"Dynamic" is a quality we often associate with people or objects. It sounds flexible, adaptable, full of energy – all really good stuff. Dynamic microphones are the most popular microphones for the stage – the tough "workhorses". They transport your energetic live sound reliably and unfiltered from the stage to the audience – with all its audible character. But that's not all, because dynamic microphones can do a lot more. Under the right conditions they also cut a fine figure when recording instruments.
"Live on stage": Make a grand entrance with our dynamic microphones
Dynamic microphones from IMG STAGELINE
Check out the dynamic microphones from IMG STAGELINE:
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Are dynamic microphones good for the stage? Well, it's not that easy
Do you feel at home on stage? Our dynamic microphones will make your voice ring out
The DM-710 as a functional and high-fidelity solution that is easy on your budget at the same time
The DM-720 meets your highest demands with a balanced, neutral sound
The DM-730 for demanding performances without disruptive noises
The TXS-606HT/2 for the gig that everyone in the audience will remember
It's all about the technology: What is actually going on inside?
With all these microphone specs it helps for you to know what they all mean
Are dynamic microphones good for the stage? Well, it's not that easy
Up until a few years ago, many musicians still had the strict, classical thinking of "dynamic = stage, condenser = recording studio". But this rigid classification is no longer really correct. Our microphones can be used more flexibly: High-quality dynamic microphones can definitely play a part in your studio recordings or your home recording sessions. And condenser microphones have more to offer than just picking up sound in a professional recording studio: You can use them on stage and be confident that if your breathing technique is not perfect, that every little nuance will be heard. It is a preconception from the past that dynamic microphones are not as accurate.
Like the lyrics by The Kinks on their 1978 song "Get Up": "You're the ones to make it all work out, it all depends on you". So it depends on what your requirements are.
Want to learn more about microphone basics from the point of view of musicians? Have a look here at our magazine.
Dynamic microphones are highly resilient and hard to break – ideal for your high-energy stage performance.
Do you feel at home on stage? Our dynamic microphones will make your voice ring out
Often the simplest things are the best. This also applies to the basic technical principle of dynamic microphones. They have a simple design – basically unchanged since the 1970s – and are therefore usually cheaper to buy than condenser microphones.
The dynamic microphones in our range are characterised by balanced sound fidelity. For the sake of classification they are in the "vocal microphones"category – but they can do much more than just pick up voices. They are high-quality devices made with robust materials that are easy on your band budget and most importantly: you get flexible, easy-to-use and powerful equipment without any additional frills. We follow a philosophy with our microphones: No feature overload, just the function(s) you need – and these microphones are really good at that. You can use them reliably for every application, on small and large stages or in crowded clubs, because they are made for authentic live sound systems – from rock to pop and from metal to singer-songwriter. With these all-round microphones your live voice will sound exactly how it should sound.
The DM-710 as a functional and high-fidelity solution that is easy on your budget at the same time
Cardioid polar pattern
Neodymium version
Frequency range: 50-15,000 Hz
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
The DM-710 as a functional and high-fidelity solution that is easy on your budget at the same time
Cardioid polar pattern
Neodymium version
Frequency range: 50-15,000 Hz
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
More about the DM-710
You have the one live performance ahead of you that could shape your entire future career? Our dynamic microphone DM-710 is the ideal tool. It's also good for announcements in a DJ set list. The small black solution for that really big performance.
The DM-720 meets your highest demands with a balanced, neutral sound
Cardioid polar pattern
Neodymium version
Frequency range: 80-12,000 Hz
Sliding switch
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
The DM-720 meets your highest demands with a balanced, neutral sound
Cardioid polar pattern
Neodymium version
Frequency range: 80-12,000 Hz
Sliding switch
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
More about the DM-720
Do you love details and those fine nuances that make your sound so distinctive? Our dynamic microphone DM-720S is perfect for those big events where the highest quality matters.
The DM-730 for demanding performances even with the highest tones
Supercardioid polar pattern
Neodymium version
Frequency range: 50-18,000 Hz
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
The DM-730 for demanding performances even with the highest tones
Supercardioid polar pattern
Neodymium version
Frequency range: 50-18,000 Hz
Diecast zinc body
Supplied with microphone holder, 9 mm (⅜") adapter screw and microphone bag
More about the DM-730
The DM-065 for the expressive, authentic stage performance
Nostalgic design
Cardioid pattern
Quiet on/off switch
The DM-065 for the expressive, authentic stage performance
Nostalgic design
Cardioid pattern
Quiet on/off switch
More about the DM-065
Our dynamic microphone DM-065 visually impresses with its authentic retro style and supercardioid pattern. It gives your voice that pleasant and warm expression that makes your audience come to your gigs or the club in the first place.
Of course you want to be as free and flexible as possible for your performances. And what's the best way to do that? With our "Handheld Microphone Transmitters". These wireless microphones are designed to handle the most demanding technical and acoustic requirements. Perfect for the stage! And we have quite a few of perfect specimens among our dynamic microphones. UHF PLL technology guarantees stable transmission: It transmits the voice of your vocalist up to 300 metres away, free of interference, with high fidelity and authenticity.
The TXS-606HT/2 for the gig that everyone in the audience will remember
Dynamic microphone capsule, cardioid pattern
800 adjustable UHF frequencies (672.000-691.975 MHz), synchronisable by ACT function with the TXS-606, TXS-626, TXS-646 or TXS-686 receivers
Sensitivity adjustable
Switchable transmission power (high 25 mW/low 2.5 mW)
LCD display for group/channel, audio level and battery status
Powered by 2 x 1.5V AA batteries (not included)
The TXS-606HT/2 for the gig that everyone in the audience will remember
Dynamic microphone capsule, cardioid pattern
800 adjustable UHF frequencies (672.000-691.975 MHz), synchronisable by ACT function with the TXS-606, TXS-626, TXS-646 or TXS-686 receivers
Sensitivity adjustable
Switchable transmission power (high 25 mW/low 2.5 mW)
LCD display for group/channel, audio level and battery status
Powered by 2 x 1.5V AA batteries (not included)
More about the TXS-606HT/2
Our dynamic handheld transmitter TXS-606HT/2 has convincing arguments with its switchable transmission power and the large number of receivers that can be synchronised with it. ACT (Automatic Channel Targeting) makes precise and fast frequency synchronisation possible. Wireless, but with convincing sound fidelity, which means: "The stage is yours!"
The TXS-865HT gives you (almost) unlimited flexibility
Dynamic microphone capsule, cardioid pattern
124 selectable channels in 6 channel groups (506-542 MHz)
Sensitivity adjustable (12 dB to -18 dB)
Lock/mute function
Backlit LCD display for channel and battery status
Switchable transmission power 10 mW/low 50 mW (EIRP)
Powered by 2 x 1.5V AA batteries (not included)
Delivery includes durable transport box and tripod clamp
The TXS-865HT gives you (almost) unlimited flexibility
Dynamic microphone capsule, cardioid pattern
124 selectable channels in 6 channel groups (506-542 MHz)
Sensitivity adjustable (12 dB to -18 dB)
Lock/mute function
Backlit LCD display for channel and battery status
Switchable transmission power 10 mW/low 50 mW (EIRP)
Powered by 2 x 1.5V AA batteries (not included)
Delivery includes durable transport box and tripod clamp
Go to the TXS-865HT
Our dynamic handheld transmitter TXS-865HT combines innovative circuit design with switchable transmission power. It transmits reliably up to 300 metres. With the REMOSET technology you can even set the transmission channel on the transmitter directly during the live performance(!) – without any visual contact.
Here are the four advantages of dynamic microphones
The reasons why generations of musicians have chosen to use their equipment according to this credo were absolutely justified back then and still are now! The pros and cons of using dynamic microphones as opposed to condenser microphones lie in the technical construction that we are going to present in more detail here. Compared to condenser microphones, dynamic microphones have practical advantages that will help you as a live musician or as a DJ in clubs:
1. They are robust and impossible to break
Dynamic microphones are solid and resilient. You could handle a concert in unchartered territory in the middle of the deepest jungle: Dynamic microphones aren't affected by even the most extreme conditions – high temperatures or humidity beyond 90% are not a bother at all. They are practically indestructible and, as collectibles, have outlived generations of musicians.
2. With dynamic microphones you hardly have any disruptive noise or feedback
Dynamic microphones are less susceptible when it comes to (disruptive) background noise or feedback – they just don't register them as accurately. What may be a disadvantage in the studio – if you are looking for a sparkling clean recording and not a scratchy, authentic garage sound – might just put dynamic microphones in pole position when you're on stage. Not every note is necessarily perfect here, especially with long set lists and energetic performances.
3. They are insensitive to higher (limit) sound pressure
Dynamic microphones can withstand extremely high volumes without compromising quality or function. If you're a creative firecracker and you're into rock or metal, even high sound pressure levels do not overload dynamic microphones. Loud crash cymbals or bass drums are good examples here. They can overwhelm signals quickly because the levels suddenly skyrocket – even if it's only a brief mishandling. Dynamic microphones are impervious to that. This makes them ideal for picking up very loud (or unpredictable) sound sources such as electric guitars or drums. For more tips on perfect drum recording check out our magazine.
4. Dynamic microphones do not need an additional power source (phantom power)
A dynamic microphone generates enough voltage itself and therefore does not need an additional power supply via cable – unlike condenser microphones, which have to be supplied through an XLR cable. A wireless dynamic microphone is particularly practical when used live on stage because you are much freer in your performance and greatly cut down the risk of tripping over metre-long cords.
In order to clarify which microphone is best suited for what application – one of the dynamic microphones just presented or a condenser microphone – we should take a brief detour into the technical structure: What are microphones and how do they actually work? Don't worry, you don't need a physics degree here!
It's all about the technology: What is actually going on inside?
In very simple and general terms: Microphones convert the acoustic wave, i.e. the sound emanating from your instruments or voice, into electrical impulses.
By the way: The functional principle is exactly the same as with speakers – just in the other direction. The components – membrane, coil and pot magnet – are the same in both devices, they are just used in reverse. You shouldn't try this, but: You can hear music from some microphones by plugging them into headphones! But you can also destroy your equipment this way, so don't do it! Conversely, sounds can also be recorded with speakers – MacGyver sends his musical greetings.
Microphones work with these two converter principles
This technology, also called the "induction principle", is used with dynamic microphones. Due to their low sensitivity, dynamic microphones are often used for loud sources or close-range applications.
In the case of the electrodynamic principle, we distinguish between two different types:
- The sound waves meet an easily movable diaphragm inside the "moving coil microphone" and stimulate it to vibrate. A coil connected to it is then also set in motion. The movement of the coil in a constant magnetic field creates voltage (electromagnetic induction). This is how sound waves are turned into electrical signals, which we then perceive as acoustic tones at the end of the signal chain once they are processed by speakers or audio interfaces.
- With the "ribbon microphone", instead of the coil there is a thin, 1-4 mm wide aluminium ribbon that serves as the membrane. This small mass allows the ribbon to move very easily, but it only vibrates by a few µm. It is also based on the induction principle, which means signals are generated due to movements of the diaphragm through the magnetic field. The special diaphragm used here, however, changes the sound significantly. Ribbon microphones are extremely sensitive – especially to wind, vibrations and fast movements.
When technicians and musicians generally speak of dynamic microphones these days they primarily mean the moving coil variant. It is the most common type of dynamic microphone. Experts often see ribbon microphones as a separate category, although they are technically based on the same (induction) principle.
Ribbon microphones have their own sound and are used in professional recording studios where quality and price levels are higher because of their sensitivity. They record clear sound and feature good impulse behaviour. Because of this, they are used less often on stage and more often in the studio. A ribbon microphone requires a powerful (pre)amplifier, which still works with very little noise even at high gain.
Their "rivals", condenser microphones, use the "electrostatic principle". Inside these is an electrically charged membrane-electrode composite that forms a sound-sensitive condenser. Sound waves cause a very thin membrane made of metal or metal-coated plastic to vibrate. This in turn is attached in parallel to a fixed rear electrode. If the condenser is charged with a DC voltage – unlike dynamic microphones, the condenser microphone requires what is known as "phantom power" – an electrostatic field is created between the membrane and the electrode. When sound waves hit the membrane, it vibrates. As a result, the distance between the membrane and the rear electrode varies, resulting in a change in voltage and thus a variable electrical signal.
Are you the singer in your band and are you still trying to decide between dynamic or condenser microphones? Then check out our magazine article "Does the perfect vocal microphone really exist?" for other helpful tips.
From the scene, for the scene: Our magazine
- 11 August, 2020
- 1 June, 2019
- 25 May, 2019
What type of microphone is best for recording...
- vocals: Even if both microphone types work, the condenser microphone has the edge here. Thanks to higher signal-to-noise ratios it delivers better detail, especially in the higher frequencies, and cleaner recordings:
- an electric guitar: Here it is best to use a dynamic microphone because it has a moving coil inside that is resistant to high sound pressure levels. This helps avoid distortion.
- drums: This is a special case. Since drum kits basically consist of several instruments, they should also be recorded individually and from close range. That gives a more clearly defined sound. Since powerful volume is important, dynamic microphones are generally the better choice here. They easily deal with high sound pressure levels and have low sensitivity. But, you can also use a condenser microphone for the hi-hat, which picks up the high frequencies of this drum element in great detail.
an electric guitar: In principle, you can also use both microphone types here. But we would recommend a condenser microphone. It picks up all the details more precisely and gives you a more natural, often warmer sound that suits acoustic guitars. A dynamic microphone delivers less treble and can distort that authentic sound.
There is no ideal, super universal microphone – the areas of application are simply too varied for that. Clearly, based on the list of advantages. we describe here, dynamic microphones are the first choice, especially live on stage, but not they are simply not the only choice. High-priced variants are also occasionally used for recording sessions – but to be fair, one has to say that (large-diaphragm) condenser microphones are usually the better choice for high-end recordings in a controlled environment. Although not the norm, some singers even use condenser microphones for their live performances – even though they are actually too sensitive as a handheld microphone.
Cards on the table...: We can't give you a patent solution. It simply depends on your taste as well as the intended use.
Try it to find out where to use which type of microphone!
With all these microphone specs it helps for you to know what they all mean
Microphones handle sound pressure in different ways. The information shows you when the microphone reproduces acoustic signals with severe distortion (distortion factor!). You should know when this limit is reached for your microphone – both on stage and in the studio. Have you ever placed a microphone directly in front of a speaker? The 130 dB are quickly exceeded. In such situations, even the microphone body itself produces distortion. Because dynamic microphones are more robust due to their heavier membrane, they have no problems with the maximum sound pressure – unlike condenser microphones. They process signals that are too loud less cleanly and thus also cause distortion on the recording track.
Microphones are distinguished by their characteristic fundamental sound. When recording, it is important to have a neutral, linear transmission of all frequencies – live on stage is different. Due to their design, the transmission behaviour in the upper and lower frequency range is more pronounced with condenser microphones than with dynamic microphones.
The direction from which the sound hits your microphone is an important component. Microphones with so-called "omnidirectional characteristics" pick up sound from all directions evenly. The directional characteristic can be adjusted structurally: Cardioid, supercardioid and hypercardioid microphones have very different directivity characteristics.
Roughly speaking, the most sensitive direction of incidence of sound is usually perpendicular from the front. For all other angles there is a lower sensitivity: Those sounds are picked up less loudly.
Impulse behaviour defines whether microphones transmit high vibrations accurately (e.g. voice or some instruments). Impulse behaviour is a decisive factor for good recording quality and is primarily determined by the mass of the microphone diaphragm. The diaphragm mass of a condenser microphone is much smaller and therefore easier to set vibrating than that of a dynamic microphone – it therefore transmits impulses better.
Impedance is measured in ohms and represents the resistance of your audio equipment. In the case of microphones, a distinction is made between frequency-dependent, low-impedance and high-impedance types. High-impedance microphones are rarely used because they only work with very short connection cables and are therefore impractical. Low-impedance microphones typically have an impedance of around 200 ohms. Make sure that the input impedance of the subsequent microphone input is three to five times higher than the impedance of the connected microphone itself. For peace of mind: modern mixing boards are built to handle all sorts of impedances and you use the gain control to compensate for higher impedances.