Condenser vs. Dynamic Microphones: Which One Should You Use?

Translating a sound wave into an electronic signal is a cool trick. Microphone technology has been around since the late 1800s, but it was not until the early 1930s that manufacturing advancements made them commercially viable.  

One of the earliest microphones, the “loose contact” carbon design, was instrumental in the invention of the telephone. The design was functional but produced very low sound quality. The advent of radio and amplification (PA) advancements had engineers seeking higher quality. This led to the development of the dynamic and condenser microphone, which are now the two most popular types of microphones for recording and live sound functions.  

But what’s the difference between condenser vs. dynamic microphones, and how do you know which one is right for you? Let’s take a quick dive into the two concepts and where they fit into your application.

Dynamic mics are basically speakers in reverse. They operate on the principle of a having a coil of wire (voice coil) suspended by a diaphragm in a magnetic field. When the diaphragm is excited by a sound wave, the coil changes charge in the magnetic field, which is translated into an electronic signal. Dynamic microphones are also referred to as “moving coil” microphones.

Dynamic mics have some common properties:

• Naturally slightly compressed and therefore can handle louder audio sources.
• Very good at capturing sound at close proximity.
• Can be designed to have a very tight polar (pickup) pattern, so they won’t catch other nearby sounds.
• Relatively durable and can withstand a reasonable impact (drummers?) without affecting the performance.
• Generally less expensive than condenser mics.
• Have less “handling noise” than condenser mics.
• Internal windscreens to eliminate popping P’s and sizzling S’s (plosives)

Also referred to as “Capacitor Microphones,” condenser microphones operate with a thin sheet of metal foil or mylar film, usually coated (sputtered) with gold, stretched over a charged backplate, forming a capacitor. When the foil is excited by a sound wave, the charge of the capacitor changes, which is translated into an electronic signal.

Condenser mics have internal preamps to amplify the weak signal. To power the preamp and provide charge for the capacitor, condenser mics require “phantom power,” which is supplied by the mixing console or outboard preamp.

Condenser mics have some common properties:

• Very good at capturing subtle and ambient sounds like the zing of an acoustic guitarist changing position or a drum brush on a ride cymbal.
• Sensitive to very high frequencies and fast transients.
• Good at capturing the sound of a room, making it unnecessary to recreate reverbs and echoes after the track is recorded.
• Require a pop filter when used for vocals, as they are sensitive to the plosives and the element can be damaged by moisture.
• Using two condenser elements back-to-back, they can be switched to omnidirectional (360 degrees), bidirectional (figure 8) and unidirectional (single sided) polar patterns.
• More self-noise due to the internal preamp, especially on more budget-friendly models. Some condenser mics have a separate power supply to control this.
• Many feature a “pad” switch to reduce their sensitivity in high volume applications.

Now that we’re a little more familiar with some of the characteristics of condenser vs. dynamic mics, let dive a little deeper and look at some potential applications.

Condenser microphones are the preferred tool for capturing sound in very controlled environments, like a recording studio. They’re great at capturing subtle, nuanced audio sources, like vocals, acoustic guitars, and room ambiance to capture the reverb and reflections in a true room.

Pop a dynamic mic on sources that might be considered “harsher,” like guitar amps and percussion device. Bass and Keyboards are usually recorded direct using a direct box (DI), but some engineers prefer a little bit of the “grit” that a mic’d cabinet adds to the purer tone of the DI.

Once we step away from the tuned, soundproof cocoon of the studio, we move to the much more chaotic world of live performance. This throws all kinds of challenge into the mix, as we’re dealing with many sound sources in the same space. This is where dynamic microphones thrive. Most live-sound applications use dynamic microphones — but that, of course, is not a hard-and-fast rule.

There is one instrument that’s particularly demanding in that it’s composed of several elements: the drum set. Since we only want to have one drum per channel when recording, we typically would use dynamic microphones on the drums themselves and condenser mics on the cymbals and high-hat. This is also a common drum mic’ing technique for live performance.

Regardless of the type of microphone, be extra cautious about using two identical mics on the same audio source, it usually causes some degree of phase cancellation.

Microphones are the paint brushes we use to create soundscapes. There are no hard rules on how they have to be used to achieve the effect you hear in your head.

While condenser mics are more delicate, it’s hard to damage them by using them (though not impossible). Dynamic mics by nature are practically indestructible, so feel free to experiment. Aside from using the exact same mic twice on one audio source, dynamic and condenser mics can be used together to sharpen the edge of your track (condenser) or soften things up (dynamic). After all, who says you can’t use both!?

If you have any further questions about condenser vs. dynamic mics and when to use each, our team of Gear Nerds is standing by to help if you have any questions about your next session or your current obsession. Just give us a call at 800-458-4076. We’re always happy to help! Happy recording.