Mics that don't break the bank?

[FlyFishn]

All,

I am interested in getting a nice condenser mic. What I want is a warm, crisp, accurate, and versatile condenser mic. I am not sure going so far as to get a tube mic (like a Rode K2) is in the cards, however.

The mic would primarily be used for speaking (video/podcast/web calls, ham radio) but also recording of acoustic guitar from time to time. I'd rather have the performance tip towards that of recording acoustic guitar as that is more important to "get right". I'm sure I would be more than happy with the performance when used for speaking.

Mics I've looked at are:
Rode NT55
Rode NT5
Rode NT2-A
Rode NTK
Rode NT1000
Various Shure KSM's
Various Shure SM's

My thoughts from a while back are to stick to a small diaphragm mic. The NT55 seems more versatile than any of the others in that range.

As far as other factors to consider - the room dynamics and other stuff in the audio chain - at this point I do not have a proper "studio" so room acoustics are terrible. I have an older Behringer 10ch mixer with phantom power that I intend to use most. I also have a Scarlett 6i6 GenII USB recording interface. Both that and the mixer have phantom power, not sure what I will use primarily but I have had the Scarlett set up as my "sound card" for another purpose besides music/mic use.

What are your thoughts?

[Brent Hahn]

So many people get overly enthused by the "crisp" part. Then as their "recording ear" develops, they're not so fond of crisp anymore. Not that crisp is bad, but really good crisp is really, really expensive. On your list and with your budget, I'd probably buy a Shure KSM137 for $300, or spend another $100 and get the 2-pattern KSM141. With either one, at first you'll think it's blah and boring but you'll learn to love it. Best you can do for that money, I think, and you'll keep it.

[Rudy4]

"Warm, crisp..." aren't two words you generally see used together when folks are talking condenser mics.

Although I have a lot of condenser mics to choose from I have a Roswell Mini K-47 that I really like a lot. You can see and hear it on the majority of videos on Joe Gilder's "Home Studio Corner" Youtube channel.

[Brent Hahn]

Originally Posted by Rudy4

... I have a Roswell Mini K-47 that I really like a lot. You can see and hear it on the majority of videos on Joe Gilder's "Home Studio Corner" Youtube channel.

You may make great recordings with one, but I wouldn't trust the ear and opinion of a guy who's okay with that absurd amount of compression on his speaking voice. Maybe that's just me.

[RedJoker]

I've been happy with my MXL V67G at ~$80. Yes, I know it's not perfect but I'm using it in an untreated room through a used Scarlet 2i2.

[FrankHudson]

Voices differ, and desired acoustic guitar sound differs, and surely also the definition of doesn't-break-the-bank. A lot of experienced home recordists here have made the statement that's it's foolish economy to buy cheap as that cost will only add to the total cost when one then desires to upgrade. I started with cheap mics myself, in some cases the "buy once" would have literally broke the bank for me, as in not being able to pay rent or eat.

I'm also unsure that I'm right in what I think is my experience, that dynamic mics used for vocal recording in untreated spaces offer advantages over the now common expectations that "you really need a condenser mic for good vocals."

Thinking podcasting, vocals and acoustic guitar in an untreated space, I'd consider a high quality dynamic mic myself, and I expect everyone else will tell you otherwise. Those everyone else's may be right, but I hear to much brittle that I can't always EQ out in a lot of inexpensive condensers. So hear me out.

From lowest cost on up, I'd still consider a Shure SM57 at less than $100. It's still a classic "do anything mic" and does a reasonable job with vocals. Cheap pop filters that will be needed with a condensers work with dynamic mics too, so no need to get a SM58 for recording vocals. It sounds better on acoustic guitar than it's current lack of usage in that role would indicate. And yeah, you can podcast with it. Approximately more durable than the pyramids too. I've not used the Sure Beta 57 or any of the SM57/58 dynamic mic competitors (like Sennheiser's models) for micing acoustic guitar, but they might be similarly useable.

Next step up is a big one, Shure SM7b (alas, likely with the need for a preamp booster like the Cloudlifter, and though I've never used one the SE Electronics Dynamite booster seems to work as well at $50 cheaper). That's a big jump, and you're likely going to be agreeing with "buy once" folks if money is a concern. Excellent vocal mic, for some voices their favorite, and if you've watched a lot of "pro" folks live-streaming in home studio spaces or "live in the studio" recordings you'll see a lot of them in use these days for vocals. It may be the most respected podcast/broadcast mic around. I have one in my studio space as it works well with my voice. I've honestly never used it on an acoustic guitar. I haven't enough experience with the new "looks like a SM7b, but isn't exactly" Shure MV7 dynamic to recommend it yet, but it doesn't need a line booster or even an audio interface when used as with its USB connection (it also has XLR so it can be used later in multiple mic uses, unlike many other USB mics). It's a bit brighter than the SM7b, works well for podcast spoken word and might even work better pressed into service as an acoustic guitar mic, and it's lower priced at $250. If you're trying to start without even an audio interface, the MV7 would let you begin cheap and not leave you with an USB only paperweight after you've decided you need to use multiple mics to capture guitar and vocal.

And another step up in price: ElectroVoice RE20. By now we're talking $550 with a preamp booster (needed like with the SM7b, because neither puts out much signal level on it's own). Feel free to consider me a high-roller who lights their cigars with $100 bills. Excellent spoken word mic. I think I'd pick it over the SM7b for broadcast/spoken word use, and in the same neighborhood for singing as the SM7b. Very forgiving regarding less than perfect mic technique (you can work close or off axis with less a penalty in boomy proximity effect or off-axis drop off in quality). And it's not bad on acoustic guitar, or even one-mic acoustic guitar and vocals. The ability to work close makes it great for places where sound leakage from traffic, HVAC or family is an issue. There's a "looks like, but isn't exactly" EV320 model too, but I have never used one even for a moment, and I don't know if it needs a line booster.

All of the above dynamics in my experience seem to work better in untreated rooms for me than popular-priced condensers. Better recordists have told me I'm likely wrong in that, but I'm happy with my EV20 in my small untreated "Studio B" home office. Someday I may retest that space with a condenser mic to see if I was fooled in my initial judgement there.

Now the biggest catch in this idea to use a high quality dynamic mic for the vocals and podcast part of your trifecta where they are arguably better mics than even quality condenser mics--and perhaps more so used in untreated on minimally treated spaces--is that no one would recommend them for acoustic guitar recording. Here I might suggest the iRig Stage as a reasonable make-do, it's a $100 clip in mic that does record acoustic guitar fairly well and reduces room issues and environmental noise leakage.

I'm a contrarian, and do pay attention to what others who produce better recordings will tell you.

[islandguitar]

Originally Posted by Brent Hahn

So many people get overly enthused by the "crisp" part. Then as their "recording ear" develops, they're not so fond of crisp anymore. Not that crisp is bad, but really good crisp is really, really expensive. On your list and with your budget, I'd probably buy a Shure KSM137 for $300, or spend another $100 and get the 2-pattern KSM141. With either one, at first you'll think it's blah and boring but you'll learn to love it. Best you can do for that money, I think, and you'll keep it.

+1
I've enjoyed the KSM137's for a number of years and been quite pleased.

[Mr. Jelly]

So what's wrong with breaking the bank?

[jim1960]

We have a master list of gear pinned to the top in this subforum. There are many mics there to explore and the name of the member who has experience with that mic.

https://www.acousticguitarforum.com/...d.php?t=594800

[AcousticDreams]

Audio Technica AT4050 is a renown microphone used in many pro studios.

You can often find them used in the $400 to $500 range.
They work great for acoustic guitar( our own Doug Young uses a stereo version. Stephen wake uses a pair.

And they are also great for voice.

Some engineers have reviewed this microphone as their desert Island mic.

Generally speaking A large condenser will work better for voice than a small condenser. And this Mic does work very nicely for acoustic guitar.

[RRuskin]

The ADK 3 Zigma line is quite good and very reasonable, especially if you can do without a built-in roll-off or pad.

[alohachris]

Aloha,

This is just a throwaway, but....

"I've been happy with my MXL V67G at ~$80. Yes, I know it's not perfect but I'm using it in an untreated room through a used Scarlet 2i2."

No, It's not perfect. It's not "tri-perfect" with those three sound-killers in your signal chain.

You could do better with a coupla Quaker Oats cyclinders and a string!

Geez redjoker, give yourself a chance!

https://www.youtube.com/watch?v=PABO6WrPjFQ

alohachris

[DukeX]

Originally Posted by FlyFishn

As far as other factors to consider...I have an older Behringer 10ch mixer with phantom power that I intend to use most. I also have a Scarlett 6i6 GenII USB recording interface. Both that and the mixer have phantom power, not sure what I will use primarily but I have had the Scarlett set up as my "sound card" for another purpose besides music/mic use.

Twenty years ago I had a Behringer 8 channel mixer. I haven't heard the newer Behringer mixer preamps or Scarlett preamps, but my hunch is that the Scarlett will be noticeably better than the Behringer. YMMV.

[alohachris]

Aloha flyfishn,

You listed all the Rode mic's that "you're looking at." Have you actually listened to your voice through any of those mic's on your list?

I found that vocal mic's are all completely 'voice-specific." That means that choosing a mic becomes more inconvenient because you actually need to audition a mic on your voice before you buy, like we used to. It is necessary to achieve the best fit for your voice. Try out a few & let your voice decide.

Rode mic's tend to have hyped upper-mid's (need lotsa EQ). You really need to check 'em out first. That said, it may be hard to do that with my recommendation - Ha!

Recommendation: Look for a USED AKG C535 EB live condenser (discontinued) - good for vocals, guitar, live or studio. Often around $150. And clean it well w/ light solvents- Ha! The 535 was replaced by the C636.

Voices as disparate as JT, Streisand, Sting, McCartney & Levon Helm have all used the classic 535 as their primary live vocal mic for years. Me too.

https://www.akg.com/support/C535EB.html

Good Luck in your search, flyfishn!

alohachris

Rick Ruskin's recommendation of the ADK 3 Zigma line is right on!

[RedJoker]

Originally Posted by alohachris

Aloha,

This is just a throwaway, but....

"I've been happy with my MXL V67G at ~$80. Yes, I know it's not perfect but I'm using it in an untreated room through a used Scarlet 2i2."

No, It's not perfect. It's not "tri-perfect" with those three sound-killers in your signal chain.

You could do better with a coupla Quaker Oats cyclinders and a string!

Geez redjoker, give yourself a chance!

https://www.youtube.com/watch?v=PABO6WrPjFQ

alohachris

I've tried and tried to connect quaker oats cans to my 8 year old laptop but it just doesn't work. Got any suggestions for what I'm doing wrong?