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Dynamic mics are the most common and can be used for almost all purposes. Among them, there are many common classics such as the SM58 for stage vocals, the SM57 for Amps and Snare, the RE520 for Speech and Bass drum. Often, the individual models have a characteristic sound, the suitability of which you have to find out by trial and error before recording.
Dynamic mics do not require phantom power, can usually tolerate high sound levels and because of their harmonic properties, are very resistant to feedback and quite insensitive to wind noise. Even on loud stages, they only pick up what is directly in front of their diaphragm.
Large diaphragm condenser microphones are the first choice for recording vocals and speech because of their sensitivity and richness of detail. To be as flexible as possible, these microphones are often offered with switchable polar patterns. A cardioid microphone picks up sound from the front best, while sound from behind is picked up only minimally. If you want to capture the room sound from all sides, an omnidirectional pattern is recommended. Large-diaphragm condenser microphones usually require 48 volts phantom power.
They are the little brothers of the large-diaphragm condenser microphones and are used for recordings of high-pitched, brilliant and complex signals. These include, classically, drum cymbals (overheads), violin, viola or acoustic guitar. They also do an excellent job as room mics. They also require 48 volts phantom power. Particularly popular are, for example, the Rode NT5, various models from AKG or the classy Neumann KM184.
A USB condenser microphone is ideally suited for podcasts, YouTube videos or voice recordings without much prior knowledge. The advantage of these microphones is their ease of use. No drivers need to be installed and since the digital conversion of the signal is carried out directly in the microphone, the quality of the sound card installed in the computer is irrelevant. Some models even offer the possibility of direct audio processing such as compression or de-essing internally in the microphone. In addition, phantom power is not required, as power is supplied via the USB connection. Anyone who wants to make quick, simple recordings at home or on the road is well advised to use a USB microphone.
Tube microphones are also condenser microphones. However, instead of phantom power, their internal preamplifier is powered by tubes, which is why they need their own special power supply. Their sound is usually pleasantly clear and refined, with a well-defined treble band and a warm bass range. Because of their complex construction, they are at the upper end of the price scale. However, in principle, all signal sources benefit from their immense detail or clarity, especially vocals and recording rooms, which, however, should not have any unpleasant frequencies, as tube mics capture every signal.
Ribbon microphones are the epitome of a soft retro sound and are used wherever either a vintage character is to be achieved or unpleasant high frequencies arise that one does not want on the recording. Classics include the Beyerdynamic M130 or M160, the Coles 4038 or the Royer R-121, but in the meantime cheaper brands have managed to establish themselves as alternatives to these expensive studio tools. Because of their relatively low output level, a good preamp with appropriate gain reserves should be used. Ribbons often have a figure-of-eight characteristic (i.e. sound is picked up from the front and back) and must never be exposed to phantom power because of their sensitive construction!
Boundary microphones are special microphones that pick up direct sound from a surface. They are an alternative to be considered, for example, on theatre stages or placed in the shell of a bass drum.
