Comparison Trust GXT 252 Emita plus vs Trust GXT 252 Emita Streaming Microphone

— Vocal(for karaoke). In accordance with the name, such models are intended primarily for the transmission of the human voice — during singing, artistic reading, etc., when not only speech intelligibility is important, but also shades of intonation. It is these microphones that can be seen on stage during concerts and other similar events, in karaoke equipment, etc. This category also includes models that can also be used as instrumental ones (see below).

— Buttonhole. The name of this type of microphones is due to the traditional method of fastening — on the collar, where the buttonhole is usually located; they have miniature size and the presence of a clip for holding on clothes. Such devices are known primarily as television transmission equipment — they are used by participants in television programs so that they can speak without using their hands with larger microphones. And some devices of this type are actually a “headset blank”, which turns into a full-fledged headset when headphones are connected.

— For a computer. Microphones designed for use with full size PCs. Such microphones usually have a capsule on a long stem, sometimes flexible (see below) and a stand for placement on a table surface. Their main purpose is voice communication using a computer, where the most important thing is not so much the accuracy of the transfer of details, but...the data transfer rate and their small volumes — therefore, the sound quality, usually, is relatively low.

— For a laptop. Like the PC microphones described above, "laptop" models are designed mainly for voice communication and have rather modest characteristics. Their key difference is the focus on use with portable devices, which is expressed primarily in compact size. In addition, for many of these microphones, the connection port also acts as a mount for placement on a laptop case.

— Instrumental. Microphones designed to mimic musical instruments such as saxophones, acoustic guitars (not equipped with pickups), percussion kits, etc. Note that despite the outward resemblance of some models to the vocal ones described above, “purely instrumental” microphones for voice processing are poorly suited, it is not recommended to use them for this purpose.

— Studio. Microphones designed for use in recording studios. Usually, they are designed for recording vocals. Differ in high quality of a sound transmission and the corresponding cost.

— Head. Microphones designed to be worn on the head — like headsets (only in this case there is no earpiece in the design). They are miniature in size and are similar in application to lavaliers (see above), but are located closer to the mouth and do not depend on the speaker's clothing. This allows the use of such models in specific situations where a lavalier microphone is unsuitable — for example, for filming a video with a strong level of extraneous noise.

— For conferences. Microphones intended for use in conference rooms, huddle rooms, grandstands, and similar locations. The design of such models can be different — a capsule on a flexible leg (see below), a disc placed directly on the table, etc. However, anyway, this variety is optimized for speech transmission and is designed for the maximum convenience of the speaker — so that the user is not distracted by choosing the optimal position relative to the microphone and the distance to it.

— For a video camera. Microphones designed, as the name suggests, for use with video cameras, primarily professional ones. Note that technically, any microphone can be connected to the input of the video camera, matching the connectors and main characteristics; however, this category only includes models that are designed to mount directly into a special mount on the camera body.

— For a voice recorder. A specific type of microphone designed exclusively for use with voice recorders. Such equipment, usually, is equipped with its own built-in microphones, but their capabilities may not be enough in some cases; and among high-end professional voice recorders there are devices that do not have a microphone at all. External microphones are usually connected via a 3.5 mm mini-Jack interface or via a proprietary connector (see below), while one of their distinguishing features is the absence of a wire: the plug is mounted directly on the microphone body and plays the role of not only a connector, but also a mount. Of course, miniature sizes are also characteristic of such devices.

— For phone/tablet. This category includes specialized microphones, originally positioned as accessories for smartphones or tablets. Usually, they are similar to the voice recorders described above in the sense that they are attached directly to the body of the device without using additional wires. Their main specificity, compared to the same models for voice recorders, is the connection method — usually a universal connector is used for this, like 30pin / Lightning, microUSB or a proprietary interface (see below for more details).

— For video production. Microphones intended for use in video recording. In fact, this variety includes two subgroups, each with its own specialization. The first is microphones, which can be conditionally called "reporter's". Usually, these include dynamic (see "Type") models with all-round directivity (see below) and good sensitivity. These features allow you to "hear" not only the voice of the reporter, but also the sound background around him; in addition, you do not need to accurately maintain the position of the microphone relative to the face, which is especially useful when interviewing other people. Also, "reporter" models have durable cases and are generally well protected from various troubles (although they are not necessarily completely moisture and shock resistant). The second variety of models for video production is “sound operator”: such microphones can often be seen on film sets mounted on long rods. They, in turn, are usually made unidirectional or bidirectional (for maximum filtering of extraneous sounds), and most often they are condenser types and provide a fairly high quality and reliability of sound transmission.

— Suspended. Microphones designed to be suspended, such as from the ceiling. Such models are intended mainly for choir singing, theatrical performances and other situations in which other types of microphones (standing on a stand, held in the hand or even clinging to the head) are not very convenient.

— Measuring. Measuring microphones are designed to calibrate sound installations. With their help, you can quickly and accurately adjust the loudness for a musical instrument, loudspeaker, sound recording equipment, etc. The key features of measuring microphones are a wide frequency range (20 – 40,000 Hz) and high frequency response stability. The measuring microphone measures the noise level and detects sound anomalies. Properly tuned, with the help of a measuring microphone, the sound installation will fully correspond to the acoustic features of a particular room.

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 maximum sound pressure perceived by the microphone, at which the harmonic oscillation coefficient does not exceed 0.5% — in other words, the highest sound volume at which no noticeable interference occurs.

The higher this indicator, the better the microphone is suitable for working with loud sound. Here it is worth considering that the decibel is a non-linear quantity; in other words, an increase in volume from 10 dB to 20 dB or from 20 to 40 dB does not mean a 2-fold increase in volume. Therefore, when assessing, it is most convenient to refer to comparative tables of noise levels. Here are some examples: a level of 100 dB roughly corresponds to a motorcycle engine or subway car noise; 110 dB — helicopter; 120 dB — the work of a demolition hammer; 130 dB, comparable to the sound of a jet aircraft taking off, is considered a pain threshold for a person. At the same time, many high-end microphones are able to work normally at a sound pressure of 140 – 150 dB — and this is a noise level that can cause physical damage to a person.

A parameter that describes the relationship between the useful signal level and the noise level produced by the microphone. Note that the actual signal-to-noise ratio varies depending on the sound pressure perceived by the microphone. Therefore, in the characteristics it is customary to indicate the option for a standard situation — at a sound pressure of 94 dB. This allows you to compare different models with each other.

In general, this indicator quite clearly characterizes the quality of work of a particular model, since it takes into account almost all significant extraneous noise that occurs during operation. The greater this ratio, the clearer the sound is, the less distortion it has. Values of 64 – 66 dB are considered quite decent, and high-end microphones provide performance of 72 dB and higher.

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.