Guide · Microphones

Which microphone for which instrument?

The right mic per source saves a lot of hassle at soundcheck. Here is which types are common per instrument, and how to put it neatly in your rider.

Dynamic or condenser?

Broadly there are two families. Dynamic mics are rugged, handle high sound-pressure levels and are the standard for loud stage sources: vocals, snare, guitar cabs and toms. Condenser mics are more sensitive and detailed, ideal for cymbals, overheads and acoustic instruments, but they need 48V phantom power.

Vocals

The classics are the Shure SM58 and the Beta 58A. For more clarity and presence, the Sennheiser e935 and e945, the Audix OM5 and OM7 or the Telefunken M80 are strong choices. For extra detail, pick a condenser handheld like the Beta 87A or the Shure KSM9.

Drums

For the kick the Beta 52A, Audix D6 or Sennheiser e602 all work well. The snare is almost always an SM57 (or a Beta 57A or Audix i5). Toms take clip-ons like the e604 or e904. Hi-hat and overheads want condensers, for example the SM81, KM184, AKG C414 or Sennheiser e914.

Guitar and bass

Mic a guitar cab with an SM57 close to the speaker, or with an e906 or e609. For more body, combine it with a ribbon mic. Bass usually runs through a DI box, optionally with a mic on the cab as well.

Acoustic and horns

An acoustic guitar usually goes through a DI or a condenser. Horns and strings get freedom of movement with clip-on mics like the DPA 4099, Sennheiser e908 or Audio-Technica ATM350.

Put it straight in your rider

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Put it in your input list

Whichever mic you choose, note it per channel in your input list, with 48V where needed. In RoboRider the mic/DI field has a dropdown with over a hundred common models (from SM58 to DPA), so you pick the right type fast and the crew knows exactly what to expect.