Comparison Rode VideoMicro vs Behringer C-1U

— 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.

- 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.

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 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.

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 type of power used by the microphone during operation.

- Phantom. 48 V power supply required for operation of condenser microphones, as well as some types of electret microphones(see “Type”). With the standard connection, electricity is supplied through the same cable that connects the microphone to the receiving device; Accordingly, for normal operation of such models, amplifiers, receivers or other equipment with a microphone input that has phantom power are required. However, the absence of such an input is also not an insurmountable obstacle - some microphones have adapters that allow you to receive phantom power from a 230 V network (for more details, see “Included”). Another alternative is the phantom/battery combo described below. In general, this method of power supply is convenient in that it allows you not to worry about the battery charge, but freedom of movement is limited by the length of the power cord.

— Battery. Powered by rechargeable battery. Note that it is often poorly suited for analog capacitor models - the required 48 V is difficult to provide with a small portable battery. But in electret microphones, battery power is used quite often. Another area of application for batteries is models with wireless connections (see “Features/capabilities”), in which autonomous power is required at a minimu...m for the operation of the transmitter. In any case, the battery is convenient due to the absence of unnecessary wires. It, of course, needs to be recharged periodically, but the power consumption of microphones is usually low and the battery life even in the most modest models reaches several hours.

— Phantom/battery. Microphones of this type can operate either from phantom power or from their own built-in battery (for more details on both, see above). This makes them extremely versatile and can be used regardless of the presence of phantom power inputs or suitable adapters. However, it must be taken into account that the performance characteristics when using different power sources may vary slightly; this point is usually indicated in official data.

— Batteries. Powered by replaceable elements of a standard size - most often AA (“pen-AA batteries”). The main advantage of such microphones is the quick replacement of batteries when discharged. Batteries are usually not included in the package and must be purchased separately. However, this provides an advantage - the ability to independently choose the type and brand of replacement batteries.

Note that when connected via USB, the microphone receives the power required for operation through the same connector; For such models, the type of power supply is not separately indicated.

- 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.