Microphones work by converting sound wave vibrations into electrical signals. They have a light diaphragm that vibrates when hit by sound waves, causing a current to vary in the microphone. This signal is then sent to a mixer or amplifier. There are different types of microphones that use different conversion technologies like dynamic, condenser, or ribbon. Each type is suited to different applications.

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2. How Do Microphones Work?
The Basics Microphones just convert a real sound wave into an
electrical audio signal. In order to do so, they have a small, light
material in them called the diaphragm. When the sound vibrations
through the air reach the diaphragm, they cause the diaphragm to
vibrate. This in turns will somehow cause an electrical current in the
microphone to vary, whereupon it is sent out to a mixer, preamplifier or
amplifier for use.

4. Types of Microphone:
There are a number of different types of microphone in common use. The
differences can be divided into two areas:
The type of conversion technology they use
This refers to the technical method the mike uses to convert sound into
electricity. The most common technologies are dynamic , condenser,
ribbon and crystal . Each has advantages and disadvantages, and each
is generally more suited to certain types of application. The following
pages will provide details.
The type of application they are designed for
Some mikes are designed for general use and can be used effectively in
many different situations. Others are very specialised and are only really
useful for their intended purpose. Characteristics to look for include
directional properties, frequency response and impedance (more on
these later).

5. Dynamic Microphones
Dynamic Microphones are typically classified according to how the
diaphragms produce sound. Dynamic Microphones Dynamic
microphones are versatile and ideal for general-purpose use. They
use a simple design with few moving parts. They are relatively sturdy
and resilient to rough handling. They are also better suited to
handling high volume levels, such as from certain musical
instruments or amplifiers. They have no internal amplifier and do not
require batteries or external power.

6. How Dynamic Microphones Work
As you may recall from your school science, when
a magnet is moved near a coil of wire an electrical
current is generated in the wire. Using this
electromagnet principle, the dynamic microphone
uses a wire coil and magnet to create to create the
audio signal. The diaphragm is attached to the coil.
When the diaphragm vibrates in response to
incoming sound waves, the coil moves backwards
and forwards past the magnet.
This creates a current in the coil which is
channeled from the microphone along wires. A
common configuration is shown below.

7. Condenser Microphones Condenser means capacitor , an electronic
component which stores energy in the form of an electrostatic field. The
term condenser is actually obsolete but has stuck as the name for this
type of microphone, which uses a capacitor to convert acoustical energy
into electrical energy. Condenser microphones require power from a
battery or external source. The resulting audio signal is stronger signal
than that from a dynamic. Condensers also tend to be more sensitive and
responsive than dynamics, making them well-suited to capturing subtle
nuances in a sound. They are not ideal for high-volume work, as their
sensitivity makes them prone to distort.

8. How Condenser Microphones Work
A capacitor has two plates with a voltage between them.
In the condenser mike, one of these plates is made of
very light material and acts as the diaphragm. The
diaphragm vibrates when struck by sound waves,
changing the distance between the two plates and
therefore changing the capacitance. Specifically, when
the plates are closer together, capacitance increases
and a charge current occurs. When the plates are further
apart, capacitance decreases and a discharge current
occurs.

9. Phantom Power Condenser
microphones need a source of power to impress the charge on the
capacitor. One of three methods is used. Either a battery will be inserted
inside the microphone, a permanent charge is retained on the diaphragm
or back plate thanks to some clever material scientist, or phantom power
is used. Phantom power is the supply of power through the ground cable
of an XLR cable. Ranging from 9 volts to 52 volts, typically 48 volts, this
power can be put into the cable either from a mixer, a phantom power
box or a battery pack. A mixer might have a button that allows phantom
power through the ground cable. A phantom power box is like an
intermediate component between a mixer and a mike. It is a box (duh)
connected to the mains that essentially just puts a charge on the ground
cable. A battery pack does exactly the same thing, but works only with
batteries

13. Wireless Mikes
Very visible in Karaoke bars and stage performances, wireless mikes can be
both convenient (no cables) ,and a pain .(batteries needed, interference from
outside sources). These mikes are essentially the same as ordinary
microphones with a transmitter. The transmitter can be in the body of a
handheld mike (which accounts for the larger size of a wireless) or in a
separate belt-worn pack (for lavalieres and instrument pickups (popular for
electric guitarists). Wireless microphones typically transmit on only one unique
frequency per mike. A 'true diversity' wireless system will have two antennae on
the receiver end (which, incidentally, usually puts out a line-level signal for the
mixer instead of a mic signal). When the signal strength between the two
antennae varies, the receiver will opt to receive the signal from the stronger
antennae. This switching can be very rapid and is usually unnoticeable. True
diversity wireless systems are usually far less sensitive to radio interference
and blockage than single-antennae systems.

14. Lavalier Mikes
The familiar 'interviewer's collar pin', which consists of a small, usually
electrets microphone worn at the chest, clipped to clothing. This can either
be corded or wireless, though the latter is usually preferred. The wireless
version runs into a transmitter, usually worn on the belt. Lavalier mikes can
be powered by batteries or phantom power, depending on the make of the
mic. They have also been good for miking up wind instruments, clipped to
the edge of the 'bell'.

15. Bass Mikes
These are very large diaphragm, usually dynamic
microphones. Since they are usually employed in
situations that produce very loud sound pressure levels,
they are very sturdy and have lousy high-frequency
response. Typically found inside bass drums of drum sets
at rock concerts

16. Pressure Zone Microphones
A general purpose microphone for amplifying a
large source of sound, like a choir or a stage
performance. These typically use condenser
pickups, mounted a few millimeters over a flat
surface, usually a metal plate integrated into the
microphone. The concept is the sound reaching
the metal plate will bounce back into the pickup,
adding to the sound directly going into the
pickup. They are also known as Boundary
Microphones or Phase-Coherent Cardioids .
They have remarkably good pickup, and when
placed properly, give very little feedback for
sound reinforcement. They are not very
discerning in what they pick up, so they aren't
that good for recording.

17. Boom Microphone
The boom microphone is very popular in film and television production. A
directional mic is mounted on a boom arm and positioned just out of camera
frame, as shown on the right. The cable is wrapped once or twice around the
boom arm. Booms have the advantage of freeing up subjects from having to
worry about microphones. They can move freely without disturbing the sound,
and concerns about microphone technique are eliminated. You can make a
simple boom from just about anything which is the right shape. A microphone
stand with its legs removed is a good option, or even a broomstick or fishing
pole. A good boom will have some sort of isolating mechanism for the
microphone to prevent vibrations being transferred to the mic. This may
involve elastic suspensions, foam padding, etc.

20. Microphone Impedance
When dealing with microphones, one consideration which is often
misunderstood or overlooked is the microphone's impedance rating. Perhaps
this is because impedance isn't a "critical" factor; that is,
microphones will still continue to operate whether or not the best impedance
rating is used. However, in order to ensure the best quality and most reliable
audio, attention should be paid to getting this factor right. If you want the short
answer, here it is: Low impedance is better than high impedance.
What is Impedance?
Impedance is an electronics term which measures the amount of opposition a
device has to an AC current (such as an audio signal). Technically speaking, it
is the combined effect of capacitance, inductance, and resistance on a signal.
Impedance is measured in ohms, shown with the Greek Omega symbol Ω or
the letter Z . A microphone with the specification 600Ω has an impedance of
600 ohms.

22. Microphone Frequency Response
Frequency response refers to the way a microphone responds to different
frequencies. It is a characteristic of all microphones that some frequencies are
exaggerated and others are attenuated (reduced). For example, a frequency
response which favors high frequencies means that the resulting audio output
will sound more trebly than the original sound.

23. Frequency Response Charts
A microphone's frequency response pattern is shown using a chart like the one
below and referred to as a frequency response curve. The x axis shows frequency
in Hertz, the y axis shows response in decibels. A higher value means that
frequency will be exaggerated, a lower value means the frequency is attenuated. In
this example, frequencies around 5 - kHz are boosted while frequencies above
10kHz and below 100Hz are attenuated. This is a typical response curve for a
vocal microphone. microphone frequency response .

24. Frequency Response Ranges
You will often see frequency response quoted as a range
between two figures. This is a simple (or perhaps
"simplistic") way to see which frequencies a
microphone is capable of capturing effectively. For
example, a microphone which is said to have a
frequency response of 20 Hz to 20 kHz can reproduce
all frequencies within this range. Frequencies outside
this range will be reproduced to a much lesser extent or
not at all. This specification makes no mention of the
response curve, or how successfully the various
frequencies will be reproduced. Like many
specifications, it should be taken as a guide only.
Condenser vs Dynamic
Condenser microphones generally have flatter frequency
responses than dynamic. All other things being equal,
this would usually mean that a condenser is more
desirable if accurate sound is a prime consideration