Top 18 Best Microphones in India | 22nd Sep 2020
Condenser Microphone, Dynamic Microphone, Wireless Microphone, Ribbon Microphone
Reviews, Comparison and Buying Guide
What is a Microphone?
A microphone, colloquially named mic or mike is a device – a transducer – that converts sound into an electrical signal. Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio engineering, sound recording, two-way radios, megaphones, radio and television broadcasting. They are also used in computers for recording voice, speech recognition, VoIP, and for non-acoustic purposes such as ultrasonic sensors or knock sensors.
Several types of microphone are used today, which employ different methods to convert the air pressure variations of a sound wave to an electrical signal. The most common are the dynamic microphone, which uses a coil of wire suspended in a magnetic field; the condenser microphone, which uses the vibrating diaphragm as a capacitor plate; and the contact microphone, which uses a crystal of piezoelectric material. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced.
Best Microphones | Buying Guide : Things to consider while buying Microphone
To help you find the right mic to match your budget and needs, this guide will cover the most important characteristics of the many different microphone types and models.
The most important thing to ask yourself when choosing a microphone is how you plan to use it. Will you be using it onstage for vocals or to mic an instrument? Is it intended for home-studio recording? Or are you looking for something that can perform well in either situation?
You want to match the mic to both the environment you’ll use it in and the gear you’ll use it with. For instance, it might not make a lot of sense to spend thousands on a Neumann studio mic if you plan to use it for recording basic demos in your bedroom studio. The acoustics will likely be less than perfect and you’ll want to couple it with a high-end mic preamp, bringing your total cost up quite a bit. Consequently, a less sensitive and more affordable microphone might be a better choice.
Understanding the Specs
Getting some fundamental knowledge on microphone specifications and terminology under your belt will help you select a mic that best suits your needs. Here are the primary specs and terms you will often see in mic descriptions:
The polar pattern is the shape of a mic’s field of sensitivity, or the directions from which it accepts or ignores incoming sounds. An omnidirectional mic responds to sounds coming from all directions. A bi-directional mic, also known as a Figure 8 microphone, picks up sounds from east and west while excluding sounds from north and south. A unidirectional mic primarily hears sounds from one direction and excludes sounds from other directions.
Unidirectional mics are the most common type, and they come in three polar patterns: cardioid, supercardioid and hypercardioid. All three of these patterns reject rear-axis and off-axis sounds coming from behind the mic or from the sides.
The cardioid pattern is roughly a heart shape (hence its name), which makes the mic most sensitive to sounds from straight on and from the sides, but rejects sounds from 180 degrees opposite the direction the mic is aimed.
The supercardioid mic accepts a little more sound from a 180-degree field, but rejects more from each side. The hypercardioid allows yet more sound from 180 degrees but rejects more of the sound coming from 90 or 270 degrees.
Polar patterns are important when you are working in a noisy setting, such as when miking a vocalist in a band. Cardioid, supercardioid, and hypercardioid mics will tend to exclude all the sounds except the voice of the singer, thus preventing the signal from becoming muddied or producing feedback.
Some microphones are multi-pattern. In other words, their polar patterns can be changed (e.g. from omnidirectional to cardioid) by means of a switch or by interchangeable capsules. This capability gives the mic added versatility in various settings.
A microphone’s frequency response refers to the range of frequencies, from low to high, that a microphone will pick up. This range is referred to by its lowest and highest frequencies, measured in hertz. A microphone with a frequency response range of around 80 Hz to 15 kHz would make a good choice for a vocal mic. However for miking snares and toms, you would look for a range that starts lower, at around 50 Hz, and for a bass drum mic, you will want a low end of 40 Hz or even lower, down to 30 Hz.
It is important to note that frequency response only tells you the overall range a mic can reproduce. How it performs at different frequencies is another matter, and this performance is what gives a mic its character.
The shape of a microphone’s frequency responsiveness is called its response curve. Because it starts out at zero on the low end and drops off to zero at the high end, it takes the form of a curve when graphed. Within this overall curve, there will be peaks and dips in certain places that give the mic a certain character and make it more suited to certain applications. For example, a mic intended for vocals may have a spike in its upper midrange that results in smoother or more intelligible reproduction of voices.
Sensitivity and SPL-Handling Capability
Sensitivity refers to how quiet a sound the mic can detect, and it is expressed using different systems. Regardless of the system, it is perhaps enough to know that the lower the number, the more sensitive the microphone is.
SPL stands for “sound pressure level” and is expressed in decibels (dBs). It describes the maximum volume that a mic can handle, so, in a way, it is the opposite of sensitivity. This is important if the mic must deal with loud instruments such as drums. An average level is around 100 dB; a high SPL is 130 dB.
Proximity effect is not given as a specification, but is an important mic characteristic that is sometimes mentioned in descriptions.
Proximity effect causes bass frequencies to become more pronounced as the sound source moves closer to the mic. This is desirable for singers who “work the mic” to create effects. A recording engineer might select a mic with a strong proximity effect for close miking an instrument to bring out its bass tones.
Condenser mics generally produce more proximity effect than dynamic mics.
Types of Microphones
Dynamic microphones use an inductive coil connected to a diaphragm and placed within the field of a permanent magnet. As the diaphragm moves, it moves the coil, thus varying the voltage the coil produces. These subtle shifts in output voltage shape the mic’s output.
These mics are usually quite rugged, and have high SPL-handling capability. Most have internal shock mounting to allow hand use, and their polar patterns reject off-axis sounds. These are all reasons that dynamic mics tend to perform well in live sound situations, though some also are used regularly for recording. The Shure SM58 has been both a studio and stage staple for many years.
As a group, dynamic mics also are relatively affordable, and many of the big-name mic manufacturers have economy-series mics that give you great performance for a low price.
Ribbon microphones operate on the same principle as other dynamic mics, but instead of a diaphragm, they employ a thin ribbon that vibrates to vary voltage. Ribbon mics are used in the studio for recording voices and a broad range of instruments. They soften the sound and impart warmth to recorded material.
Though they are electronically similar to wired microphones, wireless microphones include a transmitter to allow a greater range of movement. A battery-powered transmitter in the microphone’s body transmits the mic’s signal to a receiver unit that is connected to a mixer or PA system. The signal is transmitted using radio frequencies. The most common wireless systems use digital, UHF, or VHF frequencies. Affordable wireless mic systems that deliver good sound and bang for the buck typically use the UHF band. The best systems use digital technology that optimizes audio quality while also eliminating noise and signal dropouts that can be an issue with low-quality systems. Interference generated by devices such as radios, wireless phones, garage-door openers, and even fluorescent light fixtures are detected and eliminated by such digital circuitry.
Another way better-quality wireless mic systems deal with reception problems is through diversity technology. Receivers that have what is referred to as true diversity contain two separate radio modules, each connected to its own antenna. When interference is detected, a circuit compares the signal received by each module/antenna and uses whichever one is cleanest.
It’s important to note that receiver microphone frequencies must match. This is not an issue when you purchase a full system since the frequencies have been matched by the manufacturer. But if you are buying microphones and receivers separately, be sure they operate on the same bandwidths.
Wireless vocal mics come in a number of formats including hand-held models, clip-on lavalier mics, and headworn mics that have a headband. Some manufacturers also produce plug-in transmitters with which you can convert a standard wired mic to wireless operation.
In condenser mics, a thin conductive diaphragm is located close to a metal plate called a backplate, creating a capacitor. This capacitor is supplied with a small electric charge, either from phantom power or from a battery. When the pressure of sound waves causes the diaphragm to vibrate, it changes the distance between it and the backplate, thus causing variations in the output voltage. This varied output creates the microphone’s electronic signal.
Condenser microphones use an external power supply, internal batteries, or phantom power supplied by the mixer input. These days, most mixers have phantom power on mic inputs, but if you are using an older mixer, you’ll want to make sure it has phantom power before buying a condenser that requires it.
There are many different types of condenser mics, and most of them are used for recording. A few are used for live sound applications such as overhead miking of choirs, pianos, acoustic stringed instruments, and certain percussion instruments such as cymbals.
Here are the main types of condenser microphones:
Large-Diaphragm Condenser Microphones
Sizable recording microphones with diaphragms from three quarters to an inch in diameter, large-diaphragm mics are usually very sensitive. They almost always require external power and suspension mounting that isolates the mic from external vibrations.
The large size of these mics and their need for suspension makes them unsuitable for such applications as miking drum kits, where space is tight, but they are excellent for recording voices and a wide variety of instruments. That is why they often serve as a recording studio’s all-purpose microphones.
As you may have guessed, the best mics in this category can be very expensive; however, a number of affordable models have become available in recent years. These cost-conscious models mimic the design of the more expensive mics, and they work quite well for nonprofessional recording.
Side-Address Condenser Microphones
Another type of large-condenser mic, side-address microphones usually have a wide, flat windscreen over a large diaphragm. These are positioned horizontally and aimed toward the side at a 90-degree angle. Thus, if the mic is vertical, a singer seems to be addressing it from the side, hence its name.
Usually, dual-diaphragm mics are configured the same as side-address mics. However, they have two diaphragms aimed in opposite directions.
Naturally, dual-diaphragm mics are effective for recording duets or larger groups, and they can be great for picking up room ambiance. A dual-diaphragm condenser mic makes it easier to balance two simultaneous sound sources as opposed to using two single-diaphragm mics.
Tube Condenser Microphones
The vintage models you associate with old-time recording and broadcast studios are tube condenser microphones. Because they impart a warmth and a rounded sound to recorded material—much like a tube guitar amp colors the instrument’s sound in pleasing ways—they still are made and used in professional studios to this day.
These mics require a dedicated power supply, powered mixer, or a mic preamp that provides the correct voltage.
Small-Diaphragm Condenser Microphones
With a diaphragm a half-inch or less in diameter, small-diaphragm microphones are used in many recording applications and occasionally in live settings.
These mics do especially well at reproducing higher-frequency sounds and sound sources that change quickly in volume or have a sudden attack. One common application is overhead miking of cymbals. Like other condensers, they depend on phantom power or a battery to operate.
The enormous popularity of computer-based recording has revolutionized the way music is recorded. When it comes to routing your music through the soundcard of a computer, there are many possibilities available today, ranging from sophisticated digital audio workstations (DAWs) and digital mixing boards to simpler interfaces offering connections for a single mic and /or instrument. Simplest of all are USB-powered mics that offer plug ‘n’ play convenience. These budget-friendly microphones are a great choice for someone who needs quick, convenient solutions. So, whether you’re just dipping your toes in the recording waters, or you’re a budding podcaster who needs a straight-forward solution, USB microphones are a fantastic choice.
Drum and Percussion Microphones
Because each drum and cymbal within a drum kit creates its own unique sounds, mics are tailored for kick drums, snares, toms, and cymbals. Each mic has a response curve and profile best suited to the drum for which it’s used. Because of their ability to handle high frequencies and sounds with a rapid attack, small-diameter condenser mics are often used to capture the sound of cymbals. Drum mics are often sold in special packs of four, five, or more microphones that will save you money and guarantee that you have the whole range of your drum kit’s sounds covered.
Microphones for Reed, Brass, Woodwind, and Stringed Instruments
Typically small and lightweight, these microphones have a frequency response tailored to the specific instrument, and they employ a special mounting system that attaches to the instrument’s bell or body. Since these mounts and their attached mics move with the instrument, they maintain a set distance for greater volume consistency while giving the artist freedom of movement. Clip-on microphones have been developed for violin, viola, cello, and double bass that eliminate the need to retrofit priceless instruments with pickups.
Bullet (Harmonica) Microphones
Bullet microphones, also known as harmonica microphones, are specially made for harmonica players. With a short, round casing, they can easily be cupped in the player’s hands along with the harmonica, and their crystal diaphragm elements produce the distorted sound beloved by blues harp players.
Top 18 Best Microphones – [Updated and Highly Recommended]
Comparison Chart to make your purchase easy
- The price/performance standard in side-address studio condenser microphone technology
- Ideal for project/home-studio applications ; POWER REQUIREMENTS: 48V DC, 2 mA typical ; OUTPUT CONNECTOR: Integral 3-pin XLRM-type
- High SPL handling and wide dynamic range provide unmatched versatility
- Custom-engineered low-mass diaphragm provides extended frequency response and superior transient response
- Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source
- Pivoting, threaded stand mount attaches securely for easy and precise placement of the microphone
The performance standard in side-address studio condenser microphone technology, making it ideal for project/home-studio applications.
Features / Reviews
Custom-Engineered Low-Mass Diaphragm
Sound Source Isolation
This updated VideoMic incorporates all the features that made the original microphone the world’s most popular after-market on-camera microphone, updated to include the innovative and hard-wearing Rycote Lyre suspension system.
Features / Reviews
Rugged reinforced ABS construction
Integrated Rycote Lyre shock mounting
- Sonic character of the c414 XLII for beautifully detailed recording of lead vocals and solo instruments
- Outstanding dynamic range and ultralow noise for close-up recording of high-output sources of up to 156db spl
- Switchable 20db attenuator and bass-cut filter for close-up recording and reduction of proximity effect
- Integrated suspension to reduce mechanical noise and vibration from stage
- Roadworthy design all-metal die-cast body with shock- and scratch-resistant finish
- Country of Origin: China
If you haven’t heard of AKG’s c 414, you’ve no doubt heard it. That baby is in practically every big recording studio around. It’s also a stage favorite. And a broadcast favorite. You get the picture. Why are we telling you all this? Because the AKG c 214 was made to be the cost-effective alternative to that high-end c 414, that is still made in austria. So now all of us with a project studio can actually put that AKG sound to work on our recordings.
Features / Reviews
Integrated suspension to reduce mechanical noise and vibration from stage
Outstanding dynamic range and ultralow noise for close-up recording
NOTE 1: * Stand Max load: Approx 53oz / 1.5KG. NOT Suitable for Blue Yeti USB Microphone! * Shock Mount Diameter: 1.6″-1.8″/43mm-46mm. PLEASE VERIFY the size of your microphone BEFORE ORDERING! * Table Mounting Clamp Maximum Opening: 1.7″/4.5cm. PLEASE VERIFY the thickness of your table BEFORE ORDERING! NOTE 2: 1.The microphone cannot be used with mobile phone and tablet computer. *NOTE: It cannot work with Mac. 2.If you want better sound effect, a sound card should be used. 3.When recording, please put the microphone away from the amplifier to prevent recording noise due to amplifier. Description: (1)NW-700 Condenser Microphone Gold-sputtered diaphragm for accurate sound reproduction. Low noise, wide dynamic range and high sensitivity output. Fashionable design. Noble and elegant appearance. Sturdy and durable. Weight: 11oz/316g Material: Metal (1)NW-35 Suspension Boom Scissor Arm Stand *Max load: Approx 53oz / 1.5KG* enhances the scissor suspension microphone stand’s overall appearance. Double-braced arms add strength to stand much more weight. Material: Metal (1)48V Phantom Power Supply with (1)Adapter Input Voltage: 110V Features a single channel unit with balanced mic inputs and outputs to connect in-line with your mic and mixer. On/off power switch and LED indicator for ease of operation. One Adapter is included. Size: 3.9″ x 3.5″ x 1.6″ / 10 x 8.8 x 4.1cm (1)NW-3 Pop Filter Diameter: 5.9″ / 15cm Gooseneck Length: 14.7″ / 37.5cm (1)Metal Table Mounting Clamp Maximum Opening: 1.7″/4.5cm (1)Metal Shock Mount Diameter: 1.6″-1.8″/43mm-46mm (1)3.5mm to XLR Audio Cable (1)Ball-type Foam Cap (1)XLR Female to XLR Male Audio Cable All products are imported from the USA. All electronic products must be used with a step down/up converter for Indian voltage compatibility.
Features / Reviews
Low noise, wide dynamic range and high sensitivity output
Fashionable design. Noble and elegant appearance. Sturdy and durable
Boya BY-M1 is an Omni directional lavaliere microphone, designed for Smartphones, DSLR, Camcorders, Audio recorders PC etc., it is perfect for video use. With Omni pickup pattern, for full 360‚ coverage, it absolutely gives you the possibility to capture anything in your sight. Moreover, the integrated 6-meter (20) cable with 3.5mm 4-pole gold plug is just a second thing to be connected to your smartphones and most of your cameras. 100 percent a good choice to be picked. Super sound for presentations and video audio recorders Kindly Note: For Smartphone: Switch off the microphone. Slide the ON/OFF up to OFF/Smartphone. The power is shut down for DSLR, Camcorders, audio recorders, PC etc.: Switch on the microphone. Slide the ON/OFF up to ON. Clip-on mic for smartphones, DSLR, Camcorders, audio recorders, PC etc. Omni directional condenser microphone. Quality condenser is ideal for video use. Low handling noise. Transducer type: Electret condenser polar Pattern: Omni-directional frequency range: 65Hz – 18KHz Signal/noise: 74dB SPL. Sensitivity: -30dB +/-3dB / 0dB – 1V/Pa, 1kHz. Output impedance: 1000 Ohm or less output connection: 3.5mm (1/8) 4-pole gold plug Battery Type: LR44 (Included) Dimension: Microphone:18.00mm x 8.30mm x 8.30mm. Audio cable: 20ft (6.00m) Weight: Microphone : 2.5g. Power module: 18g. Package contents: 1 Boya Omnidirectional Lavaliere condenser microphone-20ft audio cable, 1 lapel clip, 1 foam windscreen, 1 1/4 adapter, 1 LR44 battery and 1 English user’s manual.
Features / Reviews
Designed for Smartphones, DSLR, Camcorders, Audio recorders PC etc.
Omni pickup pattern, for full 360‚ coverage
- Dedicated vocal and instrument mic delivers unbelievable quality to your studio and live performance
- Extremely high signal output lets your voice cut through
- Ultra-low distortion for super clean sound
- Presence lift in critical mid-range gives you maximum voice projection
- Exceptional off-axis rejection eliminates feedback problems
- For support and queries, please contact_us on: [ 02522672367 ]
- Country of Origin: United States
Few things are more essential to recording or live performance than dynamic microphones. Ask any sound engineer and they will tell you to keep as many as possible on hand. Behringer has bundled three great-sounding dynamic microphones into one impact-resistant case, with stand adapters and mic clips so you’ll be ready to capture your sound in brilliant resolution.
Features / Reviews
Dynamic vocal and instrument microphone with on/off switch for excellent studio and live performance
Ultra-wide frequency response for brilliant and transparent sound
Broadcast quality cardioid end-address dynamic USB microphone. Features 18-bit resolution and 8-48kHz sampling. Windows and Mac compatible.
Features / Reviews
Broadcast sound quality
Tight Cardioid pattern for superior off axis sound rejection
The AKG D5 is a supercardioid, handheld dynamic microphone designed to accurately capture vocals during performances. The supercardioid polar pattern is most effective at eliminating off-axis noise and feedback. The capsule features a dual shockmount for enhanced protection against handling noise. The D5 is a rugged handheld microphone with the sonic characteristics necessary to cut through loud stage performances.
Features / Reviews
Extremely rugged vocal/speech microphone
Patented AKG Laminated Varimotion diaphragm
Spring steel wire-mesh grill
- Smart-priced introductory microphone for amplified and acoustic instruments
- Tailored frequency response for optimal instrument reproduction
- Hypercardioid dynamic element design, Rugged all-metal construction
- Silent on-off operation thanks to MagnaLock(TM) switch design
- Over 50 years of Japanese Innovation and Quality
Meet the industry standard in affordable vocal and instrument microphones: Audio-Technica”s Midnight Blues Series. With its high-output design, superior sound and rugged, all-metal construction, this totally redesigned series creates a new standard in affordable vocal and instrument microphones.
Features / Reviews
Tailored frequency response for optimal instrument reproduction
Hypercardioid dynamic element design, Rugged all-metal construction
Silent on-off operation
The OM2 is a dynamic vocal microphone used for a wide variety of live, home and studio applications. This microphone has clear and accurate sound reproduction, resistance to feedback and ability to handle very high SPLs without distortion.
The OM2 vocal dynamic microphone utilizes a tight, uniform pattern which helps isolate vocals from the instruments on stage. With a wide frequency range of 50 Hz – 16 kHz, the OM2 employs a VLMTM diaphragm for a clear, precise sound with exceptional voice response.
Designed with a slight bass proximity and a tailored mid-range, the OM2 hypercardioid microphone has a full-bodied sound on small to mid-sized PA systems while retaining true sound on large or professional PA systems.
What’s In The Box
1 x OM2 Vocal Microphone
1 x MC1 Microphone Clip
1 x P1 Carrying pouch
Features / Reviews
Used for a wide variety of live, home and studio applications
Clear and accurate sound reproduction, resistance to feedback and ability to handle very high SPLs without distortion
Utilizes a tight, uniform pattern which helps isolate vocals from the instruments on stage
The XR 40 HH is a Dual UHF Wireless microphone system consisting of two high quality handheld microphones designed for superior vocals & speech reproduction.
Features / Reviews
High quality UHF band frequency duel Wireless Microphone System
Individual channel output with level control & mix output
Display on Transmitter & Receiver for frequency indicatio
- Compact lightweight dual channel VHF wireless microphone system
- Operates at quartz crystal locked VHF high band frequency and available in 5 different frequency groups
- Two microphones with separate frequencies and one non-diversity receiver
- Internal antennas in the microphones and two telescopic antennas in the receiver for clear and distortion free reception
- Receiver operates on 9V DC through an AC Adaptor supplied along with the system. Each microphone operates with a 9V Dry Battery
- Microphone with 3-position slide switch for 'Audio On'-'Audio Mute'- 'Off' positions
AHUJA introduces AWM-490V2 as an affordable high performance VHF wireless microphone system. It consists of two wireless microphones and a highly sensitive dual channel non-diversity receiver. This ensures an effective long distance coverage of more than 150 feet under ideal working conditions. Receiver operates on 9V DC through an AC Adaptor supplied along with the system. Each microphone operates with a 9V Dry Battery. Microphone with 3-position slide switch for ‘Audio On’-‘Audio Mute’- ‘Off’ positions. Audio output from receiver available at OUT 1 and OUT 2 individually and as mixed output at OUT 1 + 2. Ideal for: PA Applications, stage and auditoriums, seminar halls, places of worship and recreation centres. Microphone RF Output Power 15mW (max.) modulation mode FM (F3E) microphone element dynamic cardioid dynamic range 100dB spurious emission < 45dB maximum deviation A± 25kHz frequency response 50-15 000Hz antenna internal dipole current consumption < 60mA battery life 6-8 hrs with 9V battery Controls microphone on/mute/off switch indication red and green LED for indicating microphones on dimensions Dia 52 A— L242 mm Weight 0.20kg. (w/o battery). Receiver frequency stability A± 0.005 percent quartz crystal controlled receiving method non-diversity audio output channel 1: 0-55mV/1k Channel 2: 0-55mV/1k Channel 1+2: 0-55mV/1k signal to noise ratio > 100dB distortion < 0.5 percent frequency response 50-15 000Hz maximum deviation A± 25kHz antenna telescopic power requirement AC: 220-240V 50/60hz for AC adaptor.
Features / Reviews
Compact lightweight dual channel VHF wireless microphone system
Operates at quartz crystal locked VHF high band frequency
Two microphones with separate frequencies and one non-diversity receiver
The BLX Vocal Wireless System from Shure joins world-class design and construction with simple and easy setup and operation, featuring QuickScan frequency selection and the trusted PG58 professional.
The ideal entry-level wireless microphone system for small venues, BLX offers professional-quality sound with simple setup and an intuitive interface for performance you can trust right out of the box.
Features / Reviews
Single-channel, dual-channel, and rack mount receiver options available
One-touch QuickScan frequency selection
Rugged and reliable Shure construction
- The RØDELink Performer Kit is RØDE’s stylish, crystal clear handheld wireless microphone and receiver combo so intuitive it works straight out the box, with no channel selection necessary.
- The Performer Kit comes with TX-M2, RX-DESK, LB-1 Lithium-Ion Rechargeable Battery, microphone clip, microphone case and Micro USB Cable and includes a 2-year extended warranty.
- TX-M2 High quality condenser microphone, powered by included LB-1 Lithium-Ion Rechargeable Battery (10 hours), or 2 x AA batteries (6 hours)
- RX-DESK Series II 2.4Ghz digital frequency with encrypted signal, Digital Display - shows battery life, signal status and peak warning, One touch pairing - simple and intuitive
- 40dB, 5-step level adjustment (-20, -10, 0 10, 30dB)
The RØDELink Performer Kit is RØDE’s stylish, crystal clear handheld wireless microphone and receiver combo so intuitive it works straight out the box, with no channel selection necessary. The Performer Kit comes with TX-M2, RX-DESK, LB-1 Lithium-Ion Rechargeable Battery, microphone clip, microphone case and Micro USB Cable and includes a 2-year extended warranty.
Features / Reviews
Crystal clear handheld wireless microphone and receiver combo
Digital Display – shows battery life, signal status and peak warning
One touch pairing – simple and intuitive
- The WMS40 Mini wireless microphone system provides crystal clear sound and is a true plug'n'play solution.
- "Up and running" in a secondplug and play solution for easy setup
- The WMS40 Mini system stands out for its extremely long battery life of 30 hours with a single AA battery
- Country of Origin: China
The WMS40 Mini wireless microphone system provides crystal clear sound and is a true plug’n’play solution. Up and running in a second, it is the optimum wireless solution for small stages, clubs, places of worship, hotels, and gyms. The system is available in different application optimized set packages, all of which includes a universal, switched mode power supply for worldwide operation. The WMS40 Mini system stands out for its extremely long battery life of 30 hours with a single AA battery. The WMS40 Mini system’s new frequency options include US25A 537.500 MHz, US25B 537.900 MHz, US25C 539.300 MHz, US25D 540.400 MHz. The dual-band WMS40 Mini2, meanwhile, addresses the combined frequency bands US25A/C and US25B/D.
Features / Reviews
Dynamic microphone with cardioid polar pattern
Low battery indicator
Up to 30 hour playtime with one single AA battery
The MXL R144 gives instruments a smooth finish. This ribbon microphone leaves instrument recordings polished, with a mellow sound – rich and lush in the middle and rolled off at the top.
Incorporating a Figure-8 polar pattern and a 1.8-micron aluminum ribbon, the MXL R144 offers breathtaking sound for vocal and instrument recordings and is an excellent microphone for broadcast applications. The R144 also performs brilliantly on acoustic instruments, strings, and horns and offers high SPL capability, outstanding side rejection and precise directivity.
The MXL R144 Ribbon microphone uses an aluminum ribbon transducer which by nature is a bidirectional (figure-8) pickup pattern. A figure-8 pattern will pick up sounds from the front and back sides of the microphone with equal sensitivity while maintaining a large amount of rejection 90° off access. The front of the microphone is indicated by the MXL logo where the audio signal is ‘in-phase’ while the back side has an inverted phase. Ribbon mics typically have a lower output than condenser microphones and may require a preamplifier with a lot of gain. It is highly recommended to use a preamp with low noise, high gain, and an input impedance of 1500 ohms or greater. MXL strongly advises experimentation with placement and isolation requirements with the gain initially set low to avoid possible equipment (and hearing) damage.
Features / Reviews
Mellow sound with a rich midrange and rolled-off top end
Figure-8 polar pattern that captures instruments and room sound
Compact design that makes mic placement easy
Premium ribbon microphone with bespoke transformer. P48 powered.
Features / Reviews
Bi-Directional Polar Pattern
Internal shock mounting system
Heavy-duty matte black finish
Features / Reviews
Not too dark sounding mic with good high end
Natural sounding mic
Benefits of Microphones
When you’re shopping for a microphone for live performance, you’ll encounter two different types of microphone, wired and wireless. We all know wireless microphone provides a high level of convenience and flexibility, and it certainly can keep a stage looking clean. However, if you don’t need the mobility on stage, a wired microphone can be the way to go. To help you select the best microphone for your application, we are going to exam the five advantages of wired microphone.
Advantages of Wired Microphones
- Better Sound Quality
- Easy operation
- No Battery Required
- Cost Less
Advantages of Wireless Microphones
- Greater freedom of movement for the artist or speaker.
- Avoidance of cabling problems common with wired microphones, caused by constant moving and stressing the cables.
- Reduction of cable trip hazards in the performance space
Advantages of Dynamic Microphones
- Durable and Rugged
- Do Not Need a Power Supply
- Pick Up Less Noise
- Require Less De-Essing
- Not Harsh
- Less Expensive
Most of us don’t get the same rush buying a mic as we do a new camera or lens, but it is something that can shift your video to a new height and is of critical importance. As alluded to above, it is often the first differentiator of quality in any video.
The type of microphone is very dependent on the situation and style you want to create. Ask yourself, are you looking for a video podcast solution, live show, or narrative? Choose the equipment that gives you the best chance of producing your desired sound. Although not recommended for the highest quality or highest professional environments, picking a microphone that excels at recording in a number of different environments.