how do you feel about the re20
 
i only used the beyer, and it's rather good (not like a royer or an AEA/RCA, but for that price ...), but the Peluso get higher ratings on fora (i never used it, i can't judge it), so maybe try to test them, the peluso may be beter.
 
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