Here is some information you may find enlightening:


GET CONDENSED
Most stage mics are either dynamic or condenser. Dynamic mics offer rugged, reliable construction and a high performance-to-cost ratio. In fact, the use of lightweight neodymium magnets has allowed some dynamic mics to offer performance close to that of condensers.

Condenser mics offer excellent transient response and detail, extended high end, high output, and greater “reach” than dynamic mics. Once considered too fragile for gigging, a multitude of road-rugged condensers have been brought to market in recent years. Unlike dynamic mics, condenser mics require a power supply, which can take the form of an onboard battery, inline power supply or, most commonly in sound reinforcement applications, phantom power supplied by the mixing console via the mic cable.

Mics are designed with one of several possible pickup patterns (aka polar patterns) which determine how sensitive they are to sound coming from different directions. Just as higher frequencies beamed from an instrument or loudspeaker tend to be more directional than lows, mics tend more towards directionality at higher frequencies. Generally, the higher quality the mic, the more uniform the pattern at all frequencies.

The most common polar patterns for sound reinforcement are cardioid, hypercardioid, and supercardioid. A cardioid mic is most sensitive on-axis (the direction in which the mic is facing), about 6 dB less sensitive 90 degrees off-axis (directly to the side), and about 20 dB less sensitive 180 degrees off-axis (opposite to where the mic is pointed).

Supercardioid mics are less sensitive to the sides than are cardioid mics, but have a small lobe of sensitivity at 180 degrees off-axis. They are most insensitive at 120 degrees, as are hypercardioid mics. Hypercardioids are even less sensitive at 90 degrees than supercardioids, but more sensitive at 180 degrees.

Best regards,
Mike



[This message has been edited by Idatrod (edited 08-14-2003).]