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The microphone is an important conversion link between the sound source and the sound reinforcement system. If the mic does not reproduce our vocals or instruments well, then the rest of the system will perform well, and at most it will only achieve the reduction level of the microphone.

For example: What factors should be considered when selecting a microphone for a PA? Generally there are polar modes, frequency response, durability, and the type of instrument you use. Let's dive into how to match your PA system to the most suitable microphone.

What is the polarity mode? In short, it refers to the directionality or pickup mode of the microphone, which is the three-dimensional space most sensitive to sound around the diaphragm. There are currently six polar modes: omnidirectional, heart-shaped, super-cardioid, super-high-hearted, super-directional and 8-shaped. Most microphones are designed with a specific polarity pattern to match a particular application.

Some microphones also offer an optional polarity mode. For example, a multi-mode condenser microphone AKG C414 for live performance or studio use.

Perhaps the biggest problem encountered in PA systems is to avoid feedback. The sound from the speaker is picked up by the microphone, sent back to the speaker, and then regenerated by the microphone to create a feedback loop. You may have experienced this situation, the feedback is irritating, even painful, and distracts the audience and performers.

One of the best ways to prevent feedback from the stage is to use a one-way microphone. A typical stage microphone has a heart-shaped pattern that picks up more from the front, while the rear and side picks up very little. If your microphone is behind the main expansion (which is usually the case) and does not point to the monitor, the back of the heart-shaped pointing will reduce the possibility of feedback due to the lack of radio.

The other two variants of the heart type are the supercardioid and ultra-high cardiac. These two modes are more resistant to sound from the side than the heart-shaped microphone, making them more directional.

Since the more directional microphone will pick up the sound from the speaker if it is placed in the proper position, the possibility of feedback can be reduced. This also means that there are fewer "off-axis" sounds picked up from less sensitive parts (such as the sound captured at the back of a heart-shaped microphone), so the fidelity of this part of the sound will be lower.

Unlike instrument microphones, vocal microphones have built-in windshields. Vocal microphones typically have rounded protrusions around the diaphragm to accommodate the built-in windshield. The built-in windshield not only reduces the wind noise of the outdoor venue, but also reduces the breathing noise of the singer.

If you sing with a musical instrument microphone without an internal windshield, you will find that it not only absorbs more breathing noise, but also produces more “blasting sounds” (especially consonants “p” and “b”). This is definitely not what you want. Therefore, you should try to avoid using the instrument microphone to pick up the singer.

The live sound environment is not as easy to control as the studio. Stage microphones are often subject to impact, especially handheld vocal microphones. For example, the previous article mentioned that EDC two stage performers took the microphone off when doing a big move. These tests are also a must for the microphone when performing outdoors. Therefore, the stage microphone needs to have a certain tolerance.

Most vocal microphones are dynamic microphones that are less fragile than condenser microphones. And most dynamic microphones can withstand higher sound pressure levels than condenser microphones before they are deformed. This is especially important for instrument microphones, and they also reduce feedback better. Finally, dynamic microphones do not require a mixer to provide phantom power like a condenser microphone.

Having said that, some PA owners still prefer condenser microphones.

For example, a microphone using a small diaphragm capacitor is a very good choice for drum pickup.

If you are willing to invest more in vocal microphones, handheld condenser microphones that are more durable than studio condenser microphones are also available. Because of their superior ability to restore high-pitched and instantaneous changes, they can provide better sound quality for some singers.

Be careful when configuring the microphone for the sound reinforcement system as it will affect the overall effect of the sound reinforcement system.

High quality microphones are better designed and assembled, so they are easy to use and more resistant to the stage.

Here are some tips for choosing a microphone for common field applications:

Lead singer: hand-held dynamic one-way mode microphone

Kick drum and floor drum: large diaphragm dynamic microphone

Snare drum: dynamic instrument microphone

Overhead drum: small diaphragm condenser microphone

Drum drum: dynamic instrument microphone or special clip drum microphone

Guitar: dynamic instrument microphone

There are a large number of microphones to choose from in the market. Here is a summary of the basic principles. I hope that you can help you configure the right microphone for the sound reinforcement system to improve the performance.