Condenser Or Dynamic, That Is The Question!

I recently received a message from a visitor concerning a statement I made.  I stated dynamic microphones are preferred to condensers for live vocals because, in part, dynamic microphones can withstand high sound pressure levels without damage or distortion.

My reader disagreed with me.  They said;

    "Condenser and dynamic mics can both work great on singers....In live sound there have been some great condenser vocal mics that have come to market such as the Neumann KMS104 & KMS105 and the Shure KSM9."

It is true that dynamic microphones can withstand high sound pressure levels (high volume from the source) without damage or distortion.  Where dynamics might be preferred is with the untrained singer who is more likely (but not always) to misuse a microphone both in handling technique and in blasting out their vocals. 

I asked JB over at Church Audio and Sound about how he viewed such a preference for dynamics over condensers due to high sound pressure level handling and he wrote;

    "I've heard that one before and in some respects it's true. It really depends on the circuitry type. Some forms of transistor electronics don't do well in high SPL situations, which is why you see studio condenser microphones often have a 10dB pad switch. The capsule can handle up to 140dB… but not the electronics...And this is why you see scores of tube mics.  Vacuum tube circuitry can handle high SPL's better than some forms of transistor circuitry."

Another area of issue outside of screaming vocals is stage volume.  Condensers can be significantly more prone to picking up stage volume and that can then bleed into the mix.  Also, if floor wedges are used for monitoring, then the condensers can be prone to feedback.  JB raised a great point in regards to the different condenser models;

    "The Neuman has poor feedback rejection and really only shines in situations with moderated stage volume or in-ear monitoring. When you drop a stage monitor in front of it, you'll start hearing the bleed. The KSM9 however, employs a dual-diaphragm microphone capsule where the one at the back is phase reversed. So you can sing in front of stage monitors all day, and unless the stage volume is bleeding-ears loud or you point the microphone towards the monitors, you won't get any feedback.

The reader was correct in that condensers can be used in the live environment.  I'm all for using the equipment that produces the best sound.  In the realm of studio production, it's condensers all the way.  In the realm of live events and trained singers, again, I'm all for condensers.  In the hands of the untrained, a dynamic microphone is just the safest way to go.