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Studio Microphones

Our range of studio microphones covers the wired capsules that do the serious work, from dynamic models that shrug off loud stages to condensers that catch the detail in a vocal take. Whether you are recording at home, podcasting or micing a drum kit, the choice comes down to pattern, sensitivity and how much noise you can live with. Found it cheaper elsewhere? We will match the price.

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Condenser or dynamic?

A dynamic microphone uses a coil and magnet, needs no power and handles very high volume without complaint, which is why it is the default for live vocals, guitar cabinets and snare drums. A condenser uses a charged diaphragm, needs phantom power and is far more sensitive, picking up detail and air that a dynamic misses. That sensitivity is a double edged thing at home, because a condenser will also record the fridge, the road outside and the room itself.

Polar patterns and what they change

The polar pattern describes which directions the microphone listens to. Cardioid hears mainly from the front and rejects what is behind it, which is why it dominates live work and home recording. Hypercardioid narrows that focus further, useful on a busy stage but less forgiving if the singer moves. Omnidirectional hears equally in all directions and captures a room honestly, which is lovely in a good room and unhelpful in a bad one. Match the pattern to the space rather than the other way round.

Phantom power and what you need to run one

Condensers need 48V phantom power, supplied by most mixers and audio interfaces over the XLR cable. If your mixer does not provide it, an inline phantom power supply solves the problem for a few pounds. Dynamics need nothing, and phantom power will not harm them. Always mute the channel before switching phantom power on or off, because the thump it produces can be hard on speakers.

Choosing for vocals, instruments or podcasting

For a spoken voice or podcast, a cardioid dynamic is often the easier choice, because it plays down room noise and needs less treatment around it. For sung vocals where detail matters, a large diaphragm condenser gives more air and presence. Loud sources such as guitar amps, brass and snare want a dynamic that can take the level. Quiet, detailed sources such as acoustic guitar or overheads want a condenser.

Stands, shockmounts and pop filters

A microphone is only as steady as what holds it. A boom stand keeps the capsule where you want it without the desk transmitting every knock, and a shockmount isolates it further. A pop filter tames the blast of plosive sounds on close vocals and costs far less than trying to fix them afterwards. Keep the capsule roughly a hand span from the mouth and slightly off axis, which reduces both popping and sibilance.

Getting a clean recording at home

Most home recording problems are the room rather than the microphone. Record away from parallel bare walls, hang something soft behind you, and point a cardioid microphone so its rejection faces the worst noise source. Set the gain so the loudest passage peaks well below the top of the meter, because digital clipping cannot be undone. If the recording sounds thin, move closer before reaching for more gain.

Frequently Asked Questions

Should I buy a condenser or a dynamic microphone?
A dynamic needs no power, handles high volume and rejects room noise, which suits live vocals, guitar cabinets and drums. A condenser needs phantom power and is far more sensitive, capturing more detail but also more of the room. For untreated home spaces, a dynamic is often the easier choice.

What is phantom power and do I need it?
It is 48V sent up the XLR cable to power a condenser microphone, and most mixers and audio interfaces provide it. Dynamics do not need it and are not harmed by it. If your mixer lacks it, an inline supply solves the problem cheaply.

What does cardioid mean?
It describes a microphone that hears mainly from the front and rejects sound from behind, which reduces feedback on stage and room noise when recording. Hypercardioid focuses more tightly, and omnidirectional hears equally in all directions.

Which microphone is best for podcasting?
A cardioid dynamic is usually the safer choice, because it plays down room noise and needs less acoustic treatment around it. Pair it with a boom stand and a pop filter, and keep the capsule around a hand span from the mouth.

Do I need a pop filter?
For close vocals, yes. It reduces the blast from plosive sounds that is difficult to remove afterwards. Speaking slightly off axis rather than straight into the capsule helps with both popping and harsh sibilance.

Why does my recording sound noisy or thin?
Usually the room or the distance rather than the microphone. Move closer before adding gain, record away from parallel bare walls, and aim the microphone so its rejection faces the main noise source. Set levels so peaks sit well below the top of the meter.

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