Compare the frequency response of all Ohma condenser and ribbon microphones across each screen type. All frequency response measurements were recorded under consistent conditions in a controlled anechoic chamber. Simply click on the screen icons below the chart to effortlessly show, hide, or overlay the curves of each screen type.
Need more info on Ohma mics or want to demo one in your space? Email sammy@ohmaworld.com.
A lot of people think a flat frequency response is the gold standard for microphones—like it guarantees transparency or a natural sound.
But that’s not exactly true.
“Flat” just means the mic picks up lows, mids, and highs evenly at one meter away in a controlled space. But real-world recordings aren’t made in anechoic chambers—and the response shifts as you move closer or farther from the mic.
Some of our favorite vintage microphones? Definitely not flat. They had bumps in the lows, dips in the mids, rolled-off highs—and that’s part of what made them sound so good.
Frequency response charts are helpful. They can give you a sense of what a mic might be good at. But they don’t tell the whole story.
At the end of the day, the best way to know if a mic works for your voice or instrument is simple: plug it in and listen.
Frequency responses, also known as sensitivity responses, are one indicator that allows you to see some of the differences between microphones. They show the sensitivity of a microphone across the audible frequency spectrum.
The frequency response of a mic is a good starting point in understanding the general idea of a microphone, but it's only one indicator and cannot tell you what the actual tonality is.
Frequency responses do not take into account the differences in practical recording distance nor do they take into account proximity effect which occurs when recording from 2 to 10 inches away from the source- which is a typical distance used in modern recording.
At close distances, certain frequencies, specifically in the bass and midrange are affected in different ways.
Frequency responses also do not take into account how a microphone sounds off-axis from a source. Off-axis response is very important when recording instruments like drums and strings at a distance.
When looking at a frequency response chart, a difference as much as 0.5dB can be significant in changing the sound of the mic- especially over the span of the entire frequency spectrum.
The overall shape of the frequency response might look similar between microphones, but those little dips and peaks can make a huge difference.
Our testing was done at Harman Kardon US in their anechoic chambers at 1 meter away from the test speaker.
The microphones were measured with 50Hz to 20kHz sweep in a free field. This is the standard sensitivity test that Harmon does in this anechoic chamber to test microphones.
Ribbon microphones inherently roll-off the highs because they are a low-tuned system. This means that their resonant frequency is very low- lower than human hearing.
We tune our ribbon microphones to 20hz. Ribbons are linear above their resonant frequency. As you get higher into the frequency spectrum, they start to roll-off the top end.
By looking at a frequency response, you might think that it's a flaw in the microphones. But actually, this is something that makes ribbon microphones really special.
Ribbon microphones hear more like your ears. As you get older, your ears also roll-off the top end. One of our favorite ways to use a ribbon mic is to walk around a room while an instrument is playing. Wherever it sounds best, place your ribbon mic there. Often times, it sounds very similar to what you want the instrument to sound like.
Another benefit of a ribbon's high-frequency roll-off is that they can tame harsh sources. Instruments like cymbal and hi-hat bashers, distorted guitars, and strident vocals can all be smoothed out with a ribbon mic.
And if you feel like you need a bit more top end, you can always reach for a screen like Scales which boosts the top end starting around 6kHz.
Our condenser microphone is intentionally engineered with a gradual roll-off of high frequencies starting around 7.5kHz. This design choice stems from the inherent high resonant frequencies of condenser microphones, where a notable bump often accentuates frequencies in an unfavorable, harsh manner.
Our extensive development process of the Ohma condenser focused on achieving a seamlessly smooth top end tailored for various audio sources such as vocals, guitars, and drums.
The Ohma condenser incorporates a vintage Cinemag transformer which attenuates its top end while introducing harmonic saturation. These transformers contribute to a rich color and warmth in the sound.
We love our condenser's sound just like we love the distinctive tones of many of our favorite vintage condenser microphones. Most of these microphones had frequency responses that we consider wild. And yet they're still the go-to mic for many instruments.
Most companies use 1/3 smoothing which makes their charts look significantly more smooth. It can be a bit misleading about the actual curve of the mics.
We chose to use 1/6 smoothing so you can see as much detail as possible without the frequency response looking like noise.
A microphone is electrical, acoustical, and mechanical. It is the sum of all three of these aspects working together.
The shape of the Ohma mic is a huge part of its sound. We've experiment with different body shapes, grille materials, fabrics, and grille shapes. Every aspect changes the mic's sound to some extent.
