Comparison Behringer C-1U vs SAMSON C01U

The polar pattern of a unidirectional microphone (see above). There are models with DN switching.

By itself, such a diagram is a graph of sensitivity versus direction, built in the so-called polar coordinate system. For unidirectional models, there are three main options for the shape of the line on such a chart:

— Cardioid. A chart shaped like an inverted heart symbol (hence the name). Microphones with these characteristics cover a fairly large area in front, which makes it difficult to filter out extraneous sound sources that are close to the main source. At the same time, they are completely insensitive to sound coming from the rear.

— Supercardioid. These mics have a narrower front coverage than "classic" cardioid mics, making it easier to pick up directional sound. The downside of this is some (albeit rather low) sensitivity to sound coming directly from behind.

— Hypercardioid. The hypercardioid pattern further narrows the microphone's sensitivity zone in the front (compared to the supercardioid pattern), but widens this zone in the back.

Microphone AC impedance; this parameter is also called "impedance". This is one of the most important characteristics that determines compatibility with the amplifier or other device to which the microphone is connected: if the impedance is not optimal, there may be a loss in signal power. It has its own characteristics, depending on the purpose of a particular model (see above). So, for microphones used with computers, laptops, voice recorders and phones / tablets, the impedance may not be indicated at all — the characteristics of such models are selected in such a way as to ensure normal compatibility with the corresponding devices. But in professional audio equipment, special rules are used for selection; more details can be found in special sources.

The range of audio frequencies normally perceived and processed by a microphone.

The wider this range — the fuller the signal, the less likely that too high or low frequencies will be missed due to the imperfection of the microphone. However, in this case, it is worth considering some nuances. First of all: a wide frequency range in itself does not guarantee high sound quality — a lot also depends on the type of microphone (see above) and its frequency response, not to mention the quality of other components of the audio system. In addition, a large width is also not always really necessary. For example, for normal transmission of human speech, a range of 500 Hz — 2 kHz is considered sufficient, which is much narrower than the general range perceived by the human ear. This general range, in turn, averages from 16 Hz to 22 kHz, and also narrows with age. Do not forget about the features of the equipment to which the microphone is connected: it is hardly worth specifically looking for a model with an extensive range, if, for example, the amplifier to which it is planned to be connected severely “cuts off” the frequencies from above and/or below.

Sensitivity describes the signal strength at the output of a microphone when it processes a sound of a certain volume. In this case, sensitivity means the ratio of the output voltage to the sound pressure on the membrane, expressed in decibels. The higher this number, the higher the sensitivity. Note that, as a rule, values in decibels are negative, so we can say this: the closer the number is to zero, the more sensitive the microphone. For example, a -38 dB model outperforms a -54 dB model in this parameter.

It should be borne in mind that high sensitivity in itself does not mean high sound quality - it only allows the device to “hear” a weaker sound. Conversely, low sensitivity is not an unequivocal sign of a bad microphone. The choice for this parameter depends on the specifics of the application: a sensitive device is useful for working with low sounds and in cases where it is necessary to capture the smallest nuances of what is happening, and a “weak” microphone will be convenient at high sound volume or, if necessary, filter out extraneous weak noises. There are models with sensitivity adjustment(and for models with a headphone output , headphone volume control may be provided).

The sampling rate of the analogue-to-digital converter (ADC) provided in the design of the microphone.

An ADC is a module responsible for converting an analogue signal coming from a microphone capsule into a digital format. It is used mainly in models connected via digital interfaces — for example, USB (see below) — and also in some wireless ones, where the digital format is used for radio communication.

The principle of analogue-to-digital conversion is that the analogue signal is divided into separate fragments, each of which is encoded with its own numerical value. If this is depicted graphically, then the graph of the analogue signal looks like a smooth line, and the digital signal looks like a set of “steps” close to this line. The higher the sampling frequency, the more “steps” fall on a certain section of a smooth line and the more accurately the digital signal corresponds to the original analogue.

Thus, high values of this parameter indicate a high quality of the microphone. However, it must be said here that for normal restoration of the original signal from digital (in other words, for normal reproduction of the sound perceived by the microphone), a sampling frequency twice the maximum frequency of the received sound is considered sufficient. For pure human speech, indicators of 2.3 kHz are considered record-breaking, and harmonics that complement the timbre of the voice do not exceed 8 kHz in frequency. Thus, a high sampling rate...is not required for normal speech processing. At the same time, models intended for studio recording (see "Intended use") may have rather high values of this parameter — up to 96 kHz inclusive. This is due not only to the sound quality (although it is also important), but also to the technical aspects of processing and mixing.

Also note that upsampling affects the amount of data transmitted, so high performance is not always optimal. Thus, some microphones allow you to change the value of this parameter; for such models, our catalog indicates the maximum value of the sampling rate.

The bit depth of the analogue-to-digital converter (ADC) installed in the microphone.

An ADC is a module responsible for converting an analogue signal coming from a microphone capsule into a digital format. It is used mainly in models connected via digital interfaces — for example, USB (see below) — and also in some wireless ones, where the digital format is used for radio communication. For more information on this conversion, see ADC Sampling Rate. But if the sampling rate describes the number of “steps” of a digital signal in a certain area, then the bit depth determines the number of signal level options available for each individual step. The higher the bit depth, the more such options and the more accurately the digital signal level will correspond to the analogue level.

Thus, this parameter also directly affects the quality of the conversion. If we talk about specific values, then 16 bits is considered quite enough for professional studio microphones (see "Intended use"), and high-end models can also have 32-bit converters.

This parameter directly affects the freedom of movement and ease of use: the farther the microphone can be taken from the connection point, the more convenient it is, especially when used in large spaces.

- Receiver. Receiver used on wireless models (see Features/Capabilities). The receiver, in essence, plays the role of a radio adapter: it connects to an amplifier or other audio equipment in the classic wired way and transmits the signal from the microphone to this equipment. For more information about the included receiver, see “Radio System”,

— Transmitter. A transmitter used in systems with a wireless connection (see “Functions/capabilities”), or more precisely, a transmitter designed as a separate device. Miniature microphones (primarily lavalier and headset) have this design, in which the housing dimensions do not allow the transmitter to be built directly into the device: the microphone is connected to an external transmitter using a wire, the latter is usually hung on the belt. The presence of a separate transmitter is usually a sign of a compact microphone; and one of the practical advantages of this design is that the microphone can be detached and connected to other equipment (not necessarily a transmitter).

— Monitor mount. A device for attaching a microphone to a computer monitor. For obvious reasons, it is used only in models for computers (see “Purpose”). This feature is especially useful in cases where there is very little free space on the table where the computer is located, or the microphone cannot be placed on the table in the optimal place. The mount can also be useful for working with a laptop, alt...hough specialized microphones are usually more convenient.

— Holder for stand. A mount in the form of a characteristic round cradle designed to place a microphone on a stand, tripod or other device. Used primarily with vocal and instrumental models (see “Purpose”), it allows you to quickly remove and install the microphone on a stand - which is useful, in particular, during concerts and other public performances. Holders are also sold separately, but buying a model with a complete mount is often more convenient - such a mount is optimally compatible with the microphone and does not require wasting time searching and selecting.

— Anti-shock suspension (“ spider ”). Special shock-absorbing suspension used with studio microphones (see “Purpose”); The slang name "spider" comes from its characteristic shape. The need to use such a suspension is due to the fact that on a regular stand, a microphone can experience various shocks and vibrations (from the operation of equipment nearby, from objects falling on the floor, and even from people’s steps), which create interference in the sound. “Spider” compensates for such shocks and reduces interference to almost zero; At the same time, a complete suspension is more convenient than one purchased separately due to the fact that it is, by definition, compatible with a microphone.

— Pop filter. Such a filter is a plate, usually round, installed in front of the microphone when working with voice - most often during recording; Accordingly, this function is used primarily with studio microphones (see “Purpose”). The protective screen allows sound to pass through well, but it blocks the flow of air that occurs during breathing - thus preventing the appearance of characteristic interference from “exhaling into the microphone.” Another purpose of pop filters is to protect against small splashes of saliva, which can cause corrosion and negatively affect the longevity of the microphone.

— Wind protection. The windscreen most often takes the form of a distinctive “tip,” usually foam, that fits over the microphone; at the same time, in miniature models (for example, head ones, see “Purpose”) the design may be different. However, in any case, the purpose of such devices corresponds to the name: to protect the microphone from exposure to intense air currents that can cause interference. Note that the matter is not limited to wind - a person’s breathing can also become a source of interference if the microphone is located close to the mouth.

— Detachable cable. The ability to detach the cable from the microphone not only makes storage and transportation easier, but also allows you to replace the supplied cable with another if circumstances require it (for example, to connect through a different interface, see above).

- Tripod. A tripod is essentially a portable tripod designed to mount a microphone on a table or other similar surface. This eliminates the need to hold the device in your hand or organize a stand “from scrap materials.” Such tripods are also sold separately, but it is usually more convenient to buy a set; For more details, see "Rack Holder".

- Power adapter. A device that allows you to supply a microphone of a condenser or electret type (see above) with the phantom power required for operation from a regular household 230 V outlet. Thanks to this, it becomes possible to connect the microphone even to tech amplifiers (receivers, players, etc.) that do not have phantom power inputs.

— Case/case. A case is usually called a container made of hard materials, while a cover is usually made of soft materials. The only key difference between them is the degree of protection - the cases are more shock-resistant. But the basic purpose is the same: storing and transporting a microphone in a case/cover is much more convenient than without such a device (in particular, because additional included accessories can usually also be placed inside).

— Charging case. A case is a case made of hard material that simultaneously plays the role of a charger. This feature is very popular in wireless models. The charging case usually has its own battery and the microphone (transmitter) and receiver are charged from this battery; This design provides additional convenience in several ways. Firstly, the case, in fact, also serves as a power bank - an autonomous power source; The capacity of such a “power bank” may vary, but it is usually enough for several full charges. Secondly, the ability to charge small microphones directly in the case reduces the risk of losing them. Thirdly, the charging procedure itself is quite convenient - you just need to connect the cable to the case.

Note that, in addition to the above, manufacturers may include other accessories in the kit - for example, separate clips for attaching lavalier microphones, battery chargers, cleaning wipes, etc.