The studio microphone is arguably the most personal piece of equipment in radio. Everything the presenter says passes through it, and its character shapes how they sound to millions of listeners. Broadcast microphone selection is therefore taken seriously, and the choices made at different types of stations reflect genuine differences in what each format demands.
Dynamic vs Condenser
The two main microphone types used in broadcast are dynamic and condenser. Both convert sound into an electrical signal, but by different mechanisms:
- Dynamic microphones use a moving coil attached to a diaphragm. They are robust, require no external power, handle high sound pressure levels well, and are forgiving of close speaking technique. The Shure SM7B and Electro-Voice RE20 are industry standards in this category and appear in studios worldwide.
- Condenser microphones use a capacitor element that requires a small voltage (phantom power, supplied by the mixing console). They are generally more sensitive and have a wider, flatter frequency response, making them popular in drama studios, classical recording, and spoken-word productions where accuracy matters more than robustness.
Cardioid and Hypercardioid Patterns
The pickup pattern determines which directions the microphone captures sound from. Cardioid mics pick up mainly from the front and reject sound from behind. Hypercardioid patterns are narrower, offering more rejection from the sides at the cost of some sensitivity directly to the rear. Most broadcast presenting microphones are cardioid, making them forgiving in imperfect acoustic environments.
Proximity Effect
Directional microphones exhibit a proximity effect — the closer you get to them, the more the bass frequencies are boosted. Radio presenters use this deliberately: speaking close to the microphone adds warmth and intimacy to the voice. Experienced presenters learn to back off the mic slightly when raising their voice to avoid a bass-heavy, boomy sound.
The Role of the Shock Mount and Pop Filter
A shock mount isolates the microphone from vibrations travelling through the stand or desk — footsteps, someone banging a console, or a pen tapping the desk. A pop filter sits between the presenter’s mouth and the capsule, diffusing bursts of air that cause plosive sounds (the ‘p’ and ‘b’ sounds that otherwise produce a thumping low-frequency spike on the recording).
Together, the microphone, its mount, and its filter form a matched system. Getting this combination right is one of the quieter crafts of studio engineering, and when it is done well, listeners never think about it — they simply hear a voice that sounds clear and authoritative.
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