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Microphones

Our range of microphones spans the stage, the studio and the lectern, from wireless handhelds and headsets to condenser and dynamic capsules on stands. If you are not sure where to start, the sections below split the range by how the microphone is used rather than by the technology inside it. Found it cheaper elsewhere? We will match the price.

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Which microphone do you need?

Work backwards from the job. If someone needs to move while they talk or sing, a wireless system is the answer, in handheld, headset or lapel form. If the microphone can stay in one place and quality matters most, a wired studio microphone on a stand will always give more for the money. If the aim is announcements from a fixed point, a gooseneck or paging microphone into a 100V line amplifier is the right tool. Everything else, from clips to windshields to phantom power supplies, sits in accessories.

Wired or wireless?

A cable is cheaper, sounds no worse and never runs out of battery, so it remains the right choice wherever the performer stays put. Wireless buys freedom of movement at the cost of batteries, frequency management and a receiver to house. If you go wireless, UHF is the dependable choice for anything important, and in the UK the 863 to 865MHz band is licence exempt while Channel 38 needs an inexpensive Ofcom licence.

Condenser or dynamic?

A dynamic capsule needs no power, tolerates very high volume and rejects a good deal of the room, which makes it the default for live vocals, guitar cabinets and drums. A condenser needs 48V phantom power and hears far more detail, which is what you want for recorded vocals and acoustic instruments, provided the room is quiet enough to deserve it. In an untreated room at home, a dynamic is usually the easier microphone to get a good result from.

Polar patterns in brief

Cardioid hears from the front and rejects the rear, which is why almost every stage microphone uses it. Hypercardioid narrows that further for noisy stages. Omnidirectional hears in every direction and captures a room as it is, for better or worse. On stage, pattern is your first defence against feedback, so point the rejection at the loudspeakers rather than relying on the desk to fix it.

Stands, clips and accessories

A microphone is only as good as what holds it. Boom stands keep the capsule where you want it, isolated cradles stop knocks travelling up the stand, and a pop filter or foam windshield prevents the plosive blasts that are so hard to remove afterwards. Clips are not universal, so check barrel diameter and whether your stand uses the 5/8 inch or 3/8 inch thread.

Feedback and how to avoid it

Feedback is a loop, so break the loop rather than turning things down. Keep microphones behind the loudspeakers, not in front of them, use a cardioid pattern with its rejection facing the speakers, and get the speakers up on stands so they fire over heads rather than across the stage. Reduce the gain before the master, and if one frequency always rings, pull that band on the channel rather than the whole tone control.

Frequently Asked Questions

Which type of microphone should I buy?
If the user needs to move, choose wireless in handheld, headset or lapel form. If it can stay in place and quality matters, a wired studio microphone gives more for the money. For fixed announcements, a gooseneck or paging microphone into a 100V line amplifier is the right tool.

Do wireless microphones need a licence in the UK?
Not in the 863 to 865MHz band, which is licence exempt. Channel 38, around 606 to 614MHz, needs an inexpensive Ofcom licence and gives cleaner spectrum for multi channel setups. Check the band before buying, as it differs between countries.

What is the difference between condenser and dynamic?
A dynamic needs no power, handles high volume and rejects room noise, so it suits live use. A condenser needs 48V phantom power and captures far more detail, which suits recording in a quiet room. In untreated rooms a dynamic is usually easier to work with.

Why does my microphone feed back?
The microphone is hearing the loudspeakers. Keep microphones behind the speakers rather than in front, aim the cardioid rejection at the speakers, raise the speakers on stands so they fire over heads, and cut the specific ringing frequency on the channel rather than the master tone.

Do I need a stand and a clip?
For anything other than handheld use, yes. Clips are not universal, so check the barrel diameter and whether your stand uses the 5/8 inch or 3/8 inch thread. An isolated cradle also stops stand knocks reaching the capsule.

How many wireless channels do I need?
Count how many people need to speak or sing simultaneously and add one spare. Multi channel receivers keep several transmitters on one shelf with a single set of aerials, which is tidier and easier to coordinate than separate boxes.

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