Condenser vs. Dynamic Microphones For Live Sound
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In this episode of Sound Design Live, I speak with Philip Graham of Ear Trumpet Labs in Portland, OR about condenser versus dynamic microphones for live sound, close miking, and and why Shure SM57 microphones sound terrible from more than a few inches away. We compare the Ear Trumpet Labs Edwina microphone to a Neumann KSM105. Plus, we talk about stage monitor feedback, building condenser microphones, and quality control.
If you’re playing an acoustic guitar and singing, there is absolutely no reason for you to be kissing an SM58. That’s just silly. Yet, that remains the default.
Details from the podcast:[
](https://www.eartrumpetlabs.com/products/microphones/edwina/)
- Mics: Edwina, Chantelle, KMS105, SM57, SM58
- Philip on Facebook
- Electret (the magic material used for the microphone diaphragm)
- Microphone Polar Patterns
- Proximity Effect
- Are dynamic mics more forgiving than condenser mics?
- Venues: Freight & Salvage, Mississippi Studios
- John Huntington’s article: There Is No Perfect Sound
- Yahoo Micbuilders Group
- Quotes: “Most of the good sound guys that I know talk about the book that they want to write, explaining to the world how they should behave and what goes into doing decent sound.”
https://youtu.be/HuPeYzue7CY