1. The Shure SM58® is a unidirectional (cardioid) dynamic vocal microphone designed for professional vocal use in live performance, sound reinforcement, and studio recording.

2. The Shure SM86 is a unidirectional (cardioid) condenser vocal microphone for professional use in live performance.

3. The Model SM7B dynamic microphone has a smooth, flat, wide- range frequency response appropriate for music and speech in all professional audio applications.

4. The Model SM89 is a highly directional condenser shotgun microphone with distant pickup characteristics suitable for on-location film and television production.

5. Model WL93 Microphones are economical omnidirectional, subminiature, lavalier, condenser microphones designed for general speech applications where a visually unobtrusive microphone is desirable.

6. The Shure Model WH20 is a rugged, lightweight, dynamic headset microphone that provides high-quality voice pickup. It fits securely for active microphone users, such as aerobics instructors and musicians, with low visibility for stage appearances.

7. the SM87A condenser microphone features a smooth frequency response that's specifically tailored for warm, rich, vocal reproduction. Supercardioid condenser.

8. Microphones Microphones, as we know, turn sound into electrical signals. The microphone is a primary input in most sound systems. It converts (transducers) vibrating air (acoustic energy) into an analog electrical signal. It performs this magic by sensing variations in the waves and converting them into variations in electrical voltage. Although all microphones perform this basic function, they do it in a number of different ways.

9. Dynamic Microphones Dynamic moving coil microphones employ a coil of wires attached to a diaphragm, which is suspended within a magnetic field. Acoustical vibrations cause the diaphragm and the coil to vibrate within this magnetic field, creating an AC (alternating current.) This current electrically represents the audio signal.

10. Dynamic Microphone

11. Condenser Microphones Condenser microphones use two adjacent plates. One is stationary, while the other, a diaphragm, vibrates to incoming acoustic signal. These two plates are charged with a constant voltage - phantom power. As the distance between the stationary plate and diaphragm varies with incoming vibrations, a varying electrical current is generated.

12. Condenser Microphone

13. Ribbon Microphones The ribbon microphone (also called a pressure gradient, or velocity microphone) works on the same principle as the moving coil. It uses a thin metal ribbon suspended between the poles of a magnet to sense the sound wave. When the ribbon moves, it cuts through the lines of flux generated by the permanent magnet, and this flux induces a voltage in the ribbon. This voltage becomes the signal output.

14. Phantom Power Phantom power is a method of powering a condenser microphone using another device. For example, the cable from the microphone to the audio mixer or videotape recorder could carry power as well as audio signals. If you are able to provide a microphone phantom power, you will not need batteries!

15. Lavaliere microphones are small, lightweight microphones designed to be attached under the chin of the speaker. Lavaliere microphones are attached to the talkers clothing in such a manner that they will not move and produce rustling noises. These microphones are very common in television and film production because they are easy to conceal.

16. Surface Mount Microphone (also called a boundary microphone) is simply placed on a table to pick up sound. These microphones are often used in boardrooms and other environments where a number of talkers must be picked up and where the microphone needs to remain unobtrusive.

17. Shotgun Mic A long, slotted tube design microphone. Used when you must pick up sound and cannot get the microphone close to the talker. these microphones are designed to attenuate unwanted sound and pick up a talker or sound source from many feet or meters away. These microphones can either be handled by an audio person who makes sure they are pointed in the right direction, or mounted on a boom pole.

18. Omnidirectional microphones pick up sound from all directions equally - with a slight preference for sounds coming from the direction in which they are pointed. Omni­directional microphones are equally sensitive to sounds from nearly all directions. They provide the same output level independent of direction of the source. Omni-directional microphones are typically used for recording and group pick-up.

19. Pickup Pattern

20. Cardiod microphones have a heart-shaped (cardioid) pickup pattern and are sensitive to sounds predominantly from the front of the microphone diaphragm. They love sound which comes from the direction in which they are pointed (pick-up axis) and reject sound coming from the sides and rear.

21. Pickup Pattern

22. Hyper or super cardioid microphones are even more directionally sensitive and are sometimes called shotguns because of their long length. They are sensitive to sound coming from one direction, and are typically used for sound reinforcement for one or two people.

23. Pickup Pattern

24. Bi-directional microphones are sensitive to sounds from the front and rear, while rejecting sound from the top, bottom, and sides.

25. Hemispheric, or PZM Boundary microphones use a large flat surface, such as a tabletop or wall to create a large, smooth, dome-shaped pickup pattern. They are often used in a boardroom to pickup many people with relatively few microphones.