Ribbon, Dynamic or Condenser? A plain guide.

One of the best pieces of advice I have ever received was this. "The best EQ you will ever have is a microphone. If you pick the right mic and put it in the right place, you won't need to reach for EQ." That came from Jon Withnall (Coldplay and many, many more).

We always like to talk about mic pres as the main source of tone, but in recording there is a sliding scale of impact depending on where in the chain a piece sits. If you are recording an acoustic guitar, a voice, or drum overheads, your mic choice will often shape your tone far more than your mic pre will.

Let me be very clear here. Mic pres make a massive difference, but nowhere near the difference a microphone can.

The short answer is that each type has a job. Ribbon mics are smooth and forgiving, great on harsh or delicate sources. Dynamic mics are tough and mid-forward, ideal for loud, close sources like drums and amps. Condenser mics are bright and detailed, the usual choice for vocals, acoustic instruments and accurate room capture. The best EQ, though, is still the right mic in the right place. For this post we are going to focus on ribbon, dynamic and condenser mics, starting with how each one works.

How does a ribbon microphone work?

A ribbon mic suspends a thin corrugated aluminium ribbon between two magnets. Sound moves the ribbon within the magnetic field, which generates the signal, giving a smooth and naturally rolled-off top end.

Ribbon microphones trace their history back to the early 1920s in Germany, at Telefunken. The concept revolves around two magnets that suspend a very thin aluminium foil. As the foil moves back and forth with the sound waves in the air, it generates an electrical signal. These mics are often thought to be the most natural in phase and tone. In reality, compared to modern alternatives, ribbons often feel a little recessed in the top end. When EQ is applied, though, the top end you recover feels very natural and easy on the ear. Because the ribbon element is so thin, ribbon mics are often seen as fragile. The aluminium foil is incredibly delicate, so it is susceptible to air blasts, stretching, or even tearing. Modern ribbon mics often add layers of mesh to reduce the chance of damage.

How does a dynamic microphone work?

A dynamic mic is a speaker in reverse. Sound moves a diaphragm attached to a coil that sits in a magnet, and the moving coil generates a small current. It is tough and handles high volume well.

The first concepts of a moving-coil microphone go back to 1877 and Ernst Werner von Siemens. The modern type that we see on stage and in the studio was developed in 1931 at Bell Labs.

Essentially, dynamic microphones are speakers in reverse. The principle is electromagnetic induction. A membrane is connected to a coil of wire that sits in the field of a magnet. As the coil moves with the sound in the air, it generates a small current that we perceive as sound once it is amplified.

Compared to ribbon microphones, they are far more robust and can often handle very high sound levels. Sonically, they tend to be more mid-range forward, and they do well placed close to the source.

How does a condenser microphone work?

A condenser mic uses a thin diaphragm next to a fixed backplate to form a capacitor. As sound moves the diaphragm, the changing gap creates the signal, which phantom-powered electronics inside the mic convert to a usable level. The result is bright and detailed.

The first condenser microphone was invented all the way back in 1916 by Edward C. Wente at Bell Labs. It was Neumann, though, who perfected mass-producing them in 1928.

Condenser microphones work by having a capsule made up of a diaphragm, or plate, that acts as one side of a capacitor. As it moves, the change in distance to the rear plate creates a small electrical signal.

Where it differs from a dynamic microphone is that this small signal is then powered and converted by electronics inside the microphone itself. Every time you have seen +48v on your interface, desk or mic pre, that phantom power is supplying those electronics, and in most studio condensers it is polarising the capsule too. This is why the signal from a condenser is usually louder, and because of how the capsule works, you often get a very clear, accentuated signal compared to a passive ribbon or dynamic microphone.

Oftentimes condensers feel brighter on the top end and, dare I say it, more hi-fi than dynamic or ribbon mics. Oftentimes they also do not enjoy loud sources, like close mics on drums or on a guitar amplifier. There are exceptions to this, of course, because as time has gone on, technology has allowed many of them to be used for superb reproduction at close range and high volume.

When should you reach for a ribbon mic?

Reach for a ribbon when a source is harsh, or when you want a smooth, natural top end. Think bright guitar amps, drum overheads, horns and full-bodied vocals.

Ribbon microphones are often a great pairing when something is harsh in tone. Think about hearing a drum kit when you are not wearing earplugs, or the sound of a guitar amp when your ear is right by the cone. Both of those, besides filling me with dread, are harsh in the upper midrange and top end. This is where the slightly duller top end of a ribbon plays to your advantage, because you can dial in exactly how much upper mid and high end you want.

For drum overheads there are a few industry-standard options. Start with the Coles 4038s, whether in a spaced pair, XY, or in Glyn Johns positions, and you will get a smooth representation of the kit. You can also lean into a stereo ribbon, which is an elegant way to use one stand and capture a full stereo image in one move. The AEA R88 or AEA N28 are great options for this.

For guitars, a few good options (but by no means the only ones) are the AEA N22, the Beyerdynamic M160 and the Shure KSM313. When you use these, watch your placement. About a hand's width away from the grille, off centre, is a good start, and you can pull the mic back to dial in how much low mid ends up in the final mix.

When recording horns, ribbon mics give you a fantastic representation of the instrument.

Ribbons are also a great choice for more delicate sources. If you want a full bodied vocal, the Coles 4038 is lovely for that. If you are recording acoustic guitar and vocal at the same time, ribbons can be a great option again. Most ribbon mics are figure-of-8 in their pickup pattern, which means the sides of the mic are almost deaf. You can use that. Point one ribbon at the guitar with its side facing the performer's mouth, reducing the vocal in that recording, and point the other at the mouth with its side facing the guitar, reducing the sound of the guitar. It is powerful, it takes some tweaking, but when it is right, it is magical.

When you use ribbon mics on quiet sources, pair them with a preamp that can give you plenty of gain without adding too much noise. Some good options are the API 512, the AEA TRP3 or a Neve 1073.

When should you pick a dynamic mic?

Pick a dynamic when the source is loud or you need to get in close. Think snare, toms, kick, guitar cabs and loud vocals.

When you are afraid to put your ear near the source, that is a pretty good place to start. So, close mics on drums, guitar cabs, loud vocals and horns.

Cardioid dynamics often have great rejection at the sides, so when you are micing up drums, provided they are placed well, you should get good separation and not too much bleed.

For close mics on drums, you have a few good options. On snare, the Shure SM57, Beyerdynamic M201, sE V7 and Sennheiser MD 441. On toms, the Sennheiser MD 421, MD 441, MD 421 Kompakt and e604. On kick, the Shure Beta 52A, Sennheiser MD 421, AKG D112 and Beyerdynamic M88.

For horns, a few good options are the Sennheiser MD 421, MD 441 and Beyerdynamic M88.

For vocals, both live and in the studio, the Beyerdynamic M88, Shure Beta 58A, Sennheiser MD 441, sE V7 and Sennheiser MD 431 II.

When should you pick a condenser mic?

Pick a condenser when you want detail and clarity. Think vocals, acoustic instruments, drum overheads and accurate room capture.

Condensers are a little harder to make hard and fast rules on. Let's start with the low-hanging fruit.

When recording vocals, picking the right condenser can make or break a performance. Too bright and the vocalist can feel shrill. Too dull and they can feel like they are competing with the mix they are tracking into.

Let's start with a few that are a little more pronounced in the upper midrange and high end. These pair well with vocalists who have a slightly darker, perhaps huskier voice. The Neumann U87, Neumann TLM 102, Lewitt LCT 440, Flea 251, Universal Audio Bock 251, Universal Audio Bock 187 and Josephson C725.

If a vocalist has a brighter voice, you can lean into a mic with stronger low mids and a less pronounced top end. Some good options are the Flea U47, Neumann U67, Neumann M49, Neumann TLM 67, Manley Reference Silver and Lewitt LCT 540 S.

If you are looking to record something very accurately, a few condenser companies specialise in being as true to the source as possible. So for instruments, room mics, or hall mics for classical recordings, good options include the Earthworks SR25, QTC50 and QTC30, the Sennheiser MKH 8020 and MKH 8040, and the DPA 2006 and DPA 4006A.

For drum overheads, provided the room and the drummer sound good while you are standing in the room, good options include the Earthworks SR25, Neumann U67, Flea U48, Neumann TLM 107, AKG C414, Lewitt LCT 540 S, DPA 4015A and Josephson E92.

For acoustic guitars there are some fantastic options too, including the Neumann KM 184, Josephson E92, Neumann TLM 107, Neumann U67, Flea U47 and Lewitt LCT 540 S.

For horns you can lean on condensers as well, but as with voices, listen to how bright the horn is and adjust your choice the same way. The same mics apply.

Can you use more than one mic on a source?

Yes. Pairing two mics lets you blend their characters, like a ribbon and a dynamic on a guitar cab. Just line the capsules up so the sound reaches both at the same time, or you will run into phase issues.

You can multi-mic a single source with two mics. Here are a few examples.

On electric guitar cabs, you might pair a ribbon with a dynamic. That gives you the mid-forward character of the dynamic and the smoother nature of the ribbon. A good combination is often a Shure SM57 and an AEA N22.

On acoustic guitar, you might want the brightness of a Neumann KM 184 and the smoothness of a Coles 4038.

On snare, you might want the power of the Beyerdynamic M201 and the crisp bite of an Earthworks SR25 or DM20.

On overheads, you might pair a mono Coles 4038 with a spaced pair of Neumann U67s. That gives you a thicker mono sound down the centre and a brighter, wider stereo image.

When you multi-mic, line the capsules up so the sound reaches them at the same time. If they are out of alignment, the two mics receive the signal at slightly different moments, which causes phase issues and a hollow sound.

Like I said at the start, the best EQ you have is the right microphone in the right place. These suggestions are a starting point for your own journey, not a definitive guide.

Frequently asked questions

What is the difference between dynamic, condenser and ribbon microphones?

Dynamic mics use a moving coil and are tough and mid-forward. Condenser mics use a powered capsule and are bright and detailed. Ribbon mics use a thin metal ribbon and are smooth with a gentle top end.

Which microphone is best for vocals?

It depends on the voice. A bright condenser suits a darker or huskier voice, a darker condenser or a ribbon suits a brighter voice, and a dynamic can be great for louder or live vocals.

Why do condenser microphones need phantom power?

Phantom power, shown as +48v, runs the electronics inside the mic and, in most studio condensers, polarises the capsule. Dynamic and passive ribbon mics do not need it.

Does the microphone matter more than the preamp?

Usually, yes. On most sources, especially acoustic ones, your choice of mic and where you place it shapes the tone far more than the preamp does.

If you ever need advice or guidance on microphones, recording or production, feel free to get in touch.

Alec Brits
alec@studiocare.com