The first condenser microphone was developed by Bell Labs in 1916, and after a decade of improvements was introduced as the Western Electric 394-W. This microphone gave sound to early motion pictures. In Germany in 1928, Georg Neumann produced the "bottle" condenser known as the CMV3, the first in a long line of Neumann & Co. microphones that were acclaimed wordwide for their quality.
In 1931, RCA introduced its 44A ribbon microphone to the recording industry. Though extremely bulky, these smooth, sensitive microphones quickly gained a reputation for excellence and became one of the most widely used vocal microphones in the business.
In 1949, Neumann upped the ante with its U47; a microphone that became synonymous with legendary crooner Frank Sinatra and later in the 1960s, the Beatles. They used Neumann microphones on every recording session at the Abbey Road studios.
Vintage Neumann microphones continue to be revered today, often commanding prices at $10,000 and up. But they aren't the only elite microphone. Austrian giant AKG has long been synonymous with state-of-the-art microphone technology, along with major names including Senheiser, Rode, Shure and Telefunken.
Whatever the brand name, the large diaphragm condenser microphone is usually the go-to microphone for recording vocals in a recording studio. Condensers require their own power supply and are known for their clarity and superior frequency response. They're also extremely sensitive to background noise, sibilance (harsh "s" sounds) and plosives (forceful and boomy "puh" sounds). Every so often, they require the use of a "pop" screen or filter.
Small diaphragm condensers have a very wide frequency response and an impressive transient response (the ability to reproduce fast sounds). They're often used to record stringed instruments. They are, however, quite versatile and will also often be used for vocals and even as overheads on a drum kit.
Often used in stereo pairs, ribbon microphones have long been valued for their ability to accurately capture high-frequency detail and are commonly used to record acoustic guitars and other stringed instruments. They're also adept at handling high sound pressure levels (SPLs), making them ideal for recording brass and percussion-heavy music.
Rugged dynamic microphones also have their uses in the recording studio. Most notably, the legendary but affordable Shure SM57 is a fixture at most studios, where it is usually put to use close to mic'ing drums and guitar amps. Likewise for the Shure SM58, which is even occasionally used for lead vocals, especially in instances when a singer wants to try to create a "live" feel. If a singer sticks with the vocal microphone she uses on stage, she can sometimes get into her own comfort zone. Technically the sound quality might not match that of an expensive condenser, but an expressive or impassioned vocal performance may more than make up for any such technical shortcomings.
Many musicians yearn for that special mic that could be the answer to their recording dreams. While there's no doubt that a top-of-the-line microphone can bring a lot to the table, it's also dependent on other factors to fully realize its capabilities. A $10,000 microphone coupled with a cheap and nasty pre-amp and compressor is only going to sound as good as its weakest link. Unfortunately, there are musicians who overlook the most important link of all: the actual performance. A skilled vocalist singing into a cheap mic and pre-amp will still probably sound good if the vocal take is tuneful and impassioned enough. On the other hand, a top-of-the-line Manley pre-amp powering a vintage Neumann condenser will not make you sound like Paul McCartney if you sing more like Sid Vicious. Quality gear can only take you so far; sometimes it's a better idea (and certainly less expensive) to work on your craft so that your singing and playing will sound better regardless of the microphone you're using.
Despite the fact that a studio is usually equipped with dynamic and condenser microphones, these have substantial differences. Dynamic microphones such as the venerable Shure SM58 are ruggedly built in order to withstand the abuse they often receive in a live music environment, They work well in a live music context, but they don't have the frequency range and detail of a large diaphragm condenser. However, such precision devices can often cost thousands of dollars, and since they're so fragile and suseptible to damage, they're not likely to be used in many live performances--except perhaps in a controlled environment to offer sound reinforcement in a choral or orchestral setting.
Before the advent of affordable computer recording software, it was a common assumption that studio condenser microphones were expensive devices that were out of the reach of all but professional recording studios. These days, however, there's no shortage of budget-priced condensers aimed at project studios and hobbyists. Established companies such as Rode, Shure, Nady and Audio Technica all sell condenser microphones with a dollar price in the low hundreds rather than thousands. Many have a great reputation for performance and value (see Resources below).