Comparison Hoco BK3 vs MICGEEK Q7

- Dynamic. “Conventional,” or coil, dynamic microphones use a system of a diaphragm (membrane) and a coil that is placed in a magnetic field. From sound vibrations, the membrane, and with it the coil, begin to move, and an electrical signal is generated in the coil. Such models are relatively inexpensive, durable and reliable, and also cope well even with very loud and harsh sounds; in addition, they are more compact and lighter than the other type of dynamic microphones - ribbons (see below). Their main disadvantage is poor efficiency at high frequencies.

— Dynamic (tape). A variation of the dynamic microphones described above, in which the membrane is connected not to a coil, but to a thin (several microns) metal tape, hence the name. Historically, this is the first type of microphone with a dynamic operating principle, however, due to a number of shortcomings, it gradually lost wide popularity, giving way to coil-based options. Such disadvantages are, first of all, large size and large mass, complexity and high cost of production, as well as very low output impedance, which complicates the work with amplifiers. At the same time, tape models are characterized by extremely high accuracy of sound transmission over the entire frequency range, which allows them to be used in recording studios, at high-profile concerts, etc. Most modern models of this type are professional models, in particular studi...o ones (see “Purpose”).

— Condenser. The name of this type is due to the fact that the microphone is actually a capacitor, in which the role of one of the plates is played by a sensitive membrane (usually made of a metallized polymer). Due to the vibration of the membrane (under the influence of sound vibrations), the distance between the plates and, accordingly, the capacitance of the capacitor changes - these fluctuations in capacitance provide an electrical signal. Condenser microphones have uniform sound transmission over the entire frequency range, with a minimum of distortion, due to which this technology has found wide application in professional audio equipment. It is worth considering that for such a device to operate, additional power is required - the so-called. “phantom” (standard voltage - 48 V). However, this cannot be called a clear disadvantage, because amplifiers, receivers and other high-end equipment are often made with this requirement in mind. But obvious disadvantages include high price, sensitivity to shock and strict requirements for temperature and humidity; the latter makes condenser microphones poorly suited for outdoor use.

— Capacitor (tube). A specific type of condenser microphones described above. They use the same principle of sound production (with all the advantages and disadvantages), however, the amplification element in such models, in accordance with the name, is built on vacuum tubes. Technically, such an amplifier introduces more distortion into the signal than a transistor one, but this distortion gives the sound a characteristic coloring that is pleasant to many listeners. Simply put, you get that notorious “warm tube sound”; Moreover, achieving such an effect using a microphone is cheaper than using a tube amplifier, and for a number of technical reasons this option often turns out to be optimal. Almost all tube microphones have a studio purpose (see above). Their main drawback is their high price (several times more than that of “regular” capacitor analogues). In addition, such models have their own nutritional characteristics; To supply energy, a special adapter is usually supplied, which is also responsible for controlling additional functions such as changing the radiation pattern.

- Electret. In design, such microphones are similar to the condenser ones described above, but their design includes a plate made of the so-called. electret - substances with special electrical properties. This provides a number of advantages: electret microphones can be used outdoors without much difficulty, they can be made more compact, and such models are cheaper to produce; At the same time, the quality of sound transmission can be quite comparable to condenser ones. As a result, this technology is found in a wide variety of models - from miniature lavaliers and simple computer ones to studio ones (see “Purpose”). Note also that electret microphones also require external power, but this is not always phantom 48 V - for some varieties, a small amount of energy is sufficient, which can be provided by a compact battery or power supply via a 3.5 mm mini-Jack cable.

Directionality describes the ability of a microphone to pick up sounds coming from different directions, more precisely, the dependence of sensitivity on the direction from which the sound comes.

— Unidirectional. As the name implies, these microphones are capable of picking up sound coming from only one side. Note that the coverage area itself can be quite wide, but anyway it is located “in front” of the microphone. Unidirectional models are very convenient for the perception of sound from a single source, with maximum clipping of ambient noise.

— Bidirectional. This term in our case means two types of microphones. The first option is the classic bidirectional models, designed for the possibility of normal perception of sound from two opposite sides — roughly speaking, "front" and "rear"; at the same time, dead zones are formed on the sides, from where the sound is practically not perceived. This format of work can be useful, for example, for broadcasting a dialogue in a radio station studio, or when simultaneously recording two voices on one microphone. The second variety is microphones with a pair of capsules directed at an angle to each other (most often perpendicular); a similar design is used in models with a stereo recording function.

— Omnidirectional. Also, this variety is called "non-directional", which also to a certain extent ch...aracterizes its features. Such microphones do not have a clearly defined directionality — they perceive the sound coming from any direction with full sensitivity. An example of a situation where this format might be useful is a recording of a roundtable discussion.

Note that while most microphones only work in one directional pattern, some models support multiple directional patterns, with the ability to switch between them as desired by the user (see Features/Characteristics). The methods of such switching can be different: in some models it is enough to move the switch, in others you need to change the capsule.

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.

— Wireless connection. This feature is indicated for the so-called radio microphones — models in which the signal is transmitted wirelessly. Note that a radio microphone kit usually involves a receiver that is connected to an amplifier (or other sound processing device) in a classic wired way (see "Connection connectors"). However, the microphone itself is connected to the receiver via a radio channel.

— Stereo recording. The ability to use a microphone to record sound in stereo format. This format assumes the presence of two channels, and for each of them the sound must be recorded separately; but the technical support of such a recording in different cases may vary. The most popular option is bi-directional microphones. However, in addition to this, this category includes paired sets for which the stereo recording function is directly claimed.

— LPF (Roll-off). The presence of a low-pass filter in the design of the microphone (Roll-off is an alternative name for this function). This feature allows you to reduce the level of low frequencies in the signal produced by the microphone. This need may be due to two factors. Firstly, many extraneous noises are the sound of the wind, knocks on the device case, the surrounding background, etc. — are presented at low frequencies; by suppressing this range, you can significantly reduce the level of extraneous so...unds “heard” through the microphone. Secondly, the LPF is useful for working with the so-called "proximity effect". This effect consists in the fact that when approaching the sound source, many models tend to increase the volume of the bass sound, and when removed, on the contrary, they fail the “bass”. By turning on Roll-off when approaching the sound source and turning it off when moving away, this effect can be smoothed out to a certain extent. For a number of technical reasons, this function is mainly used in condenser and electret microphones (see "Type"). Note that in advanced models, the low-pass filter can be made customizable and supplemented with an auxiliary ultra-low pass filter.

— Attenuator. The presence of an attenuator in the design of the microphone — a device that gradually attenuates the signal level at the output (a kind of opposite to an amplifier). This feature is useful when working with loud sound: by lowering the signal level, you can avoid overloading the system.

— Sensitivity adjustment. The presence of its own sensitivity control in the design of the microphone. This function allows you to adjust the signal level without using the controls in other components of the audio system — for example, to change the volume on the fly; this is quite convenient, since the microphone is usually at hand, and settings can be changed very quickly and without much hassle.

— Headphone volume adjustment. A separate knob for adjusting the volume of connected headphones (see "Headphone output"). Depending on the model, it can be placed both on the microphone itself and on the receiver for wireless connection. Anyway, this feature makes adjusting the volume more convenient: the control is at hand and the user does not need to reach for other devices or delve into the software settings.

— Mute the microphone. The presence of its own switch in the design of the microphone. In some use cases, it is not uncommon for situations where the microphone has to be constantly turned on and off. For example, during a concert, the number of performers may change, and it is better to turn off unused microphones; when communicating via Skype through a computer, sometimes you have to be distracted by conversations with others that the “computer” interlocutor does not need to hear, etc. Usually, muting the microphone is possible through the settings or control panel of the device to which it is connected; however, using your own switch is usually easier and faster, especially if you have to mute / unmute the sound frequently.

— Built-in memory. The presence of built-in data storage in the microphone eliminates the need to use external storage media to record sound. On-board storage is found in some models of advanced “lavaliers”, microphones for video cameras and voice recorders - i.e. in portable solutions with a view to comfortable work in the field.

— Switching DN. DN in this case means “directional pattern”, however, this function may mean switching not only between options for a unidirectional microphone (see “Directional Pattern”), but also between one-, two- and omnidirectional operation format (see “Directionality”). microphone"). Therefore, specific switching features and available options should be clarified for each model separately.

Types of connectors provided in the design of the microphone.

Most often, in this paragraph we are talking about the type of connector designed to connect the microphone itself to external audio equipment. Of these interfaces, the most popular nowadays are analogue XLR(including a smaller version of mini-XLR), Jack 6.35 and mini-Jack 3.5 mm, as well as digital USB A, USB-C and Lightning. Also, individual microphones provide their own headphone jack(sometimes Microdot). Here is a more detailed description of each option:

— XLR. A characteristic round plug of a rather large size, usually with an external casing. In microphones, 3-pin XLR plugs are most common, one such plug allows you to transmit one channel of sound; other options are possible — for example, a 4- or even 5-pin connector in a model that supports stereo recording (see "Functions and Capabilities"). Anyway, the main advantage of XLR is the ability to work with a balanced connection. With this connection, most of the interference induced on the cable is extinguished "by itself", without the need for additional filters; this allows fairly long wires to be used without sacrificing sound quali...ty. In addition, the XLR connectors provide a tight connection, further improving noise immunity; and for additional security, sockets and plugs of this type are often equipped with locks. The main disadvantage of XLR is its large size; therefore, the main scope of its application remains professional models, where the mentioned advantages far outweigh the disadvantages.

— mini-XLR. A smaller version of the XLR interface described above; has the same technical features and differs only in smaller sizes. The latter makes the mini-XLR more suitable for applications where compactness is important. At the same time, such connectors do not yet have official standardization, and therefore are quite rare.

— mini-Jack 3.5 mm. One of the most popular modern audio connectors. In microphones, however, it is much less common than the same XLR — mainly in compact models, as well as entry-level and inexpensive mid-range solutions. This is due to the fact that the mini-Jack is small in size, but noticeably inferior to XLR in terms of quality and connection reliability, which is why it is poorly suited for professional tasks. It is also worth considering that in modern microphones you can find different versions of the 3.5 mm jack:

• mini-Jack 3.5mm TS. A two-pin connector that allows you to transmit only 1 channel of sound (mono). It is found in fairly advanced microphones, and 3.5 mm jacks of this format are used in basic audio equipment of the appropriate level and specialized devices (like transmitters for lavalier microphones).
• mini-Jack 3.5 mm TRS. Three-pin, the most common type of mini-jack connector. Technically, it can be used for balanced connection of one audio channel (see “XLR” above), but in fact it is more often used either for compatibility reasons (so that the microphone can work normally with three- and four-pin jacks on laptops, phones, etc.), or to transmit a stereo signal (in models with the appropriate functionality — see "Functions and Capabilities").
• mini-Jack 3.5mm TRRS. Four-pin mini-jack plug. It is used mainly in models for smartphones / tablets, camcorders and other equipment — such equipment is often equipped with sockets for exactly 4 connectors, and for optimal compatibility, the same number of contacts is also provided on the microphone. Stereo audio can be transmitted through such an interface, but this capability is not necessarily supported.

Ideally, a microphone with a mini-jack should be connected to a connector that has the same number of pins — otherwise, normal operation is not guaranteed (although exceptions are possible).

— Jack (6.35 mm). Full-size Jack; has almost twice the diameter of the 3.5 mm mini-Jack described above. Poorly suitable for portable equipment, but it provides a fairly tight and reliable connection — although it is somewhat inferior to XLR in this parameter; can also be used for balanced connection (see "XLR"), but in this format it is used relatively rarely. Note that in some microphones, the 6.35 mm interface is provided not as a full-fledged plug, but as an adapter for a 3.5 mm mini-jack installed on the wire. The Jack connector can also have a different number of pins, but in this regard it is not as diverse as the mini-jack: the classic 3 pins (TRS) are the most common, and the 4 pin format (TRRS) is practically never found.

— TA4F. A specialized connector used in audio equipment, and mainly in microphones. Also, this term can mean a connector of a similar design TA3F (with 3 contacts).
The TA4F is fairly small, making it suitable for compact head and lavalier microphones. And thanks to the presence of 4 pins, you can also connect phantom power for condenser microphones through it (however, the use of TA4F is not limited to this type of microphone). Note that this connector is considered professional and is found mainly in the technique of the corresponding level.

— USB. The USB interface is mainly used in computer technology — to connect various peripheral devices. At the same time, among models for PCs and laptops (see "Intended use"), this option is much less common than the mini-Jack 3.5 mm described above, and most microphones with USB are studio ones. This is due to the fact that the signal is transmitted via USB in digital format, which is very convenient when recording to a computer for further processing and mixing (but for voice communication it is more convenient to use a regular microphone input). However, there are other types of microphones with this interface.

— Lightning. A proprietary connector used exclusively in Apple portable devices — iPhone smartphones, iPad tablets and iPod touch players. Accordingly, this connection option is found exclusively in microphones for Apple smartphones, moreover, specially designed for this technique.

— microdot. Balanced jack for coaxial connection to musical instruments and other acoustic/audio equipment. The microDot connector is characterized by the presence of a thread, which ensures a high reliability of the connection. The microDot connection is commonly found in compact microphones mounted on a musical instrument.

— Corporate outlet. This category includes all interfaces not related to those described above. These can be not only their own connectors used by a certain company, but also some standard connection types that are not widely used and are found in specialized technology. However, anyway, when buying such a microphone, you should separately make sure that it is compatible with the device with which you plan to use it.

— Headphone output. Separate headphone output. Most often it looks like a standard mini-Jack 3.5 mm jack — it is this interface that is used in most modern "ears", which gives the user a wide choice. In addition, such an output can be combined with its own volume control.

The remaining features of both the connector itself and its application depend mainly on the type of microphone (see "Microphone"). So, lavalier models, when headphones are connected, turn into headsets; when used in karaoke, headphones make it possible to listen to music better, and when used in a studio, they also allow you to hear your own voice, controlling what is being recorded. Also note that in radio systems (see above), such an output is usually located on the receiver.

The material from which the microphone body is made.

— Plastic. The main advantages of plastic are low cost, light weight and complete insensitivity to corrosion. At the same time, it is considered less reliable than metal, due to its relatively low strength (high-strength varieties of plastics exist, but in the case of microphones, it is usually easier to use metal after all). Therefore, this material is popular mainly among models for which lightness and miniature are important — primarily lapel, head and those that are installed on a video camera(see "Destination"). It is also often found in computer and laptop devices, but plastic microphones for vocals usually belong to the entry-level price category.

— Metal. Metal is more expensive than plastic and has more weight. On the other hand, metal microphones are much stronger and more reliable, besides, a microphone in such a case gives the impression of "solidity" (not least due to massiveness). This option is popular with mid to high end vocal, studio and instrument microphones.