This hypercardioid dynamic mic is tight and bright. It doesnt have a lot of low end response so you can really stick it on top of things like snare drum and guitar cab. It can have a bit of a pointy sound to it on guitar cab. Snare drum is a pretty good fit for the mic, as it allows some extra presence and cut and naturally rolls of the extreme bottom end from the neighboring kick drum.

Conclusion: Anything you need a tight pattern and more cut less boom from, the ATM650 will fill that need.

The D2 offers a tight pattern and small size, which makes it a good candidate for percussion and rack toms. It has a full midrange response and a fairly even top end response that overall isnt too spiky. The low end is not real full sounding, so its not going to give a big image. Good mic as part of a supporting cast on a drum kit, or medium congas etc. On guitar cab they offer a full range response without a flubby low end, and not too tizzy sounding on top.

Conclusion: The D2 is good for a midrange focus on sound, and when placement is critical due to its small size. Small to medium drums and electric guitars, the D2 does well.

Hypercardioid dynamic mic with a more full range response, but similar to the D2 in sound except for its ability to reproduce low end much better. Even on rack toms the D4 would be preferred for its bigger sound, and they can pull floor tom and smaller kick drum duties as well. Guitar cabs and bass cabs can both benefit from the D4, its not a woofy low end response but just more full for the D series.

Conclusion: A more full range version of the D2, the D4 would be more desirable for its full sound and tight pattern.

Possibly one of the most pre-EQd sounding mics Ive ever heard! The D6 is the full aggressive low end response, low and midrange scooped and gutted to heck and back, and a bright sharp top end response that screams modern kick drum. Hard rock and metal drummers who like that clicky kick sound (my friend Bob calls it the typewriter mic) need to pick up a D6. I dont consider it a great bass cab sound, as it pulls the midrange back and you need midrange to hear a bass track in a mix on small speakers. One little secret though, the D6 can sound fantastically huge on snare drum. Great cut and big body on snare.

The i5 does everything the industry standard 57 does, only better in my experience. It has a more linear response up and down the range, but a nicer top end presence to it that requires less EQ during the mix on things like snare and guitar cab. On snare drum it delivers the BODY of the drum better, whereas other mics tend to sound like only the top head of a snare drum. Also, the off axis bleed is much nicer than most dynamics in this price range. Off axis matters a lot when snare drums and hi-hats are concerned: its not such a crunchy mess with the i5.

Conclusion: Everybody needs one, or two, and at the very least I think you will find it excels at close snare micing to replace that old industry standard with.

The M201 is a small dynamic moving coil mic, hypercarioid patterned, and more sensitive than most moving coils out there. It has a more delicate sound, for example I dont dig on rock snare drums but for jazz and brush work it is a really perfect fit. Its also one of the few dynamic mics you might use on an acoustic guitar, as it will still deliver an almost condenser like detail but with the warmth (ie slightly rounded transient response to my ears) of a dynamic mic. It has a bit of a dry sound to it with that real tight pattern it exhibits. Off axis rejection is very, very good with the M201 and has a smooth bleed with neighboring sources (hi-hat etc).

Conclusion: A seriously cool mic when you need more sensitivity and detail but not the super hot air-y sound of a condenser mic.

The M88 is one of those workhorse mics that can get lots of things done live and in the studio, and it always does at least a good job if not great. Hypercardioid pattern and robust build, the M88 actually kind of looks like somebody DROPPED IT with the flat top appearance! Its a cool looking mic though, definitely different.

All purpose, tight patterned, first and foremost a great kick drum mic. The M88 delivers all the depth and punch with a decent attack as well. The M88 also has a full response on voice, without the crunch delivered by a lot of moving coil dynamic mics. Guitar cab it has a full and detailed midrange sound.

Conclusion: Snappy response for a dynamic mic, and full frequency response make it a great reach on just about anything. For kick drum and more, definitely worth having around.

Big sounding dynamic mic with the big diaphragm, the OPUS 99 is made to reach low for kick drums and bass cabs, etc. However, I have found the OPUS 99 to deliver a big sound with a very present upper midrange on sources like guitar cabinets as well. The midrange is slightly scooped, not much but enough to make it sort of automatically pleasing on things like drums and guitar. It has its own sound but its a big extended sort of sound that reaches a little lower than many dynamic mics and definitely accents a bit more in the top vs other designs as well. A full range mic, pricy but unique.

Conclusion: For kick drum and electric guitar and bass cab duties, as well as some vocals, I think the OPUS 99 is a worthy contender.

I choose every single mic that goes onto this website, and the TSM411 is one of few inexpensive dynamic mics I have around. The TSM411 has a built in clip and a sturdy enough feel, you could smack it with a drum stick and likely not have any issues either. It handles high SPL and close mic situations well, as its not a real full or boomy sounding mic.

The TSM411 delivers midrange and cut, but has a surprisingly linear midrange sound on things like guitar cabs. With a lowered bass response, you can shove it right up on the source with no real proximity issues either. This also makes it a fairly thin sounding mic but lets face it: how often do you find yourself rolling off everything under 200hZ on guitar anyhow? For rack tom use, the TSM411 is certainly decent enough, a nice attack and midrange sound, not a lot of depth but again, you can work it very close range without flub.

Conclusion: Home studios or for live sound use, the TSM411 is seriously cool and compact and delivers midrange and upper mids in a very worthwhile manner.

One of my favorite all time dynamic microphones, the 468 delivers a unique sound and positioning apparatus that is just so easy to get what I need during a session. The pivoting head and swiveling yoke mount, not to mention the way the mic itself sits inside of the clip, gives you more placement tweak options than just about anything else out there. The hypercardioid pattern is tight, I mean TIGHT (it makes the room just disappear when close micing).

The egg shaped 468 is very proximity dependent when it comes to low end response. You really have to stick it right up on things to get much extreme low end response out of it. On guitar cabs in particular I appreciate this quality, I can stick it very close to the speaker (typically dead on center if not ever so slightly off axis, about 3 or so out) and no flub is delivered which typically doesnt survive during mixdown anyhow (less fighting with the bass guitar). Ive even had good results with this mic on acoustic guitar, the present upper midrange and top end are better suited for this than most dynamics. There is a cut to this mic, and a small sound that I really like. Lets face it, you need a lot of sonic real estate in a tight mix and guitars dont end up sounding big and bloated when solod. The 468 makes it a great reach for that cutting sound on cabs that keeps it in its own space.

Conclusion: Buy one if anything for guitar cab use, but for drum and even some acoustic instruments the ND468 delivers a defined sound that is never tubby and tends to step on other tracks less with its smaller sound.

The ND/868 has been my go to kick drum mic for years now for one reason: it delivers everything a kick drum can deliver and it doesnt overly accent any one range. Its not slappy, its not clicky, its not boomy, its not midrange forward or back, it delivers a malleable sound that I can hammer into anything I need during tracking or mixdown, for virtually any style of music. On bass cabs, it is equally useful. I have actually had good results using this 868 on a few voices! It can be a big sounding vocal mic, dont be shyexperiment.

Conclusion: A serious mic, I cannot imagine being without my ND868 as its so familiar to me and so easy to get a good sound of. A bit more versatile than you would think, its at least great as a neutral kick drum mic.

Why has the RE20 survived so long as a broadcast, studio vocal, guitar cabinet and kick drum mic so long? Its a familiar sound and a unique performer. The slotted look isnt just for looks, but rather part of the design for a cardioid pattern with far less proximity effect (ie bass buildup) than most other cardioid designs. Broadcasters love it because you can shove it in somebodys face and it wont sound all farty and woofy. Studio owners love it because its a fairly natural (if not darkish) sound that they can pound into just about anything later.

Conclusion: A staple for a reason, the RE20 is a smooth mic that can sit right on top of the source and remain directional without bass buildup issues. I find it to be maybe a bit small sounding on lots of sources, but that is not always a bad thing and certainly part of the design!

If youre looking for a dynamic mic that brings the bass response back to your voice and instrument recordings, look no further. Bob Heil has really done it with the PR20, daring to leave the low end response alone rather than implementing filters like so many others do.

The PR20 is an elegant looking mic, it really is attractive. The swappable gold / black / silver grills let you pimp your own mic too (come on, looks matter!). On voice it delivers a full and chesty response, a smooth midrange and slightly darkish top. I have not encountered any overly sibilant issues with the PR20 on voice. On guitar cabs expect a somewhat darker tone with full mids, and active low end delivery. Many love it on snare drum, I like the body it delivers but it was a little soft for my liking and style of working.

Conclusion: The PR20 is ready to deliver a big full sound and slightly soft / dark top to your recordings. A very useful mic, and a unique offering from a unique man and company.

The midrange has never been delivered quite so.aaahhh as with the Heil PR30. This large diaphragm cardioid dynamic mic is a new step in the right direction for moving coil mics. Bob Heil wanted to do something different, and hes done it with his PR series of mics.

The PR30 on guitar cab is an absolute dream, the way it delivers a forward midrange sound that is just so pleasing, with an upper midrange presence that outlines everything nicely. Low end response is strong but tight and controlled, you can shove the PR30 pretty much right on the source without worrying too much about things going too crazy. The PR30 has a deep enough response to make it a welcome mic on bass cabs and even some kick drums. The top end drops off a bit above the upper midrange, not a real airy mic (most dynamics arent) but even on voice it sounds open enough and takes EQ well.

Conclusion: Midrange never had it so good. Every studio should have at least one PR30 for guitar cab duty if anything, it will hang with or outperform other classic dynamic mics easily. Thanks Bob for putting out something original and refreshing.

I dont know if this mic has ever won any awards for being one of the most refreshing things to ever happen to dynamic moving coil mics, but I would give it an award in a heartbeat. The PR40 is very unique in its delivery, bringing an almost condenser mic like detail to the mix of smooth dynamic character.

The PR40 has a full low end response, but its not hyped. In fact, it is kind of subtle in its delivery of low end where it seems to reach deeper but not act all boomy at the same time. The midrange is ever so gently pulled back in this forgiving way, and rises back up in the upper mids to a top end that has a bit of tingle, almost air to it that is not found on dynamic mics. Sort of hi-fi but not over the top, it keeps one foot squarely rooted in natural and extended sound. On voice the PR40 is easy, it can be worked closely if needed with that full low end that doesnt boom, and the articulation of the upper mids and top end remind me of a condenser mic. On guitar cabs, the PR40 sounds big and non-offensive. It just works on tons of stuff. On kick drum it delivers great slap and click, and deep reaching bass. It is my #1 reach on bass cabs, the most finished sound you could hope for really.

Conclusion: Hard to find anything bad to say about the PR40, its a forgiving mic that delivers everything at least well, if not downright great. To hear that kind of detail and presence from a dynamic is certainly new to the mic world, the PR40 is slightly hyped but in all the right places.