I think you'll find it one of more just a difference of convenience. In some applications where you need to hang microphones, sometimes it's easier and less obtrusive if you hang a single microphone. When used on stage for acoustic guitars and such, it's a lot more convenient than having a gaggle of two microphones on two stands blah blah blah.
Most of these small capsule condenser microphones made by companies like Rode are frequently the same capsules with different body shapes and configurations. The difference in price may be in the complexity of assembly? More than anything else? Different kinds of machining are required. Duplication of circuitry has to be included, to fit a tighter space. So there's probably no difference in their tonal quality than in their configuration.
Greater differences will lie with other manufacturers. But many of these other bargain priced small diaphragm condenser microphones all have their capsules manufactured by just a couple of common Taiwanese companies that they all purchase their capsules from including companies like Crown, it doesn't make budget microphones that utilizes the same budget Taiwanese capsules as those installed by Radio Shaft in their $20 bargains. It's actually much more difficult and resource intensive to make a decent dynamic microphone. Good quality condenser capsules can now be punched out in mass production. Where the only real differences lie in their associated circuitry and aesthetic capsule enclosures. Because if you make it look fancy, it will sound fancy. If you just stick it into a metal tube, it will look like any other microphone available on sale now at your local Radio Shaft store. The former Crown $375 Pressure Zone Microphone and the $30 (later $40) Radio Shaft Pressure Zone Microphone both shared identical condenser capsules from the same Taiwanese manufacturer. And this is not passed on rumors. This is what my direct conversation with Crown design engineers.
I like and have had some stereo microphones. I found I used them far less of the time than any of my larger individual microphones. And as such, I sold and gave them away. One was a Sony and I forget what the other one was? When I recorded large concert halls, I frequently hang microphones at places like the Kennedy Center for the Performing Arts. When I want that center XY/ORTF/MS microphone, I just take out my stereo microphone mounting hardware and put what I want together. Microphone cable and monofilament fishing line makes everything worked great. And when not doing it that way, a 12-14 foot, lightweight aluminum collapsible stand also works out quite well. That gets a little dicey though if I tried to mount a pair of Neumann 87's on a single lightweight collapsible aluminum stand. With that, you also need theatrical sandbags to put on the tripod legs. But certainly not 100% necessary for KM 86/84's and NT 4-5's, light weight pencil style SDC's. No problems either with my SM 81 SHURE's.
What's your favorite? Boxers or jockeys? None? My my...
Mx. Remy Ann David
