Are Condenser mic’s worth the bother?

[JiminRussia]

O.K., I’m pretty sure that for studio work condenser mic’s are the way to go. Why do I think this? Because that’s the ONLY a thing that I see in photos of studio recording artists. In “looking at the technical specifications I see a huge difference between condensers and dynamic and ribbon mic’s. The differences are most apparent in max SPL, frequency response curves, vulnerability to damage and price. Condensers require phantom power (no big deal but still another potential point of failure). Dynamics (i.e. Sure SM-57 and SM-58) are bullet proof, and that’s only one of the compromises that we have to deal with.

O.K. Back to the question. Are condenser mics worth the effort and trouble and expense to a gigging band? How about the applications? How much difference does it make whether the mic is a vocal or an instrument mic? What to use if you want to go “old school” and use just one mic for everything?

[MikeEdgerton]

We used a single mic for years at a gig. You need to learn to do the dance around the mic and then there's the feedback issue but it was worth it to me to only have to carry one stand and one mic. YMMV.

[MontanaMatt]

Yes, very worth it!
I’ll take the time to answer the specific questions in a little while when I have time.

[TX2AK]

So far, the groups I play with all want dynamics - SM57s and SM58s; but a small acoustic ensemble I’m “leading,” I guess, is experimenting with an LDC for the single mic. It’s no joke that there is a choreography to getting the sound right. We haven’t worked it out yet, to be honest. And then there’s still the loud or crappy acoustics venue issue. We are just a small town fun project, so it’s mostly a private bar, art gallery, winery type deal; and I’m not sure we’ll ever be able to make it work with what we are doing - often stuck near a window in a corner, etc. The other bands I play with are likewise in loud and poor venues, we have acoustic and electric instruments, often drums, and the guys who set sound would probably throw a shoe at me if I suggested trying it!!! I have a hard time imagining the sound guys provided at venues making it work right too; but I’m in the home of country and southern rock in rural Texas, so that might be totally different where acoustic bands are more common. So, for us, it’s generally not worth it right now.

I sure do think the 1 mic or 1 main LDC with a spot or 2 for solos is a cool vibe and sound when done well. I have dreams of it fitting my situation some day!

[Berto Boy]

The "one mic for everything" is the large diameter condenser TX2AK is referring to. The have a very wide (like 180º) pickup pattern so everyone in the the semicircle gets even volume. Most mics are a cardioid pattern, much narrower for rejecting side noise and minimizing feedback.

Vocal mics (SM58) have the lows and highs lopped off to accentuate the human voice range, so not the most natural sound for a string instrument. The bigger challenge of dynamic mics like the SM57 are that you have to stay pretty close to them and be conscious of where the mic is at all times. A small diameter condenser is full range and sensitive enough that 8 inches away is close enough. They also have a more natural sound, more sparkle and "air" IMO.

[rcc56]

My experience with condenser mics for live work is as follows:
They're great in a room where they'll work without feeding back.
Some rooms are better than others.
When all else fails, sm56's and 57's will work when nothing else will.

[keith.rogers]

They work well where reflections are controlled, or non-existent like outdoor stages. Tight, loud spaces with a wall (or two!) right behind you can be problematic unless everyone can stay tight on the mic. I’ve seen it done, but give yourself time to get things dialed in, and pack those old SM57s, just in case. My 2¢.

[Cheryl Watson]

I have used condensers, dynamic mics, pickup systems in my instruments, played really nice stages with great sound guys, and I have played in cramped, loud, extremely sound challenged venues. When worse comes to worse, and it often does, I plug my instruments in and use a Shure 58 for vocals. I really like using condenser mics though, in the right situation. I use a board with phantom power just to make certain I have that option.

If you have a real professional sound system and sound guy of your own or those professionals are provided for you at festivals, concert halls and such), the spaces in which you play are good and decent, and you can afford it, then I think that professional condensers are worth it for their increased dynamic range. That said, always have the tried and true Shure 58s and 57s as backup (professional sound guys always have them in their gear stash, from what I have seen and been told).

If you want to play around one or two mics for the entire band, then you have to use condenser mics because dynamic mics are meant to be used very close to the source and will not work for that application. If you play in noisy and/or cramped places or play outdoors a lot without really good cover (even with cover you and your gear can get wet) and you do not have a sound guy, I think that dynamic mics work best for the vocals and maybe the fiddle and banjo and the quieter instruments plugged in with really good pickups run through transparent sounding preamps. You get less feedback that way, especially when using monitors. I hate feedback! That is my experience anyway. I have played in so many different situations since I was 16 years old and although I am 39 and holding, I am actually a lot older than that.

[Josh Levine]

Cheryl pretty much nailed it all right there.

[JeffD]

I have played in so many different situations since I was 16 years old and although I am 39 and holding, I am actually a lot older than that.

Like me. I am 39, but I have been 39 for a long time.

[pops1]

Me too, but for more than 30 years.

[Jonathan Reinhardt]

Doing your own sound reinforcement has its good moments and some not so good ones. Large diaphragm condensers vary, and choosing a preferred one can be challenging. But for sure, lots less mics, cables, stands, channels, and forest effect than going the dynamic route.
Then of course you must consider if you can make do with one, or really need two for coverage.
I found that the majority of venues, plus my less than optimum skills which were applied from stage and not out front, required using both feedback suppression and 31 band eq to survive the gig without major disaster. A bit of compression helps, but can be added after one is sure they are not in over their heads.
For me, the end result was worth the bother.

[jherm]

xvive makes a great phantom power box for live gigs it has a recharchable battery thats lasts a long time, its small and has 4 lights that tell ya when your battery is low .....so using condenser mikes isnt a problem anymore ..most p.a boards have built in phantom power but if 1/2 the band is useing them.. this little unit is quite handy and they are quite affordable at round $50 bucks ...condensers are the way to go for intruments.

[musicofanatic]

I commonly use a small diaphragm condenser mic for live performance on mandolin and guitar. I have employed an Ear Trumpet Labs "Edna", the only small diaphragm condenser this company offers. It has great feedback rejection qualities and I use it in many "bad" room/stage situations with little trouble. More recently I have been using a Line Audio Design CM4 small diaphragm condenser mic. It seems to perform at least as well as the ETL mic and I like it's smaller size (3" long, 3/4" diameter). If you wish to experiment with using a condenser mic, I highly recommend the CM4. I purchased mine directly from the manufacturer (I believe it's one person) in Sweden and it was less than $150 shipped to the US.

[JeffLearman]

I agree with the general sentiment that for live playing, a dynamic is fine for a single instrument, but not for a single mic for all. Most dynamics we find in use are cardioid, but you'd need an omnidirectional like an SM63.

I don't think it's much of a hassle to be sure that mixers have phantom power. Also, you could keep a mic preamp (like Studio Projects STB-1) in your kit just in case. (That preamp makes any mic sound better than most mixer preamps anyway -- especially dynamic mics like SM57/58.)

At least, it did back when my ears worked better.

[mandroid]

Rode has 2 onboard battery powered condenser mic models, simplifying that issue .