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This article provides an overview on five essential measures that are quintessentially listed in microphone specification sheets: frequency response, sensitivity, impedance, self noise level, and signal to noise ratio. Understanding these specs may aid when attempting to determine on the best microphone to buy for a specific application.

Frequency Response

Frequency response measures how a microphone reacts to dissimilar sound frequencies. An idealisti “flat” response (equal sensitivity) microphone would respond evenly to all frequencies within the audible spectrum. This results in a more precise replica of sound and formulates the purest audio. The truth is that even microphones which are advertised as having a “flat response” may deviate more or less at sure frequencies. Typically spec sheets will list frequency response as a range like “20Hz to 20kHz”, meaning that the microphone may reproduce sounds that fall within that range. What this does not explain is how accurately the respective person frequencies will be reproduced. Some microphones are measuredly designed to respond differently to sure frequencies. For example, instrument microphones for bass drums are in general engineered to be more responsive to lower frequencies while vocal microphones would be more responsive to the frequency of a humane voice.

As a popular rule of thumb, condenser microphones have flatter frequency responses than dynamic. This means that a condenser would tend to be the better choice if accuracy of audio reproduction is the main goal.

Sensitivity

Microphone sensitivity measures how much electrical output (measured in “millivolts” mV) is generated for a given sound pressure input. Typically when measuring microphone sensitivity the mic is placed in a reference sound field where a sound pressure level (SPL) of 94 dB (1 Pascal) at 1000 Hz is maintained at the microphone. (Some vendors like Shure use 74 dB 0.1 Pascal). The distinction is that 94 dB SPL is the typical sound intensity of somebody speaking twelve inches away while 74dB SPL would be the same speaker one inch away. A typical condenser microphone might have a value listed either like “7mV/Pa” or -43dBV in the technical specification. These two values mean the same thing – they’re just indicated differently.

If two microphones are subject to the same SPL and one generates a higher output voltage, that microphone is said to have a higher sensitivity rating. Although knowing how to read/compare microphone sensitivity (output) is important, the actual sensitivity rating normally is not a major thoughtfulness in mic selection. Typically the design of a microphone for a queer application plays a role when makers determine the suitable output level. For example, dynamic microphones are quintessentially less sensible than condenser mics as they’re in general applied reasonably close to the sound source. Listed beneath are the typical specifications for three dissimilar microphone transducer types:

Condenser: 5.6mV/Pa (high sensitivity)

Dynamic: 1.8mV/Pa (medium sensitivity)

Ribbon: 1.1mV/Pa (low sensitivity)

Impedance

Impedance is how much a device resists the flow of an AC current (such as audio signal) and is measured in ohms. Typically when referring to microphones, “low impedance” is considered anything beneath 600 ohms. “Medium impedance” would be 600 ohms to 10,000 ohms and “high impedance” would be more outstanding than 10,000 ohms. All microphones have a specification regarding their impedance – once in a while the value is written on the mic somewhere, other times you might need to consult the technical manual or manufacturers’ website to determine the number. Generally speaking, low impedance microphones are better than high impedance, and rather often times you may use impedance as a rough gauge when determining overall quality. The vantage of low impedance microphones is that they may be applied with very long cable runs and negligible signal loss. Mics with hardwired cables and a 1/4″ jacks are high impedance, while mics that require a balanced audio cable and xlr connector are low impedance.

When connecting your microphone it’s important to recognise the matching ohm level of the sound mixer or amplifier. A low impedance microphone ought to always be connected to an input with a higher impedance value, other than as supposed or expected signal loss will result. Typically “low impedance” audio mixers have inputs with impedance levels amongst 1000 and 2000 ohms, and are designed to work with the lower level microphone impedance levels.

Self Noise Level

Self noise is the electrical hiss that a microphone produces. Typically the self noise spec is “A weighted”, meaning that the lowest and most eminent frequencies are flattened in the response curve, to better simulate the signal response of the humane ear. (We tend to grasp mid range sound frequencies as louder.) As a standard guideline, an A Weighted self noise spec of 18dB SPL or less is splendid (very quiet), 28dB SPL is good, while anything over 35db SPL is not well suitable for quality audio recordings.

Because dynamic microphones do not have active electronics (no phantom power requirements) they have very low self noise when equated to condenser microphones. Most spec sheets for dynamic microphones do not include self noise measurements.

Signal to Noise Ratio

The signal to noise symmetry (S/N) is the divergence in dB amid a microphone’s sensitivity and self noise. A higher S/N means that the signal is cleaner (less noise) and that the microphone has more “reach”. Reach may be specified as the precise pickup of quiet/distant sounds due to high S/N. Typically reach is not listed as a metric on a tech sheet as any microphone may pick up a distant sound if the source is deafening enough. For example, even a very inexpensive mic may pick up a thunderclap from far away.

As a standard rule when assessing S/N ratios, given 94dB SPL, anything over 74dB is excellent, a S/N spec of 64dB is considered good.

Summary

Hopefully these definitions have helped to provide a good deal of understanding regarding typical microphone specifications. The truth is that there is no “ideal” microphone that is perfective for each situation. Manufacturers design their microphones with specific audio apps in mind – such as live performances or studio reproduction, and as a result have tailored the specifications so that the mic sounds the best that it may with a given hardware configuration. Generally speaking, more highpriced microphones are engineered with better hardware, which results in better specifications and performance.

The C-1 is a cardioid condenser microphone designed to capture your sounds with unbelievable realism, sensitivity and accuracy. This condenser mic is an magnificent choice for live and studio applications, and it’s available at a price that will leave you with sufficient cash left over to secure other recording essentials.

Designed to capture your sounds with unbelievable realism, sensitivity and accuracy. Click to enlarge.

Includes rugged foam-padded carrying case and swivel mount.

View polar pattern and frequency response. Click to enlarge.

What is a Condenser Mic?
Condenser microphones are the idealisti choice for capturing vocals and acoustic instruments. They’re the indispensable type of microphone employed in recording studios and radio stations. They are competent of capturing much more detail than dynamic microphones because of their wider, flatter frequency response. Another divergence amidst condenser and dynamic mics is that they integrate active circuitry that requires phantom power (+48 V DC) for operation. You may power them from any phantom power equipped BEHRINGER XENYX mixer, plus receive pleasure from the gains of our state-of-the-art XENYX mic preamps.

Why the C-1?
The C-1 is an affordable, high-quality way to put this necessary studio tool to work for you. Thanks to it is cardioid (heart-shaped) pattern, the C-1 microphone picks up your source signal while rejecting off-axis sounds that may destruct an other than as supposed or expected perfective recording. With it is pressure-gradient, shock-mounted transducer and gold-plated XLR output, the C-1 is very neutral sounding and veritably delivers on the promise of noise-free transmission.

With it is particularly flat frequency response and ultra-high sound resolution, it’s perfective for perfective for acoustic instruments, overhead, piano, and a great deal more.

Built to Last
The C-1 is built to be your go-to condenser mic for years to come. Its tough, die-cast body may withstand all the rigors of bleary-eyed late-night recording marathons. And with it is rugged foam-padded carrying case, it travels in safety and style. We likewise included a swivel stand mount so it may be affixed to your studio’s mic stands.

C-1 Specs

• Transducer Type: Condenser, 16 mm
• Polar Pattern: Cardioid
• Connection: Gold-plated balanced XLR connector
• Open Circuit Sensitivity: -33 +/- 2 dBV (0 dBV = 1 V/Pa)
• Frequency Response: 40 Hz – 20 kHz
• Max. SPL (1% THD @ 1 kHz): 136 dB
• Nominal Impedance: 100 ohms
• Load Impedance: >1 kohms
• Supply Voltage: +36 – 52 V
• Supply Current: 2.5 mA
• Dimensions: Shaft: 54 mm, length: 169 mm
• Weight: Approximately 0.45 kg

What’s in the Box
Behringer C-1 Studio Condenser Microphone, Carrying Case, User’s Manual