12/04/2026
CHASKI GUIDE TO MICROPHONES ❤️ 🎤 🎙️ ⭐
Over the years, I've helped several recording musician clients with setting up their own home studio. One of the most commonly asked questions I get is, "What microphone should I buy?"
This is a far from simple question to answer for several reasons. First and foremost being that there are SOOO many great microphones on the market these days and since I've owned the majority of my microphones for several years and have no real need to buy any more (yet!), the only thing I know about most of these microphones is what I've read online or heard about from friends and colleagues.
The next big factor is that although there are a few types of microphone that are generally quite multi-purpose, lots of them are particularly great at one or two specific things, so it really depends on what you are using it for.
Most of my clients are guitarist / singer songwriters and so that does simplify things a little.
What I thought I'd do is make a post specifically about the 8 microphones that I have in my studio, and what I use each of them for - in the hope that people find this helpful and possibly a little bit demystifying. You can also use them as a reference point for searches to see what else is on the market that does similar...
But first - some basics!
🎙️ Microphone Basics for Beginners
Understanding your microphones is key to achieving professional-quality recordings. Here are five essential terms every aspiring producer should know:
1. Dynamic Microphone
Durable and reliable, dynamic mics handle high sound pressure levels with ease—ideal for drums, guitar amps, and live vocals. A dynamic microphone works by using a diaphragm attached to a coil that moves within a magnetic field, converting sound vibrations into an electrical signal through electromagnetic induction. They do not require external power.
2. Condenser Microphone
Highly sensitive and detailed, condenser mics require 48V phantom power in order to work. This is found as a channel switch on most studio interfaces / mixing desks. They excel at capturing vocals, acoustic instruments, and subtle nuances in the studio. A condenser microphone works by using a thin, electrically charged diaphragm placed close to a backplate; when sound waves strike the diaphragm, they alter the distance between the plates, changing the capacitance and producing a corresponding electrical signal. PLEASE NOTE: Because condenser mics are so sensitive, they are great at picking up EVERYTHING. Unfortunately, this includes the sound of the room, ambient noise, cars outside, computer fans etc. This can mean it's harder to get a good sound in a less-than-perfect studio, especially when layering up lots of tracks - which compounds the problem.
3. Polar Pattern
A polar pattern describes the direction from which a microphone captures sound and how sensitive it is to audio arriving from different angles. The most common type is CARDIOID, which focuses on sound from the front while rejecting noise from the rear—ideal for vocals and close-miking instruments. (You can also get super and hyper cardioid which refers to how narrow the beam of frontal sensitivity is.) OMNIDIRECTIONAL microphones capture sound evenly from all directions, making them perfect for room ambience and ensemble recordings. FIGURE EIGHT (bidirectional) patterns pick up sound from the front and back while rejecting the sides, often used in duet recordings and mid-side stereo techniques. Understanding polar patterns helps minimise unwanted noise, control bleed, and achieve cleaner, more intentional recordings.
4. Frequency Response
The range of low to high frequencies a microphone can reproduce. This characteristic shapes how natural, bright, or warm a recording sounds.
5. Phantom Power (48V)
A standard voltage supplied by audio interfaces and mixers to power condenser microphones via XLR cables.
So with that, I'll get into my very own studio microphones:
1) Dachman DA87i large diaphragm condenser mic:
This is a very well made clone of a vintage, famous microphone made by Neumann (Possibly the oldest, biggest name in mic production.) The original mic is called a U87 and this definitive industry standard microphone was famous for its incredible reliability, versatility, and "classic" sound on vocals. Introduced in 1967, it has been a staple in professional recording studios for over 50 years, capturing iconic performances for artists like The Beatles, Beyoncé, and Stevie Wonder. The Dachman clone really does deliver well, and for £600 (instead of £3000 for the original) it certainly makes it more affordable for many. This mic has the option for cardioid, figure 8 and Omni modes. I use this mic almost entirely for vocals. I find it particularly good for female vocals. This mic requires phantom power.
2) Rode NT5 pencil condenser mics (matched pair.)
"Matched pairs" like the Rode NT5 microphones are precision-tested to ensure identical frequency response and sensitivity. This consistency enables accurate stereo recording using micing techniques such as XY or spaced pairs. As small-diaphragm condenser microphones, they excel at capturing transient detail, making them ideal for acoustic instruments, percussion, choirs, and ambience. I use them mainly for acoustic guitars and percussion like Udu drum, tambourine or shakers. I've found that using a stereo pair for percussion in particular gives a much more dynamic, three dimensional sound - which I prefer. The polar pattern is cardioid and these require phantom power.
3) AKG D112 (AKA: The Egg Mic)
The D112, often nicknamed the “egg mic” for obvious reasons, is a dynamic microphone designed for low-frequency sources. Known for its tailored frequency response, it excels on kick drums and bass cabinets, capturing deep, punchy lows with clarity while handling exceptionally high sound pressure levels without distortion. I mainly use it for the bottom end of a Djembe or underneath my calabash to really capture the deep, low end "thud" without distortion. This is also cardioid.
4) Rode K2 (modded)
The Rode K2 microphone is a valve large-diaphragm condenser known for its warm, rich character and low noise. Featuring a continuously variable polar pattern that you adjust with a dial rather than a switch to flow between cardioid, omni and figure 8 patterns, it offers exceptional versatility. Ideal for vocals and acoustic instruments, its dedicated power supply (no need for phantom power) and tube circuitry deliver smooth detail and classic analogue depth. I modded this microphone with a RK-12 / CK12-style capsule for a more open, airy high end and a vintage Telefunken E88CC tube in the hope of a tighter low end. I found these mods to improve things subtly, but all in all, I don't think it was worth the money (about £300 extra!) Still, sometimes you just have to try these things out! I use this mic for vocals and various acoustic instruments - particularly awesome for cello. Very good all round mic. Out of all my microphones - This would be the single desert island microphone that can do it all pretty well.
5) Shure SM7B:
The Shure SM7B cardioid microphone is a dynamic broadcast-style microphone known for its smooth, controlled midrange and excellent rejection of room noise. It excels on vocals, speech, and loud sources, delivering a consistent tone with minimal coloration. Widely used in studios and podcasting, it requires substantial clean gain to perform optimally. I bought this initially to produce audiobooks but then I started using it for my own vocals and I totally fell in love with it. I attached it to my production desk with an adjustable, hydraulic arm so i can swing it in and out really easily and record my vocals whilst controlling the computer - so I don't have to awkwardly run back and forth to record with my Dachman in the vocal booth area any more. Because of its excellent rejection of background noise, it's worked really well and had been a massive game changer for my personal creative projects. I highly recommend these mics - just make sure you buy genuine. There's LOTS of cheap fakes out there.
6) Shure SM57:
The Shure SM57 microphone is a classic, rugged dynamic, cardioid microphone widely used for snare drums, guitar amplifiers, and live vocals. Its cardioid pattern focuses on the source while rejecting background noise. Known for its durability and midrange presence boost, it delivers a punchy, reliable sound that has become a studio and stage standard. I use this to mic up amplifiers in the studio and for live recording of just about anything. It's bullet proof.
7) Shure SM58s:
The Shure SM58 microphone is a dynamic cardioid microphone designed primarily for live vocal performance. It features a tailored presence boost in the midrange to help vocals cut through a mix, along with a built-in spherical wind and pop filter. Renowned for durability, it remains a global standard for stage use. I have the S model which has an on off switch built in - This is because I use it for live sampling / looping of vocals and acoustic instruments so i can turn it off to avoid feedback issues.
8) Rode VideoMic Go 2:
The Rode VideoMic GO II is a compact shotgun-style condenser microphone designed for cameras, smartphones, and computers. It uses a supercardioid pickup pattern to focus on sound directly in front while reducing ambient noise. Lightweight and bus-powered, it’s ideal for content creation, offering clear, intelligible audio in portable recording setups. I use this for live video from my phone or DSLR.
VITAL ACCESSORIES:
MIC STANDS: For every microphone you'll need a stand. There's many available and you generally get what you pay for. I recommend buying decent stands like Hercules - with quick adjustment triggers. They're really sturdy and make everything so much easier. Cheap crappy mic stands will slowly ruin your life. I kid you not!
POP SCREEN: This is a filter that you stack to the mic stand and position about 3 inches from your vocal microphone capsule. It helps prevent excessive "plosives" (strong P and B sounds) and can reduce excessive SSSS sounds. Definitely a necessity for clean vocal recording.
So there you have it! That’s a quick look at the 8 mics I use in the studio and on location. Hopefully it helps demystify what they do and when to use them. At the end of the day, it’s less about having “perfect” gear and more about understanding how each tool behaves in front of a sound source.
Thanks for reading, and happy recording!
- Tristan Starling
- Chaski Productions
