1 . Dynamic microphones are typically designed for use close to the source . A principle called the proximity effect is demonstrated when a microphone moves closer to a sound source and low frequencies become relatively stronger compared to the high frequencies . In other words , the sound they capture gets more bass-heavy . Microphones designed for miking in close proximity to the source ( within a few inches ) have a built-in frequency response that ’ s weak in the low end . Therefore , the low end flattens out as the mic moves closer to the source . Dynamic mics are the most rugged of the mic types and their capsule design is bulkier than the other common mic types . They don ‘ t respond as well to intricacies in sound waves , especially to transients ( fast attacks ) like those from a percussion instrument . Dynamic mics aren ’ t a good choice for miking a symphony orchestra ; however , they ’ re very durable and can faithfully handle a lot of volume , so they are an excellent choice for close-miking kick drum , snare drum , toms , guitar and bass speaker cabinets , and aggressive vocals , especially in a live show . The Shure SM57 and SM58 are dynamic microphones , and are the most frequently used microphones of all time . Purchasing mics from trusted and highly respected manufacturers , such as Shure and others , is the best approach because your mics will sound great and last a long time . I still have a few SM58s that I bought in the early ’ 70s . They have been thrown in bins after late night gigs , dropped , left in the van in sub-zero and 120-degree temperatures , and yelled into endlessly through almost every era of rock music ! They still sound great and I ’ m actually proud of how beat up they are at this point . Shure has been a good friend over the years . I have a lot of their mics , ranging from the SM to KSM to Beta series , and they ’ re all rock solid . I could share similar stories about several other manufacturers like Audio-Technica , Royer , Sennheiser , Electro-Voice , Blue , Telefunken , and Neumann . They ’ re all good friends to those of us who love to capture great sounding music .
2 . Condenser microphones are capable of
The line on the SM58 frequency response chart above shows a decrease in in the low frequency response . Moving this mic close to the source increases the low frequencies , effectively flattening out the low-frequency response . Also , notice an increase in the high frequencies between about 2 kHz and 10 kHz . This boost in the highs helps increase vocal intelligibility and also helps close-miked drums and guitars cut through the mix . The SM58 ( above ) has a built-in windscreen and is the live sound industry ’ s mostly common vocal microphone .