Comprehensive Guide to Microphone Specifications

The most important microphone specifications are the self-noise, connection type, sensitivity, frequency response and recording pattern. Also, it is very important to know the difference between dynamic and condenser microphones.

Each of the specs plays a role in what you can achieve with the particular microphone. So, in this article, we will overview of what each spec means.

Also, at the end of an article, you will find a helpful list of all popular microphones and their specifications.

Dynamic or condenser microphone?

Compared to condenser microphones, dynamic microphones are good at neglecting noise coming from further away. Hence, if you are recording in a home environment where noise is prevalent it is nice to have a nice dynamic microphone. Also, for the same reason, dynamic microphones are used on stage.

On the other hand, condenser microphones are more sensitive and overall will represent a more accurate sound. Therefore, condenser microphones are preferred for use in a studio environment where outside noise is not an issue.

USB or XLR microphone?

I have made a separate article on whether you should choose XLR or USB microphone, it is a lot more in-depth and you can read it here. But here is a brief version.

USB microphones are great if you don’t want the hassle of setting everything up. They work by plugging a USB cable into your computer and that is it. Also, USB microphones usually include all required accessories so you don’t need to worry about buying extras.

XLR microphones are usually significantly more expensive than USB mics and require additional gear to work. You won’t be able to use an XLR microphone unless you have an audio interface. Even a budget option will cost at least $80.

Also, you will probably need an XLR cable, a shock-mount and some sort of a stand. The additional gear adds up to more expenses, but XLR microphones offer a much greater audio quality and they are usually sturdier.

In addition, if you have an interface with multiple inputs you can record using multiple microphones at the same time. This comes as a bit of an issue if you are using a USB microphone. So, if you are into podcasting, you might want to choose an XLR.

Sensitivity

Sensitivity refers to how much output will be generated by a certain amount of input. When choosing a microphone sensitivity only matters to a point. The more sensitive microphone the more volume you will be able to get out of it.

Nevertheless, for most microphones, the sensitivity doesn’t matter much, because you are going to be using a pre-amp anyway or if it is a USB microphone, it has an in-built pre-amp already.

Therefore, no matter how sensitive your microphone is, you can adjust output (audio volume) using a pre-amp. Hence, even less sensitive microphones can produce the same output.

The only time that sensitivity matters is when your pre-amp can’t provide enough gain for the microphone. If that happens, your audio will be quiet and you will have to amplify it in post. So, there still is a way around it.

Also, with condenser microphones, the sensitivity will never be an issue. Even low-budget interfaces with built-in pre-amps or low-budget pre-amps will provide more than enough gain for condenser microphones.

Dynamic microphones, however, need a lot more gain than condensers and some pre-amps can’t provide enough clean gain to run them.

For reference, I own a dynamic microphone Rode Procaster, it has a sensitivity of -56dB. I also own a Behringer U-Phoria UMC204 HD audio interface which has in-built pre-amp. The interface is considered a budget option and doesn’t provide enough clean gain to run the microphone.

Therefore, if you are buying a microphone that has below -55dB sensitivity, make sure you are getting an interface/pre-amp that can provide enough clean gain to make it audible.

If you are wondering what is a clean gain, it refers to how much gain a pre-amp can provide before it starts generating inherent noise. For example, Behringer UMC204 does have enough gain to run my Rode Procaster, but if I use it at more than 80% capacity, it starts to introduce inherent hiss noise.

Frequency response

Frequency response or frequency range refers to the frequencies that a microphone can produce. For example, if your microphone has a frequency range of 200Hz – 15,000Hz, any sound that is below 200Hz or above the 15,000Hz range won’t be generated in the output.

In reality, however, frequency range matters very little, since most of the microphones will be covering at least 100Hz – 15,000Hz range. Humans at the best can hear somewhere around 20Hz-20,000Hz. Nevertheless, our ears don’t hear extremely low and extremely high frequencies very well.

We can hear 1,000 – 5,000Hz frequencies the best. Also, when editing in post for voice-over you are probably going to cut out frequencies that are below 80Hz and above 16,000Hz anyway.

If you want to check what frequencies you can hear, you can search for a frequency response test on Youtube. For me it is 30Hz-14,000Hz.

Pattern

The pattern will determine how the microphone picks up the sound. Most of the microphones are cardioids, meaning they pick up the sound that is in front of them in this heart-shaped pattern.

Cardioid patterns are very universal and will be used for voice-over, singing, podcasting, on-stage performance, and other activities.

Hypercardioid (Supercardioid) pattern is similar to cardioid, but it is a bit narrower and slightly more sensitive at the back of it. Hypercardioid pattern is great for blocking irrelevant sounds, usually, that is noise. For that reason, a lot of hypercardioid microphones are used on stage.

Omnidirectional microphones pick up sound equally as good all around them. Usually, they have four diaphragms that capture sound from all directions. This type of microphone is made specifically for interviewing so that you don’t have to switch pointing the microphone at yourself and the interviewee all the time.

Bidirectional microphones are made to be equally sensitive at the front and the back. Usually, they have two diaphragms and are good for podcasts and interviews. With a bidirectional microphone, you will be able to record yourself and the person in front of you.

However, if you are buying a microphone for a podcast, it is best to just buy two separate microphones and an interface with 2 input lines. Usually, omnidirectional and bidirectional patterns sacrifice audio quality, so it is best to avoid using them unless you absolutely have no other choice.

Shotgun microphones are created to neglect even more irrelevant sounds than hypercardioid microphones. Shotgun microphones are a bit harder to use than any type of cardioid since you have to place it facing directly at your mouth. Otherwise, it might not pick up your voice very well.

This type of microphone is used for voice-over and is very popular for recording on a movie set. If you place a shotgun mic correctly they are sensitive from quite afar, which is useful if you don’t want the microphone to be seen when filming.

Self-noise

Self-noise is only relevant for condenser microphones. Dynamic microphones do not generate self-noise.

Self-noise as the name suggest tells you how much inherent noise a condenser microphone is producing.

Here is a reference list:

Anything below 10dB is amazing, you won’t be hearing it.
10-15dB is still amazing, very unlikely to hear it.
15-20dB is a good self-noise level, you probably won’t hear it either, but it might become more prevalent after amplifying. Still perfectly normal and usable in a studio environment.
20-23dB you will probably hear it a bit, but it is still decent. I wouldn’t use it in a studio environment, but for home environment recording it is fine.
Above 23dB is pretty bad, you will definitely hear it and it will be distracting. Avoid.

Accessories

When choosing a microphone you can save up some money by getting a microphone that includes accessories. As already mentioned, USB microphones usually come with all the required accessories so you can use them right away.

Some XLR microphones also include accessories, for example, Shure SM7B comes with a mic holder and a wind shield, the NT1 kit includes a Rycote shock-mount and a metal pop-filter and so on.

Nevertheless, most of the XLR microphones will not have accessories included, so make sure you buy them yourself separately.

What you will need for XLR microphone (minimum cost):

XLR cable – $5
Shock mount/mic mount – $10
Swivel arm/boom arm, microphone stand or tripod – $20
Interface – $100
Pop-filter (preferable, but not necessary) – $5

Weight

First of all, for reference, anything above 500g I would consider a heavy microphone.

The weight won’t matter very much if you are using a swivel/boom arm, even a flimsy one will be able to hold a heavier microphone.

On the other hand, if you are using a lightweight stand a heavy microphone might easily tip it over. You can combat the issue by adding something heavy on the tripod legs to make it hold better or just get the heavier microphone stand.

LIST OF MICROPHONES

UP TO $50

Neewer USB microphone – $35 | £56 | USB | Condenser microphone | Includes shock-mount & mic stand & pop-filter

$51 – $75

AKG Pro/AKG P3s – $59 | £24 | XLR | Dynamic microphone | Cardioid | Frequency response 40Hz – 20,000Hz | Weight 320g | Sensitivity 2.5 mV/Pa (-52dB) | Website

$76 – $100

$101 – $150

$151 – $200

$201 – $250

$251 – $300

$301 – $350

$351 – $400

$401 – $500

$501 – $600

$601 – $700

$701 – $999

$1000+