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Ready to ship
55,000 Products
UK Team in London
Mega Store in Cologne
Money Back
30 Day Return Policy
Dynamic microphones are the most common type and suit nearly any application. Classics include the Shure SM58 for stage vocals, the SM57 for amps and snare, and the RE520 for speech or kick drum. Each model has a distinct tonal character – it’s worth auditioning them.
Dynamic mics require no phantom power, tolerate high sound pressure levels, and are resilient against feedback and wind noise. On loud stages they primarily capture what’s directly in front of the capsule.
Large diaphragm condenser microphones are a first choice for vocals and speech thanks to their high sensitivity and detail. Many models offer switchable polar patterns: cardioid (front), omnidirectional (from all sides), or figure-8 (front/back). They typically require 48 V phantom power.
These are compact counterparts to large-diaphragm mics and are used for bright, detailed and complex sources such as overheads, acoustic guitar, strings or as room microphones. They require 48 V phantom power and excel at precise transient capture.
Popular choices include the Rode NT5 Single, various AKG models, and the refined Neumann KM 184 small-diaphragm condenser microphone.
Overheads: Used as stereo pairs for stable imaging and detailed cymbal capture.
Acoustic Guitar & Strings: Crisp transients and airy top-end without harshness when placed well.
Room Mics: Capture natural ambience from distance – perfect for blending into the mix.
A USB condenser microphone is ideal for podcasts, streaming and voice work without an external audio interface. It’s plug-and-play, requires no drivers, and the converter is built in. Many models include on-board processing such as compression or de-essing. No phantom power is required as power is supplied via USB.
Valve microphones use an internal valve-based preamplifier and are supplied with an external power unit. Their sound is typically smooth and refined, combining silky highs with a warm low-end. They sit at the premium end of the market and shine on lead vocals and acoustic sources in well-treated rooms.
Ribbon microphones deliver a warm, vintage character and are ideal when taming edgy high frequencies or seeking a classic studio tone. A renowned example is the Royer R-121. There are now more affordable alternatives with similar traits. Because of their low output level, a high-gain preamplifier is recommended. Most ribbons feature a figure-8 polar pattern and must never be supplied with phantom power due to their delicate construction.
Boundary microphones capture direct reflections from flat surfaces. They’re frequently used on theatre stages, conference tables or inside kick drums to achieve a tight, powerful sound.
