Recording music has become more accessible than ever. Whether you’re doing it yourself on garage band, setting up a home studio, or renting studio space, you’re going to need to have the same basic understanding of microphone placement techniques. No amount of quality acoustics or expensive microphones can compensate for poor microphone placement. This guide will help you maximize your resources and get the best sound out of whatever equipment you’re using. We’ll be covering in this guide electric guitars, acoustic guitars, electric basses, and some horns. For a more in-depth guide on how to microphone drums or how to microphone pianos, you can read those respective separate articles.

Table of Contents

• Types of Microphones
• Acoustic Guitar
• Electric Guitar
• Electric Bass
• Horns

Types of Microphones

First you need to understand what types of microphones are out there and which ones you’ll want to buy and or use. There are two main types of microphones carried at most music stores: Dynamic and Condenser.

The names refer to the method that each microphone uses to convert sound waves into electricity however the difference between the two types of microphones can be summarized with this broad statement: Dynamic microphones can pick up just about anything decently in chaotic environments, while condenser microphones can pick up some things excellently in controlled environments.

In professional studios, you’ll see condenser microphones everywhere. These controlled environments lend themselves to the use of high fidelity microphones. For live audio applications, you’ll see a lot of dynamic microphones.

Recording Tips and Techniques on Instruments

Acoustic Guitar

The acoustic guitar is a beautiful instrument and there are so many subtleties in its sound that can make a recording truly beautiful. This subtleties, however, are very easy to miss out on if the instrument is improperly miked. The first thing you need to know is that your guitar’s built in pickups, whether they came with the instrument or were installed later, are not suitable for recording. The inside of a guitar is a chaotic cacophony of frequencies bouncing rapidly before finding an organized way to leave the instrument through the tone hole. The sound that comes out of the tone hole is the main sound you’ll want to record.

Basic – A standard dynamic microphone like a Shure SM57 placed eight to twelve inches away from the tone hole will give you a pretty decent starting point for recording an acoustic guitar. This dynamic microphone is one of the most versatile and popular microphones in the music industry. It is designed specifically for use with musical instruments. You’ll see this microphone pop up a lot in this article. These microphones can handle a lot of signal so if you’re really letting it rip on your acoustic guitar, you won’t have to worry about a distorted sound.

Source: Apogee Digital

Advanced – A single large diaphragm condenser mic can be used to capture a more comprehensive sound from your acoustic guitar. This Audio-Technica AT2035 is a great option that will wind up being a staple in any recording studio. Be careful when using microphones like this one, they often come with a little switch on the microphone that toggles between picking up sound on both sides of the microphone vs picking up sound only in the direction the microphone is placing.

For acoustic guitar, you’ll want to set this microphone to a directional setting. For this application, you will want to have the microphone at least twelve inches away from the guitar and aimed about halfway between your tone hole and your left hand on the neck. This will give you a sound more similar to what you hear when you play the instrument alone in your room. This will also pickup some of the left hand movement across the strings which you may think you do not want coming through on your recording but it goes a long way towards making the instrument sound more genuine and realistic on the other end.

Electric Guitar

There is a lot of quality literature out there on how to mike an electric guitar. There is a lot that goes into the sound that comes out of your amplifier and there is a reason why you will hear people compliment guitar players by saying, “they really have their tone dialed in.” Finding that crystal clear tone that not only gives clarity to your instrument but also serves to enhance the song or the style that you’re playing takes a long time. Once you have found it, you’re going to want it to come across clearly in your recording. There are a number of ways you can try to best recreate that sound.

The first step to recording your guitar is to make sure that you have your amp sounding exactly the way you want it to sound in the room where you’ll be doing your recording. You’ll also want to make sure you’re recording your guitar at the volume where you like the tone the most. Volume has a big effect on the tone of your amp, especially with tube amps. Take your time here and be picky, you will not be able to adjust your tone once it has been recorded.

If you’re having trouble finding your sound, try moving your amplifier around the room. Try changing your amp placement from in the middle of the wall to over in the corner. Try changing the distance between your amp and the wall behind it. Try changing the direction your amp is facing. In any enclosed room, the sound is bouncing all over the place. You would be surprised how the slightest variance in placement or direction can drastically alter the sound. You can also try propping your amp up on some legs or on a chair to get it higher off the ground.

Source: Royer Labs YouTube

Basic – Before you hit the record button, you’ll want to audition every individual speaker cone on your amp. Lets say you’re using a 4×12 cabinet. Theoretically, all those four speakers should be producing the exact same sound, but as your amp ages there might be slight variances from speaker to speaker. Do some test recordings with each speaker cone and see which you like best. Once you’ve found your ideal speaker cone, you can start by taking a Shure SM57 and placing the microphone a couple of inches off your speaker grill, just off-center of your desired speaker cone but angle your microphone slightly towards the center of that cone. Because an SM57 is a dynamic microphone, you’ll be able to capture a pretty clear sound regardless of how loud you’re playing (within reason).

Advanced – Once you’ve set up your SM57 on your favorite speaker, you can diversify your sound by miking your 2nd favorite speaker with a different microphone. There are a number of large diaphragm condenser microphones that are made specifically for recording electric guitar but one of the most popular microphones is the AKG C414. Large diaphragm microphones will do a better job picking up the ultra low frequencies that your SM57 will miss. Make sure that you place this microphone the same distance away from the grill as your SM57. Those slight variances in distance will create tiny amounts of phasing as the sound will reach each microphone at slightly different times.

Once you have good signal coming through both microphones, you can play around with your mix and blend and balance the two until you have a pretty good mix in your control room or in your headphones that sounds like your guitar tone.

Electric Bass

There are two main options for recording a bass. You can either record the amp similar to how you would record an electric guitar, or you can use a dedicated DI box. A direct input box takes your bass signal and records it directly into the mix the same way your amplifier takes your bass signal and amplifies it. Not too many bass players have the equipment and the experience to have a truly dialed-in tone so a DI box is a suitable option for most players. If you are one of the few who has worked tirelessly on their tone and wants to recreate that sound on your recording, you’ll want to mike your bass similar to how you miked your guitar, but you’ll have to spend a bit more money on the right microphone.

Basic – The easiest way to record a bass is with a DI box. They’re actually very affordable. Some DI boxes come with knobs and adjustable settings but that is not super necessary depending on your setup. Several bass amps actually have a DI output that will send to your DI box the same signal that it sends to the speakers. A good option for your DI box is this Behringer Ultra-DI600P.

Source: The Guitar Magazine

Advanced – If you want to mike your bass amp, you’ll need to pay close attention to the frequency response of the microphone you choose. A low open string E on a bass vibrates at about 41hz, and if you use a 5 string bass, a low B vibrates at about 30 Hz. If you see a microphone that says it picks up anything as low as 40hz, that does not mean you’re good to go. Your microphone will advertise what frequencies it will detect but it will give the best results at frequencies towards the middle of those ranges, not on the outer extreme edges. Basically a microphone that can pick up as low as 30hz will perform better on your 41hz notes than a microphone that can pick up as low as 40hz. You can actually use the same microphones you would use to mike a bass drum to mike your bass amp and it wouldn’t be half bad but there are better options out there.

The Sennheiser MD421 has long been the go to microphone for this application. It has a frequency response of 30-17,000hz. You’ll want to place this microphone six to eight inches away from your speaker grill.

Horns

There are some misconceptions about miking brass and woodwind instruments. It is actually much easier than you would think if done correctly. The most common horns that you’ll be miking are saxophones, trumpets and trombones. We’ll cover all three here.

Source: Lynda.com

Saxophones – Most people look at a saxophone, see that big metal bell at the end of the instrument and assume that they need to aim their microphone right at that bell. That bell is actually the main source of sound only when playing notes at the very bottom of the range of that instrument. The sound on the saxophone typically escapes at the first open key. As such, when miking a saxophone it is better to have one microphone, about 12 inches away from the instrument, aimed at the entire front of the instrument rather than at the bell. That same Audio-Technica AT2035 that we discussed earlier for the acoustic guitar will actually be a great candidate for miking a saxophone.

Trumpets & Trombones – Remember when we were talking about how dynamic microphones can handle a lot of signal? Remember when we were also talking about how SM57s are dynamic microphones designed specifically for instruments? The SM57 works for brass instruments better than just about anything else! You don’t have to worry about low-end response for trombones as they are not bass instruments, they’re actually tenor instruments. The notes a trombone makes are the notes that are right around the center of a piano.

Position an SM57 about 6 inches away from the bell and make sure that bell is always aimed directly at the microphone. Any slight variance in bell angle could drastically altar the sound. The biggest consideration when miking brass is making sure they don’t bleed into other microphones. Brass sound goes everywhere. If you’re recording multiple horn players at once, you’ll want to build each brass player a little cubicle out of as much muffling as possible.

What are the different microphone specifications? Which mic technical terms should I be aware of? Have you ever tried to shop for a new microphone and found yourself confused by the specifications, abbreviations, and technical terms listed on the side of the box? Microphone’s have several different types and each type has its own purpose and best applications. Furthermore, each brand or model of microphone might have subtle differences in their specifications. This guide should help to define some of these terms and inform you on how to make a smart decision when purchasing your next microphone.

Microphone specifications contents

The basics of sound

The first thing we have to understand is what a microphone does. A microphone converts sound into an energy signal that can be either amplified or digitized depending on your application. Sound exists in rapid changes in air pressure commonly referred to as “sound waves.”

The figure here does a good job of illustrating the different aspects of sound waves. Each hill and valley is called a compression and a rarefaction respectively. The vertical size of the compression and rarefaction will determine the volume of the sound, the frequency of each cycle will determine the pitch. As such, the pitch an instrument produces is also referred to as a frequency.

Each microphone has its own unique range of frequencies it can capture as well as a sensitivity measurement which tells you the range in volume that will be picked up by the microphone.

Some microphones specialize in picking up very loud sounds clearly without “fuzz” or “static” coming through. Some microphones specialize in picking up sounds at very high frequencies, while other microphones specialize in picking up very low frequency sounds. The microphone market is also flooded with microphones that can pick up everything, highs and lows as well as louds and softs, decently but not as well in any specific range as a specialized microphone.

The basics of the microphone

A microphone is basically a mechanical recreation of our human ears. Sound travels into our ears and against our ear drums, a membrane that captures the vibration, and our brain interprets those vibrations into what we perceive as sound. The “ear drum” of the microphone is the transducer. Depending on the type of microphone you are using, the technology for the transducer can vary. Types of transducers include condenser, dynamic, ribbon, carbon, fiber optic and laser. For more on this check out our microphone types guide.

Regardless of the type of transducer used in a microphone, the same principle applies: a microphone’s transducer picks up sound waves and interprets them to an electric signal. The transducer is always just beneath the grille of the microphone (this is the part you speak into). Usually there is some type of foam pop filter just underneath the grille. This foam does its best to capture sudden bursts of air created by hard consonant sounds like “P’s” and “B’s”. It also blocks some wind noise. The pop filters that are built into the microphone are usually insufficient. Additional pop filters can be purchased later and attached on top of the microphone’s grille.

Microphone polar patterns

The construction of the microphone, the alignment of the transducer, and the type of transducer all play into a microphone’s “Polar Pattern.” Essentially, a polar pattern is simply a diagram of how efficiently a microphone will pick up sound coming from different angles. A microphone’s polar pattern will be shown on the box using one of the following symbols (these are the most common):

Omnidirectional

Omnidirectional microphones have equal sensitivity at all angles. An omnidirectional mic could be placed in the middle of a room faced in any direction and would be able to pick up sound coming from anywhere in that room.

Bidirectional or Figure Eight

Bidirectional, or more commonly referred to as “figure eight” polar patterns pick up sound from the front and rear of a microphone at equal levels, but do not pick up sound from the sides.

Cardioid

Cardioid microphones have the most sensitivity at the front and that sensitivity tapers off around the sides reaching a null point with no sensitivity in the rear. These microphones are ideal when monitor speakers are being used to reduce the risk of feedback.

Supercardioid

Similar to cardioid microphones, this polar pattern offers good sensitivity in the front with a slightly more focused pattern making the microphone more directional and less likely to pick up ambient sounds in loud environments. This polar pattern does however have some sensitivity in the rear.

Microphone technical specifications explained

With a general understanding of sound and how microphones work, we can now go down the list of common specifications found on a product description for a microphone and explain each one.

Decibel (dB) scale & frequency response

The decibel scale gives a number to the volume of sound based on a reference point of 0 dB. The decibel scale used for measuring frequency response on a microphone is not the same as a decibel scale used for measuring volume. There is a decibel formula that explains this conversion but it is very confusing, I don’t even understand it. Take for example this frequency response chart for a famous Shure SM57 cardioid dynamic microphone:

As you can see, most of the frequency response for this microphone falls plainly on that 0 dB line. For the purposes of buying a microphone, anything that falls on that 0 dB line is a frequency that the microphone picks up very well, anything below the line it picks up but not as well, and anything above the line it might be overly sensitive to.

Frequency response refers to the microphone’s ability to detect high and low sounds. The human ear can on average detect sounds from 20 Hz to 20,000 Hz. Going back to our discussion of sound waves, a Hz (Hertz) is one cycle of compression and rarefaction in a sound wave. The number refers to how many times that cycle occurs in one second. Here are some reference points for typical instruments and their frequencies:

• 15 Hz – The lower end of the range sound a kick drum makes
• 41 Hz – The low open E string on a Bass guitar
• 440 Hz – The open A string on a guitar
• 4,000 Hz – About the middle of the range of sound a Hi-Hat makes

Multiple frequency response curves

On higher end equipment, manufacturers will include frequency response curves for sounds coming at various angles towards the microphone. This is helpful for studio recording situations.

Sensitivity

A microphone’s sensitivity refers to how much sound or signal a microphone can handle before it will start to distort the sound. This is measured using another complicated formula however the important thing to understand is that a microphone with a high level of sensitivity will send more signal and therefore will not require as much gain on your mixer, while a low sensitivity microphone will send less signal and will require more gain on the mixer.

Conclusion

These measurements are not the only specifications you’ll find on a microphone’s product description however I feel they are the ones that most microphone users will be able to wrap their heads around. Also, know that these measurements do not paint a complete picture of the quality of the microphone that you are researching. There is no substitute for trying out the microphone yourself and measuring with your ears that microphone’s ability to recreate sound. In your research, you’ll find microphones with very similar specifications and very different prices.

I have always found that it’s almost always worth it to spend a little more on audio equipment. The quality of construction, durability, and quality of parts do not show up on the specifications of a microphone. There is also a reason that you see the same two or three brand names on microphones at studios all over the world. Feel free to read through microphone guides if you’re looking for more advice on buying.

If you’re putting together a home studio, its inevitable that you’re going to have to look beyond SM57s and SM58s when stocking up on your microphone inventory. The microphone market is flooded with so many different types of specialty microphones that its hard to keep track of what they’re all designed for. While the look of a microphone may change drastically, there are always some key words in the name of the microphone that will help you determine which is best for your needs. This guide will explain some of the various different types of microphones and their applications.

Microphone construction overview

Whether it’s a dynamic, small diaphragm condenser, ribbon, or large diaphragm condenser microphone, all microphones do the same thing: interpret sound waves into an electric signal to be later interpreted by amplifiers or computers. The technology for each different type of transducer is actually very similar. A small surface usually held in place by magnets receives sound vibrations. As the surface moves, the pattern of its movement is translated into the electric sound signal. This is not all that different from how our ears process sound, with our tympanic membrane receiving vibrations and our brains interpreting that vibration as sound.

The type of technology method used for the transducer in a microphone is probably the single largest factor in what that microphones best application will be. The next largest factor would be the housing of the transducer. When we think of a microphone, we often imagine those handheld microphones with the ball-shaped grill on the top that we speak into. Most often, microphones of that shape have a directional cardioid pattern. If you have more questions about what some of these terms mean, our microphone specification guide may help clarify a bit more.

The different microphone polar patterns

Here is a quick review on polar patterns:

• Omnidirectional: These microphones have equal sensitivity at all angles. An omnidirectional mic can be placed at the center of a room faced in any direction and would be able to pick up sound coming from anywhere in the entire room.
• Bidirectional: More commonly referred to as “figure 8” polar patterns pick up sound at equal levels from the front and rear of a microphone, but do their best to ignore sound from the sides.
• Cardioid: These mics have the most sensitivity at the front however this sensitivity begins to taper off around the sides reaching a null point with no sensitivity in the rear. These microphones are best used when monitor speakers are being used since it will help reduce feedback risk.
• Supercardioid: Similar to cardioid microphones, this microphone polar pattern offers great sensitivity in the front with a bit more focused pattern making the microphone more directional and less likely to pick up unwanted sounds in loud environments. This pattern however does have some rear sensitivity.

There are however various types of microphone enclosures that lend themselves to different polar patterns. Take for example this large diaphragm condenser microphone pictured above. This is not a handheld microphone, and the construction of this microphone does not allow you to speak down into the top of the microphone the same way you would into your typical dynamic microphone. Microphones that look like this are often designed to be placed parallel to and in front of their sound source. Sometimes, you may even find microphones that look similar to this with omnidirectional or bidirectional polar patterns.

The different types of microphones

The two most common words you’ll see when shopping for microphones are “Dynamic” and “Condenser.” Think of these two types of microphones as very broad generalizations for several different types of microphones that fit into either one of these types. The difference between the two types of microphones is their transducer technology.

Dynamic Microphones

These have a thin plastic membrane that initially receives the vibration from sound waves. Fixed underneath that membrane is a circular wire coil called a “voice coil” that floats in a magnetic field created by a permanently fixed magnet. The motion created by the vibrating membrane carries over to the voice coil and as that voice coil moves in its magnetic field, it creates a unique electric signal depending on the types of vibrations picked up by the membrane.

Dynamic microphones are typically known for their rugged construction, durability, and range. A dynamic microphone can do a decent job of recording almost any type of sound. This particular method of transducer technology is best when applied to recording louder sounds.

Condenser Microphones

These types of microphones also contain a thin membrane this time made out of very thin metal or sometimes metal-coated plastic. Behind this membrane there is a small pocket of empty space between the membrane and an electrically charged backplate, known as a capacitor or a condenser (this is where this type of microphone gets its name).

Because the back-plate is electrically charged and the membrane is either thin metal or coated with metal, there is a magnetic field that is created in the space between the two surfaces. As sound waves cause the membrane to vibrate, the motion of the membrane and the movement in the electric field create the electric signal.

The electric charge on the backplate has to come from somewhere. As such, condenser microphones is a microphone type that will often require either batteries, or a feature on your mixer known as “phantom power.” Phantom power sends a small boost of power from the mixer to the microphone to power this backplate and boost the signal.

This more complex design leads to a transducer that can pick up extremely soft sounds with precision. Unlike dynamic microphones, condenser microphones can easily be overloaded with sound. Condenser microphones would not be your best bet when recording an extremely loud guitar amp.

Now that we’ve covered the two main types of transducer technologies in microphones, lets talk about some of the subcategories:

Large Diaphragm Condenser Microphones

This microphone type is exactly what it sounds like: Condenser technology with large parts. This microphone is the industry standard for recording vocals. As such, it should be one of the first microphones you purchase for your home studio. These microphones can also be used for recording acoustic guitar or piano.

These microphones typically come in a cardioid pattern where usually the side of the microphone with the logo or branding is the side of the microphone that is “hot.” Sometimes these microphones will be bidirectional, or even come with a toggle to switch back and forth between cardioid and bidirectional.

An excellent large diaphragm condenser mic for your studio would be this Rode NT1A Anniversary Package. This package comes with a free XLR cable, protective sleeve, and even a pop filter.

Small Diaphragm Condenser Microphones

Again, this one is pretty self-explanatory. These microphones are commonly referred to as “pencil mics” thanks to their long narrow cylindrical shape. The small construction of this microphone makes it perfect for capturing higher and brighter tones.

You’ll typically find this microphone used for cymbals when recording a drum set and you’ll almost always see one of these aimed at the hi-hat. These can also be mixed and matched with large diaphragm microphones to pick up the brighter sounds that a large diaphragm microphone might not pay attention to.

My recommendation is the Rode M5 Matched Pair. As stated earlier, you’ll often see these microphone types used when miking the cymbals on a drum set. For this application, you’ll always want to use a matched pair to create a stereo channel. You might as well buy the matched pair to begin with. Rode also makes very high quality microphones and these are reasonably priced.

Bass Microphones

These microphones are specifically designed for picking up low-end frequencies like those produced by a bass drum or a bass amp. My recommendation is usually to use a direct box for recording the bass, so if you’re going to purchase a bass microphone you might as well purchase one tailored for a bass drum.

Bass mics use dynamic transducer technology. They’re larger than your average dynamic mic, which is to accommodate the lower vibrations created by bass instruments. As a drummer who has played live at hundreds of different venues and recorded in various studios, the bass mic that I’ve seen used more than any other is the Shure Beta 52A. The design of this microphone makes it very easy to use. It is manufactured to fit perfectly into a typical bass drum hole and comes with the adapters to fit on any microphone stand.

Ribbon Microphones

Ribbon microphones are the only types of microphones in this article that do not fall into the condenser or dynamic categories. They have a transducer technology that is completely differentfrom others. In a ribbon microphone, a small ribbon like sheet of metal will be suspended between two magnets on either side. As sound waves reach that ribbon, the vibrations are picked up by the magnets at each side.

Modern ribbon microphones are among the most efficient when it comes to output levels. When ribbon microphones were first introduced, they were brittle and delicate. Thanks to advances in the manufacturing process over the years, they are now some of the most durable microphones out there. Ribbon microphones specialize in capturing high-end frequencies with great sensitivity to low volumes and low residual noise.

Wait a second… Didn’t we say that dynamic microphones are great because they’re durable and condenser microphones are great because their ability to pick up high frequency sounds? And now ribbon microphones are more durable than dynamic microphones and better with high frequency sounds than condensers? So then what is the point of buying anything other than a ribbon microphone? Ribbon microphones are by far the most expensive of the three different types of microphones. Often, you can achieve a professional level of audio quality with different types of condensers and dynamics.

Ribbon microphones are ideal for miking electric guitar amps. The Royer 121 is a microphone that has established itself as a staple in the recording industry.

Mic types conclusion

I hope this guide has cleared up some of the confusion around all the different types of microphones. In a microphone name, you’ll typical see a model number, a transducer technology, and a polar pattern. Now, you should know what all those words mean.

Today we’ve finished our Zoom F1-SP field recorder and shotgun microphone review, and having a chance to learn about as well use it at NAMM was a privilege. As we’re huge fans of portable audio recorders, especially Zoom products, we wanted to see what their solution was to giving us a package for high-quality audio attached to our DSLR cameras. If you’re like us and into filming video on your DSLR and think the audio quality just doesn’t cut it, this may be the perfect solution for you. Let’s check out what the Zoom F1-SP has to offer.

Features of the Zoom F1-SP

• Suitable for run and gun videographers, but any type of filming as well
• Mic: Hyper-directional sound
• Mic: Aluminum body
• Recorder: Recording up to 24 bit / 96 kHz
• Recorder: Display allows customization of settings
• Recorder: One touch controls
• Recorder: Powered by AAA batteries (two of them) or additional AD-17 adapter (doesn’t come with this)
• Recorder: Includes tone generator for help in setting proper levels
• Included shock mount is attachable to DSLRs
• 3.5mm cable included
• Ability to record to microSD cards (up to 32 GB)
• Connects via USB (micro USB port) to computers to transfer sounds

Zoom F1-SP sound and recorder quality

Before we talk sound clarity, we’ll highlight the actual use of the shock mount. A lot of DSLR audio solutions don’t have this. This SMF-1 in particular made by Zoom does nothing but help us and give a “just in case” protection. It will eliminate unwanted thumping or vibrations we sometimes capture in our audio, especially when filming on the move (hence the “run and gun” label). Combine this with the wind screen that comes in the box and you’re protected from a lot of pesky ambiance and unwanted noise in your recordings.

The shotgun microphone in this Zoom F1-SP package is actually the same mic as included in their beloved H5 and H6 recorders. The sound quality won’t be a problem here. The 24 bit / 96 kHz is standard resolution here for small to medium-sized projects that demand for at least decent audio quality for recordings. It isn’t “professional” by all means, but that would only pertain to pro movie studios and what not. This is quite fine for filmography, interviews, vlogging, documentaries and of course as advertised, run and gun videos — skating, sports, etc.

The F1 records in WAV or MP3, although we never, ever recommend recording in MP3 since WAV just flat-out beats it in terms of clarity and less junk — you can always edit the sound in post-production. What’s also great is they’re automatically time-stamped (BWF compliant) so you can easily sync your videos with audio later on. Combine these with the sound marker function to output quick tone for easy syncing, it won’t be a problem while shooting or post-prod.

Source: Zoom.co.jp

Using the Zoom F1-SP recorder and microphone

We found the one-touch controls on the Zoom F1-SP‘s recorder to be especially convenient (as with most Zoom recorders, especially this F1) — you can adjust recording levels, limiter settings (built-in limiter here with auto-level control to get rid of clipping) and volume output on the fly. The monitor (1.25″ — not too big but gets the job done) helps us view levels, battery life, as well as lo-cut settings. It isn’t limited by sunlight either, so you’re fine with reading it at any time of day or in any environment since it’s monochromatic.
The Rec Hold function in particular was helpful in avoiding accidental button operation, and there’s also a pre-record function in case you roll that way.

You get about 10 hours of operation with alkaline batteries, so in terms of having a full day’s worth of shooting, you should be fine. You can always bring an extra pair or buy their power adapter separately, or just buy some rechargeable (yes, compatible with NiMH batteries) to charge before you start filming.

Other standouts of the Zoom F1-SP

What’s also a huge standout of the F1-SP is that you’re not necessarily limited to the SGH-6 shotgun microphone this bundle comes with. Zoom’s recorders have a “10 pin connector” for the mic connection, so we have a lot of flexibility if you feel like changing out the microphone capsule (of course, only compatible with other Zoom products, although we won’t complain).

Here’s the list of other capsules this particular recorder is compatible with:

• SSH-6 (Stereo shotgun mic)
• XYH-6 (Stereo X/Y adjustable capsules
• MSH-6 (Stereo mid-side adjustable capsule)
• XYH-5 (Stereo X/Y mic with shock-mounted mics)
• EXH-6 (Dual combo input capsule)
• SGH-6 (The one already included)

What’s in the Zoom F1-SP box?

• Field Recorder (F1)
• Shotgun microphone (SGH-6)
• Windscreen (WSS-6)
• Stereo mini cable for DSLR (SMC-1)
• Shock mount (SMF-1)
• Two AAA batteries (note the power adapter is not included)
• Quick guide

Final word on the Zoom F1-SP recorder and microphone

As we walked around the convention last week, there were a lot of people filming (we’ll start videos next year), so we were able to scan what many were using for external audio. A majority of people had recorders attached to their DSLRs with some type of shotgun mic, while others just used a shotgun mic straight into their camera as opposed to a recorder and shock mount as seen in this product, mostly with the ever-popular Rode DSLR mics that we’ve all seen around (you can read our best DSLR microphones for some more options).

Ultimately, we love this package for super high-quality audio when filming videos. We do know many who could care less about audio when it comes to filming since they do a lot of post-production editing, but it’ll all depend on your actual use as well as “level” of filming (are you using it for fun? For a company?). For those who indeed see themselves as ‘run and gun’ videos, this is a perfect solution. If not, you may however be interested in the second newest bundle they’ve released this year right next to this, which is the Zoom F1-LP (same package but included a lavalier instead).

Regardless, the Zoom F1-SP recorder and microphone is a great little package for semi-professionals to up their game when it comes to the quality of their audio in their videos, despite what ‘type’ of video or environment you’ll find yourself in.

Coming in hot for this new year, Zoom has an announced a brand new little package of a few of their products, the Zoom F1-LP. Coming with both a very effective field recorder in the F1 and a nice and easy lavalier microphone in the LMF-1, we have a perfect solution if you need some high-end recording for stationary environments, interviews, speeches, presentations, podcasts, sermons, and more. There are of course a lot of lavalier microphones out there in the world, but paired up with a Zoom recorder for a decent price for a nice bundle? Let’s see what exactly the Zoom F1-LP has to offer and if it’s worth the money.

Features of the Zoom F1-LP

• Low profile design
• Comes with buckle attachment
• Records to a microSD card (up to 32GB)
• One-touch controls
• Easyt-to-read display
• USB connectivity
• Auto-lock features
• No chance of overload
• Powered with two AAA batteries (or power supply sold separately)
• Record in WAV or MP3
• Recorder is also compatible with other Zoom capsules

The F1-LP’s sound and quality

For audio quality, we loved what we heard at the convention. Despite the loud noise around, we could hear the audio of the Zoom F1-LP quite clearly. To get technical, let’s look into the resolution. If recorded in WAV, you’re attaining 44.1 kHz/16-bit maximum, or with MP3 up to 320 kbps. Of course, we do not recommend ever recording in MP3. Stick with recording in WAV since it’s less compressed and will give you more flexibility in post-prod (yes, it’s a bit larger in size but it’s worth it). The lavalier mic itself connects via a 3.5 mm stereo mini (screw lock) and the input gain is -12 dB or +36 dB — quite feasible considering it’s size and power (and price). Like all lav mics, you have an omnidirectional polar pattern for focusing on what’s right in front of it (the speaker or even instrument you decide to clip it on). The cable length is of a decent 160 cm (about 63 inches, or about 5 feet), so it’ll reach even if you put it on somebody’s pants (although we’re not sure who would do that — perhaps you want to clip to a shirt and keep the recorder on a table instead? — it’ll reach pretty far).

The lavalier microphone itself is considered “standard” (but not cheap). It isn’t necessarily a Countryman or anything (professional lav mics that alone cost almost a grand), but for smaller purposes, semi-professional work or even pros who aren’t completely concerned with audio for a real movie, documentary or film, it will at least give us better quality than an on-board mic of a video camera. Go with a boom mic or even post-production voice-overs for more professional work.

Using the Zoom F1-LP recorder and lav mic

Of course, this isn’t camera attachable as we have seen in shotgun mic combos, so you’ll have to sync up your audio once you’re in the office. When it comes to actually using the Zoom F1-LP, sometimes a recorder and microphone combo can be a bit tricky; however, they included some nice features that we really like to ensure its usability. For one, the field recorder has a nifty 1.25″ monochrome LCD with one-touch buttons on the actual unit to adjust quite a few settings on the fly: start recording, stop, play and pause, recording format, lo-cut, limiter and recording levels.

You can also use their auto lock features in the Record Hold function or Hold Switch to prevent whoever is speaking from accidentally hitting buttons in the middle of speaking. There’s even a safety on-board limiter and auto-level control built-in to the recorder itself make sure your levels don’t spike in case of a louder volume incident.

The recorder of the Zoom F1-LP itself weights 120 grams without batteries, so in terms of being a hassle aside from perhaps sticking out on your side (who cares, you look more official anyways!). In regards to recording time, the Zoom F1-LP is going to last about 10 hours of battery time with Alkaline, 9 hours with NiMH, and 16 hours with Lithium. You can always use their power adapter for even more power, but that’s sold separately and doesn’t come in the box (they do give us two AAA with the package, however). Or perhaps you have some rechargeable batteries lying around, you can use those as well.

For transferring data, we’re always fans of MicroSD, but just in case you can also plug it directly into your computer via USB (microUSB) and merely drag it into a folder and you’re to go for editing.

What’s in the Zoom F1-LP box?

• Field Recorder (F1)
• Lavalier microphone (LMF-1)
• Windscreen (WSL-1)
• Mic clip (MCL-1)
• Belt clip (BCF-1)
• Two AAA batteries
• Quick guide

In conclusion of the Zoom F1-LP recorder and lavalier

We’d definitely recommend the Zoom F1-LP package for somebody who’s in need of a lavalier solution and isn’t into recording directly into the camera they’re using. To answer one of the biggest questions we’ve heard of this particular type of product — yes, the audio-quality is going to be a lot better than sticking a lavalier mic straight into the camera’s audio out jack. Not only are you getting a closer recording of the source itself, but the Zoom field recorder actually processes audio a lot better than cameras as well (which makes sense, cameras are cameras and don’t have the specific built-in processors for this since it focuses on picture instead).

Unfortunately, you can’t hook up two lavs at once, so that’ll be a problem if you intend on having multiple sources. You’ll have to switch off the lav, or perhaps just buy two of these to accommodate? Or maybe your intended use will actually call for needing a shotgun microphone instead? This we would only recommend if you aren’t concerned with clarity of an actual speaker but the space you’re videoing instead.

They have a new package on top of this one they’ve just released we’ve also written about — read our Zoom F1-SP review for some more information. You can also look int our best lavalier microphones guide if you wanted some alternatives, but there aren’t as many recorder and lav combos out there like this one, so you’ll be getting something very specific here if you think it suits your needs — recording one speaker at a time in a setting that will entail them being able to attach a recorder to their side and clipping a lavalier mic on their shirt (or somewhere close). You must also be OK with syncing audio and tweaking some settings in post-production (doesn’t everybody?).

Recommended uses here would be, but not limited to (in our opinion), the following: vlogging, podcasts (there are better alternatives, however), interviews, speeches and presentations, and more. All in all, we do love the Zoom F1-LP recorder and lav mic — it isn’t low quality whatsoever. Zoom is on top of their game as always and have a reputation in the portable audio recorder as well as smaller microphone capsule game for a reason. We highly recommend it if you have the cash and think it’ll fit with your needs and in your recording toolbox.

When we went to NAMM this year, we were ecstatic to get into the Samson booth and be met with a brand new wireless mobile phone microphone solution, The Samson Go Mic Mobile. We’ve had a feeling mobile phone microphones were going to become more popular as the years went on (especially with our iOS microphone guide becoming super popular through out the past few years), but a wireless receiver that attaches to your smart device and is compatible with both a traditional handheld mic or lavalier? We had to see what it was all about, especially with that now-popular “Go Mic” name we all know attached to it. Here are our thoughts as well some in-depth information on what you’ll exactly be getting with the Samson Go Mic Mobile.

Features of the Samson Go Mic

• Available in two mic transmitter configurations
• Dual-channel receiver
• Low-latency, professional quality audio
• Compatible with iOS and Android
• 100 foot (30 meters) operating range
• 13 hour rechargeable battery
• Can work with two microphones at once
• Operates on 2.4 Ghz band
• Can mount on DSLR shoe mounts
• 10Hz–22kHz frequency response
• USB audio outputs with volume control
• Switchable 1/8” headphone/line
• Also included: 3.5 mm audio cable, USB charge cable and power adapter

Standouts of the Samson Go Mic Mobile

When it comes to intended uses and applications here of the Samson Go Mic Mobile, it’s great filmmaking, journalism, live streaming, vlogging, and really, all types of videography that will entail either a handheld mic or lavalier with a wireless connection. The possibilities are pretty endless here; however, we don’t foresee it being used for just a few applications, such as recording concerts, band practices, or other types of audio that you want to capture clearly in larger rooms (the handheld and lav are limited to and best for pointing it at a direct source as opposed to a larger spectrum). Of course, you can always get creative with the solutions you have at hand here, but it will depend on how you want to work it out. For example in band practice or performances, perhaps you can hook up the handheld to a mic stand in front of a singer, while recording the rest of the band directly through a mixer, and then overdubbing the audio later on?

We were also glad to see Samson made the decision two create two variations of the Samson Go Mic Mobile. The first is the mobile receiver paired with their Q8 dynamic mic with HXD2 handheld transmitter, and other their LM8 omnidirectional lavalier microphone with PXD2 beltpack. Which is best for you will of course depend on your intended application. Looking to interview others, podcast, record some sermons or speeches? The handheld package may be for you. Want something a bit more inconspicuous and on-the-go for vlogging, interviews and more? Grab the lav package. Not sure which to buy? Perhaps both? You can use them at the same time if you do so.

Using two mics at once with the Samson Go Mic Mobile is huge for us, and this is a problem at times we’ve seen with some recorder and mic combos only allowing one source which limits us a bit in terms of versatility (having to switch off the lav mic to people, etc.). Especially during interviews (such as at the convention using it) or other times (many times at that) you’ll need to record two individuals at once, you’ll be good to go for that. One person can hold the handheld while the other (perhaps partaking in the demonstration) can clip that lav mic to their shirt. These two signals can then be mixed together or even recorded separately with those channels for some additional flexibility when editing — we love this part because nothing is worse than having a mixed audio file, especially with two different speakers. The more channels the better, and let’s say one person’s voice is different from the other (pitch, volume), you can adjust accordingly in post-production. If you want to scale it even further, you can operate up to three full systems at the same time for a grand total of six mics and transmitters. Why not?

The audio is uncompressed, so we’ll have some leeway when it comes to tweaking it to our liking in post-production. No compressed MP3 stuff here. The low-latency transmission is also effective for syncing with your video file, but that usually isn’t too hard to do in post-production with some software. You can choose if you’d like to record directly into your device using a third-party recording app or the actual video file itself.

Using the Samson Go Mic Mobile

Usually with wireless transmitters, you’re going to be called for some knowledge in the ‘setting up’ department. This particular transmitter operates on the most common wireless frequency band — 2.4 Ghz. However, a little feature we really like that helps out with user-friendliness is the automatic operating channel selection. What it does is it searches through the available channels in your particular location and will find the less crowded — excellent for convenience. Of course, there will still be those risks of interference as there always is with wireless microphones and receivers; however, this helps give us some confidence it won’t happen nearly as much as if you were just select the first channel you find. On top of that, you’ll be getting about 13 hours of recording time, which to us is more than enough for at least one day of work (just don’t forget to charge it the night before).

On the mobile receiver’s interface itself, you have quite a few controls at your disposal. The front includes a smart phone locking screw, analog output selector switch, and mixed mono/split stereo selector switch. The sides of the unit have an output for digital audio and analog audio as well as a charging port.

The Samson Go Mic Mobile’s compatibility

The Samson Go Mic Mobile is compatible with Android running at 5.0 (lollipop) or higher, however they must also allow for USB digital audio connection (USB Micro B or USB-C cables — which come in the box), of course (not all do so, which may call for you to download a third party app). You can always use the 3.5 mm cable connection as a safeguard. On the other hand, it’s compatible with all iOS devices (yes, it comes with the lightning cable). All of these connections are compatible with any device you have that supports the inputs, so this includes cameras, camcorders, computers and more.

When it comes to actually mounting the receiver onto your compatible device, the package (both configurations) provides us with quite a few mounting accessories — bracket arms, hook-and-loop fasteners, shoe mount adapter, and 1/4″-20 adapter), so you have quite a few options when it comes to flexibility in mounting that receiver.

What you’ll be getting the box (aside from one or the other in terms of the dynamic or lavalier mic\transmitter). (Source: SamsonTech.com).

Conclusion of the Samson Go Mic Mobile review

This is definitely a standout when it comes to the new microphones we were able to check out at NAMM. The market is starting to become saturated with everybody’s version of their “Yeti” or different lines of USB microphones. This was however the first and only new smart phone microphone we saw available for the new year, not to mention it’s one of the first of it’s kind being in being wireless. Well done, Samson.

It’s definitely nice that it’s also compatible with different recording devices so long as it has the proper connections, such as a DSLR camera, however when it comes to actually capturing semi-pro and professional recordings for perhaps documentaries, movie making and filmmaking, you may want to get something a bit higher in quality (and of course, more expensive). Our DSLR video mics guide may provide some better options there.

Aside from that, and when specifically pertaining to a smart phone, there isn’t necessarily anything stopping you from grabbing a traditional portable audio recorder\microphone combination that supports wireless recording; however, many out there do not actually mount to your phone and you’ll have to either hold it with your hand or stick it in your pocket.

Ultimately, the Samson Go Mic Mobile is in our opinion the first of it’s kind. Not to mention allowing us to record up to six different sources on different channels for some great versatility for post-production. As stated previously, you can read our iOS microphone guide (we’ll write an Android one later on) for some competitors, but there aren’t many wireless solutions out there just yet. This is a must if you’re planning on recording audio to your smart phone, and we think it’s the start of a new trend and the further progress of smart phone microphones as a whole.

Our ears definitely perk up every time we hear the phrase ‘new USB microphone’, and when we were able to check out the Samson G-Track Pro USB at NAMM, we were extremely excited to get our hands busy. There are countless USB microphones in the market right now and that’s only going to increase with time, considering they’re growing in not only popularity but overall quality to help give us versatility in the plug-and-play microphone game. As we can see at first glance, this here G-Track Pro looks suspiciously like a very popular USB mic I’m sure you’re all aware of (the Yeti, if you weren’t). However, there hasn’t really been a direct competitor with not only size but functions, capabilities and of course, price-point. So let’s jump in.

Features of the Samson G-Track Pro

• All-in-one USB mic and interface
• Dual 1″ condenser capsules (25mm)
• Three selectable polar patterns: Cardioid, bidirectional and omnidirectional
• Compatible with Mac and PC
• 3-color LED for power, clip and mute
• 1/4″ instrument in, 1/8″ stereo headphone out
• Integrated desktop base (removable)
• 120dB SPL
• Frequency Response: 50Hz–20kHz
• Resolution: 16 or 24-bit up to 96kHz
• Weight: 3.5 lbs (1.6kg)

Quality of the Samson G-Track Pro

Our number one concern with any microphone ever is this — how does it sound? USB mics aren’t going to be the ‘warmest’, ‘clearest’ or even ‘best’ of course — we aren’t talking a professional studio microphone here. However, for those concerned with uses that don’t involve professional music, such as streaming, vlogging, podcasts, skype calls, business meetings or really, in a home studio, a solution such as this can be perfect. It isn’t fuzzy or bad at all, in fact it comes at a higher than average sample rate and resolution at 24-bit, 96 kHz (most we’ve seen out there, such as with the Yeti that we’ll do a comparison on down further, come in at 16-bit, 48 kHz). The frequency range could’ve gone a bit lower (we’re always fans of the standard 20 Hz as opposed to 50, but beggars can’t be choosers and for those in home studios or other non-musical related adventures, this isn’t a concern unless you’re recording a literal bass guitar.

The build of the G-Track Pro is great, and it felt like a tank when we got to hold and inspect it. The construction is actually made of die-cast zinc so no cheap plastic here. What we also love is that little desktop stand that makes it perfect for setting it right into our existing setups, or if you’d like, you can remove the stand and mount it to a microphone stand (any time, whether it’s a traditional stand or even arm). The buttons and ins\outs aren’t cheap and definitely won’t break on you if you take care of this. It’s going to be a long-term investment and will last you years.

Next, let’s talk latency. With the 1/8″ stereo headphone out and the level control on the unit itself, you can monitor your sound without any disruptions. While recording, there isn’t going to be any noticeable lag in between the playback and recording feedback, or even in post-production when it comes to syncing any audio. You’re fine here.

Using the G-Track Pro USB microphone

As with many USB mics in the game, getting this going right out of the box is extremely easy. No driver installation required — just plug it in to your computer or laptop (yes, PC or Mac — unfortunately, no smart device use here) and it’ll be recognized within 10 seconds. Just get some of your music software going and voila, you have instant audio recording.

Another huge plus of a USB mic in this price-point is the selectable polar patterns. For most uses a USB mic calls for, especially if you’re recording a podcast or some type of vocals on your desk or in a studio, the cardioid pattern will be your main go-to. However, the bidirectional (picks up from two sides — the front and rear) gives us flexibility for recording and performing, such as those with a guitar who sing at the same time. The omnidirectional pattern (picks it up equally from all directions) may be of use to some if you want to pick up an entire band or some type of quartet in the studio. The last two patterns may not be used quite frequently (especially for those recording professionally, we’d say stick to a traditional studio XLR connected condenser), but it at least give us some flexibility just in case.

The gain control on the microphone unit itself is a big plus as well. Simple turn the knob by hand if you want to tweak the volume of your recordings as you wish. The other knobs below can also control the instrument in volume as well as your headphone level. Also to keep in mind, if you are going to be using the G-Track Pro traditionally with its desktop stand while you’re sitting, do not point the mic right at your face. Instead, keep it face up so the front side faces your mouth and it can capture your audio that way. It’s a side-address mic.

Additional standouts of the Samson G-Track Pro

For those who aren’t just concerned with vocals or recording any type of talking, the G-Track Pro will also work very well with instruments. You have a 1/4″ input for guitars or other types of gear\instruments that are compatible with this connection. This give us the ‘audio interface’ name, and although of course you can record instruments straight through your traditional interface (or perhaps use acoustic instruments with the G-Track Pro’s traditional mic use), it won’t hurt, especially if you don’t want to invest in a standard audio interface that cost a few hundred more bucks in your budget.

Keep in mind you can record both the microphone as well as 1/4″ instrument input at the same time as well. This is done by using the Mono / 2-Track switch which will make it literally record each source separate into two tracks for easy post-production editing. When doing so however, you’ll want to set up your studio in a way that the others don’t blend with each other, such as the guitarists strumming being picked up by the mic capsule, etc.

In conclusion of the G-Track Pro USB review

We don’t want to do too many ‘comparisons’ with the Yeti. Standing by itself, the G-Track Pro is an excellent USB microphone solution, and is starting to show us when technological advancements in the USB mic game while keeping the price relatively steady.

There are a few factors to pick apart when it comes to looking at competitors, however. If you were wondering, yes, the Blue Yeti actually goes down to 20 Hz in the frequency response area. However, keep in mind the Yeti’s capsules are only 14 mm large, so you’re getting a bigger capsule for a little bit more audio quality and clarity with the G-Track Pro’s 20 mm. Also, the Yeti only goes up to 16-bit while the G-Track Pro is 24-bit, while the Yeti and Yeti Studio are only 48 kHz and the G-Track Pro is 96 kHz. If you’re concerned with audio quality and price, the G-Track Pro wins.

If you want to go higher in the audio resolution area (which is a make or break to us), you’ll have to grab Blue’s Yeti Pro which goes all the way up to $250 retail, about $100 more than the G-Track Pro. It does go up to 192 kHz as well, so that may be a determining factor if you have the cash, otherwise the ‘price-to-quality balance’ verdict still goes to the G-Track Pro. Not to mention that price is higher because they include ‘software’ in the bundle. Now don’t get us wrong, if you need software as well (keep in mind there are a lot of free solutions out there), the package may be worth it, but that still makes G-Track Pro the winner when it comes to capsule size, audio quality and of course, affordability if you can get past that small frequency response difference.

We think Blue needs to up their game since we have a new sheriff in town, so look out for some ‘improvements’, ‘tweaks’ or ‘new versions of the Yeti’ in the coming years. This may even call for Samson to continue creating models in the G-Track series as well — we’re always open for battles since it will only help us consumers. For now however and until further notice, the Samson G-Track Pro is in our opinion the best USB microphone in the game for under $200.

Setting up a wireless microphone system can get complex if you want to do it correctly. With the recent FCC auction of the 600 MHz (Megahertz) band of frequencies, users of wireless microphones all across the country are being forced to reconfigure their wireless systems. The age of having the freedom to leave huge gaps between your wireless microphone frequencies is over as the amount of available frequencies has been drastically reduced. Because of this, it is important to purchase the right equipment and make the right choices when setting up your new system.

How to Set Up a Wireless Microphone System

How do Wireless Microphones Work?

Unlike all of the other popular microphones in the world, wireless microphones send radio waves just like your FM radio to send audio signal wirelessly from a microphone to a wireless receiver. Almost all wireless communications, including LAN, Bluetooth, cellphones and television broadcasts use radio waves. Radio waves are measured in frequency with the lowest frequency waves having the ability to travel the furthest and the highest frequency waves the shortest. Wireless microphones operate in the UHF, or “Ultra High Frequency” range between about 300 and 1000 MHz. This range of frequencies is governed by the FCC, the Federal Communications Commission, where they designate sub-ranges of the UHF range for various functions. For example, the 225-420 MHz is reserved for government use, while the 849-851 MHz bands are reserved for commercial aviation systems.

The FCC designates the certain MHz bands for unlicensed use of wireless microphones. That being said, these bands of frequencies are not reserved or kept open for the use of wireless microphones. This space for unlicensed activity is often a free-for-all of signal. As such, when you’re setting up your wireless microphones, it is not uncommon to find interference across several of your wireless channels. There are however steps you can take to make sure your system can differentiate interference from your desired signal. This guide should help you to make sure that happens.

Choosing the Right Wireless Microphone

There are a lot of affordable options out there for wireless handheld or headset microphones and receivers. You’re obviously going to want to make sure that you’re buying a quality microphone, but for the purposes of this guide you’re going to want to examine the receiver first. The ideal receiver touts the more advanced “True Diversity” technology as well as outputs for coaxial cables that allow you to connect your receivers to an external attend (we’ll get to that later).

True Diversity receivers have two separate antennas running on two independent receiver sections. The antennas on opposite ends of the receiver and the receiver constantly compares the signal between the two antennas and captures whichever signal is the strongest. This provides a much more stable connection as the odds of having both antennas drop signal simultaneously is very low. You’ll also want to make sure that you’re purchasing a system where the settings can be adjusted easily on both the handheld microphone or body pack as well as the receiver rather than only on the receiver.

Wireless microphone systems come in a variety of mic and receiver types.

Both Shure and Sennheiser offer some of the highest technology in terms of microphone quality and receiver reliability. Although we did provide many great options in our 10 best wireless microphones guide that’s gained a lot of traffic through out the years, I lean more towards the Sennheiser models as I find them easier to set up.

This Sennheiser EW 100-953 G3 system comes with a very high quality dynamic microphone and a receiver that checks all the boxes in terms of features, ease of use, and reception strength. Here is the handsfree version of the same system.

Choosing the Right Wireless Frequency

Here is where setting up a wireless microphone system start to get tricky, and some mistakes may occur. Some receivers have a built-in scanner that will automatically scan through the frequencies and give you the ones that have the least interference. This is similar to the way your old television tuner used to be able to scan for available channels on setup. The Sennheiser system above, and many like it, offer instant data on noise coming across that frequency as you scan across your channels. The two bars on the left of the receivers display offer you information signal strength and volume. As you scroll through each frequency, stop for a moment and observe those two bars. The channels with the least amount of activity are the channels that will be the best for setting your microphone. Once you have your channel set on the receiver, you can quickly sync the receiver with your microphone by using the quick sync function that comes with the Sennheiser model. If your model does not have a quick sync function, you’ll simply tune your microphone to the same frequency as your receiver.

Finding the right frequency can be tricky, but effective when taken the time to do so (Source; YouTube.com).

Now just because you have a signal does not mean you’re done. Make sure you’re scanning and setting your frequencies in the same space where you’ll be using the microphone. Just because your wireless mic connected flawlessly in your living room does not mean it will work as well when you take your system with you to the location of your gig. Ideally, this process of scanning and selecting frequencies should take place at every new location. Now many microphones and receivers come with the ability to quickly change between preset channels similar to the way you can save 6 radio stations on your car radio. If you’re constantly using your wireless system in the same spaces, you can find frequencies that work, save them as presets, and switch quickly and easily after the first scan at each location.

Strengthening Your Wireless Microphone Signal

Remember when we talked about those external antennas? For anything larger than a 50 foot gap between the microphone and the receiver, an “elephant ear” style external antenna is going to be an absolute must-have. You can use any brand of antenna with any brand of microphone, as long as the frequency range on the antenna is the same as the frequency range of your microphones. The good news is, you can use up to twelve microphones with one pair of antenna!

If you’re following this guide and using a true diversity receiver, you’re going to need two antennas in order to continue to reap the benefits of true diversity technology. To keep things consistent, I’ll recommend a pair of these Sennheiser A2003-UHG Directional Antennas. These are ordered one at a time so make sure to have two in your cart at check out.

These antennas conveniently screw into the top of a microphone stand like a microphone clip. You want to have the face of the antenna aimed at the general direction where your microphones will be. You can plug a pair of these antennas directly into your microphone receiver using these coaxial cables. If you’re going to connect multiple receivers to your antennas, things start to get a little confusing.

There are two ways to plug multiple receivers into one antenna. You can either use passive splitters or active splitters. Passive splitters are exactly what they sound like, splitters that passively split the signal without any amplification. When using passive splitters, you’ll actually lose about 6 decibels of signal for each splitter. If you’re only splitting it once or maybe even twice, you can get by with this method. It is far less expensive than using active splitters.

Active splinters allow you to split the signal without any loss of sound. This Sennheiser ASA1 Splitter will work perfectly with the equipment listed above. It even comes with 8 coax cables! This unit will also power your receivers so you’ll no longer need to use AC adapters to power each individual receiver, freeing up lots of space on your power conditioner or power strip.

Each splitter comes with two antenna slots (one for each antenna in the true diversity system) and 8 slots for receivers. You’ll be connecting two cables to each receiver, one for each antenna signal, so this allows you to connect 4 receivers to two antenna. Now I know what you’re thinking… Yes I did mention earlier that you can connect up to twelve receivers to one pair of microphones. This will be costly, but can be achieved by connecting four splitters to one main splitter instead of 4 receivers to one main splitter. Each splitter can then be connected to four receivers, allowing you to connect up to 16 receivers to one pair of antennas. This is about as many receivers as you’ll want to try to connect to one pair of antennas.

Setting up a wireless microphone system can be costly and confusing but like most other audio endeavors, it is worth it to spend more money and do it right the first time rather than try to repair something that was done haphazardly down the road.

If you’re in need of some recording equipment, in particular a microphone with a few accessories to get going on your musical endeavors, we found a few bundles that may perfect to help you save some money. Microphones aren’t necessarily cheap, and it can be confusing which accessories you actually “need” or can suffice without for the time being. Luckily in the music gear world, a lot of our favorite brands (and a few of our favorite mics in general) come with some “packages” that can cover some bases you were already planning on purchasing separately, creating a nice little collection of gear to get us recording right out of the box. Let’s get into the top 10 best microphone packages we found that are worth buying today.

What to look for with microphone packages

The terms “package” and “bundle” are pretty subjective, and we’ve learned after both personal experience and research that there are a lot of variations out there. With that being said, we wanted to highlight the popular accessories included in microphone packages so you can have an idea of what to look for as well as what to prioritize when it comes to your own personal needs. Here are the popular microphone accessories you’ll be need to get recording. Use this as a check list to see if you already have them, or what you can get away with buying later down the road or perhaps on the side of your chosen mic package.

• Mic stands: Unless you’re planning on using a USB microphone with a desk stand in a more traditional office setting (which aren’t offered in packages at the moment, as many already have stands and mounts built-in), you’ll need a stand for your microphone to stay in place. You can always purchase a mic stand separately which aren’t too expensive and range from $20+ and up; however, a few below will include one in the box in case if it’s a big deal for you.
• Shock mount: This accessory, for lack of a better phrase, is that “little cage” that will keep your microphone housed. It’s main job is to of course protect the mic from damage, but also isolate them from mechanical noise as well (also known as absorbing the shock and vibration isolation that sometimes occur when using microphones).
• Pop filter: Also known as pop shields, wind filter, etc. Have you ever recorded and hear those “P’s”, “S’s” and “K’s” just straight up ruin your mix? The pop filter will help reduce the extra emphasis certain letters, words and phrases make. We always recommend using one.
• Audio interface: Although not an absolute must to actually start recording, audio interfaces in our opinion nowadays are what makes or breaks a home studio. Think of these devices as an “external sound card” that processes your recordings way better than going through your actual computer itself — not only in terms of audio quality, but ‘latency’ as well (there will be a slight “lag” at times without interfaces). Most of all, it provides something called “phantom power”, something many of these mics below need (actually, I believe all of them do) to even work in the first place. You can also plug-in your headphones to the audio interface to ‘monitor’ your mix, as well as a few other pieces of gear you may have at hand if the interface has more than one USB hub (or perhaps some MIDI connectivity).
• Necessary cables: We need to actually hook this equipment up of course, so keep in mind if the package actually provides the cables you’ll need to work the gear that it comes with. Also make sure they’re the “right” cables, such as a USB cable for your audio interface, or an “XLR cable” that plugs in to the mic (that three-pronged circle that hooks up to the end of the mic).
• Headphones: Many of you may already have headphones laying around, but if you do want to optimize your recording endeavors and have headphones that are specifically for recording environments, some of these packages come with some very nice closed-back, over-ear headphones that are ideal for microphone uses. If you already have headphones, other packages may be more feasible for you.
• Music software: Last but not least, we have to store our recordings, mix and then create songs together somewhere, right? Even if you’re podcasting, some music software will be feasible for your use. All in all, you can always get away with using free software found around the net, but some of these microphone bundles below either come with some “lite” versions of popular DAWs, or perhaps full version of the brand’s own music software.

Unfortunately, there isn’t a microphone package out there with literally every single thing in this check list. However, there will be some that come pretty close. For example, there are a few with audio interfaces as the staple-point of the package, while lacking a mic stand or perhaps a pop filter. If an audio interface is a big must for you, you can always just grab the few missing pieces on the side to save some money on the interface. In fact, we’d recommend this focus since audio interfaces can be expensive, and it appears they become greatly discounted with packages. On the other hand however, there aren’t many packages that actually include software, so if you’re in need of a DAW, grab a package with some decent software and just grab a few extra accessories along with it.

The top 10 best microphone packages and bundles

Rode NT1-A Condenser Mic Bundle

In the microphone package:

• 1 large-diaphragm condenser microphone (Rode NT1-A)
• 1 shock mount (Rode SM6) with integrated pop filter
• 1 20′ XLR cable
• 1 mic dust cover
• 1 studio secrets DVD

Here’s one of our favorite microphones of all time, especially in the lower-range of the studio microphone price-point. Highly reviewed by users for its overall clarity, warm sound, and overall build stability, the Rode NT1-A here is one of the best microphone packages available today if you aren’t concerned with interfaces or software and just need the gritty accessories for recording. Included with the standard microphone, shock mount, pop filter, and cable, the Rode bundle provides everything needed to get started with a home studio or basic recording. Known for its clarity of sound and its versatile use across all recording platforms (recommended here however are vocals, guitars, or pianos), this bundle is relatively durable, with a compact design that makes it both lightweight and easy to use. This quiet studio microphone provides a dynamic range of both sound and frequency, making it a popular choice for both vocal and instrumental recording by many professionals. A bonus for those who are just starting out is that it even comes with an instructional DVD to walk you through step-by-step in the setup process, ensuring that you get every bang for your buck. A quality set at a stable price, the Rode NT1-A mic bundle is a comparable option as the best microphone package for both beginners and semi-professionals alike.

sE Electronics X1 S Studio

Included the microphone package:

• 1 large-diaphragm condenser microphone (X1 S)
• 1 RF-X relfexion filter
• 1 isolation pack with popshield
• 1 XLR mic cable (3 meters)

Designed for those who are recording in spaces that don’t offer the best acoustic backgrounds like a studio would, the sE Electronics X1 S studio bundle provides everything you need (and then some) to achieve that professional quality sound associated with a home studio. The included shock mount makes setup and tear down easy with its quick release mechanism when inserting both the metal pop shield and microphone, and allows for flexibility in how these accessories are positioned. This will be great in case you plan on recording on-the-go, or perhaps going to a friend’s to collaborate. This bundle also contains a “reflexion filter” to cover the outer rim of your microphone, making sure that what you are recording is going directly into your mic and not being comprised with any external sound. This allows for a dry sound that gives the user the opportunity to be creative in adding in their own background mixes or acoustics to provide depth to their recording. A solid quality that is great for the price, the sE Electronics X1 S studio is a great microphone bundle to keep in mind if that mini sound booth stands out to you, although it unfortunately lacks an interface or software.

Focusrite Scarlett 2i2 Studio

In the microphone bundle:

• 1 large-diaphragm condenser microphone (CM25)
• 1 audio interface (Scarlett 2i2)
• 1 pair of closed-back studio headphones (HP60)
• 1 XLR cable (3 meters)
• 1 copy of Ableton Live Lite music software
• 1 copy of Pro Tools First software
• 1 copy of Focusrite Creative Pack (plug-ins and effects)

As with most things in life, having to wait on information is not always ideal. That being said, the Focusrite Scarlett 2i2 Studio boasts as one of the best microphone packages due to its superb audio interface with low latency in recording transfer, letting you hear an accurate depiction of your sound in your included headphones almost immediately as you record. With an included condenser microphone that is feasible for beginners or home studios, as well as some high-quality closed-back headphones, the two preamps in the interface let you plug in and record both vocals and instruments at the same time, with two outputs available to transfer your recording to your software for mixing. Plus, while recently releasing a new design, the Scarlett 2i2 uses the amp from your mic to let you know how the overall sound of your recording is being produced, with a green light indicating a good signal and a red light demonstrating a need for adjustment. A budget friendly price with high quality features, the Focusrite Scarlett 2i2 Studio is a great pick when considering which microphone bundle is best for you. It also comes with a great music software free trial in Ableton Live Lite, and some plug-ins and effects to mess around with in post-production as well. You’ll just have to buy a mic stand, shock mount and pop filter on the side.

PreSonus AudioBox Studio

Included the mic package:

• 1 large-diaphragm condenser microphone (M7)
• 1 pair of semi-open headphones (HD7)
• 1 AudioBox USB audio interface
• 1 copy of Studio One 3 digital audio workstation software
• 1 USB cable
• 1 XLR microphone cable

For those users who are in the middle of the road between just beginning and at a professional quality, the PreSonus AudioBox Studio has everything required to record and mix your music and create your own sound (aside from again a stand, mount and filter). This one rivals the previous Focusrite package we had just mentioned, however this may be more suitable for you if you need to save a few bucks, since it’s often found priced cheaper. The condenser microphone and included headphones allow you to both capture and hear those low and high frequencies that are often difficult to achieve and let you know exactly where you need to fine tune you recording for your optimal sound. It’s the included Studio One software however that really makes this bundle something to consider — it is the full version of PreSonus’ spin on a DAW, and although not quite as popular as Ableton Live Lite, won’t require you to be limited when using it (since others with software usually come as trials). With its USB connection that works on most Mac and Windows devices, the AudioBox interface is also easy to hook up to your microphone and transfer your recordings on to your software for mixing. Its compact design also makes it ideal for travel, so that you can take your studio with you wherever you go. One of the best microphone packages available, the PreSonus AudioBox Studio is a great pick not only for home studios but for the musician on the go as well.

MXL 770 Studio Package

In the mic bundle:

• 1 MXL 770 condenser microphone
• 1 boom mic stand
• 1 pop filter
• 1 shock mount
• 1 microphone carrying case
• 1 XLR microphone cable

With everything you need to get started on your recording journey, the MXL 770 Studio Package gives you all of the tools for a high quality recording besides an interface and software at a budget-friendly price. Hitting just above the hundred-dollar mark, the small condenser microphone is the biggest highlight here (which provides both a wide range of frequency and a high dynamic range in your recording). The 770 is one of the most popular lower-end condenser mics ever made. It locks into place with the adjustable tripod mic stand for a secure and stable recording device. The included pop filter works in tangent with the mic to make sure there are no external “popping” noises heard when recording, and the twenty foot cable makes it easy to connect to any device you are using to transfer and mix your sound. Well reviewed by users for its low-end price and easy setup, the MXL 770 Studio Package is everything you need in your recording endeavors, and is a big favorite for those on a tighter budget,

Focusrite iTrack Solo Studio

Included in the microphone package:

• 1 condenser microphone (CM25S)
• 1 audio interface (iTrack Solo)
• 1 pair of studio headphones (HP60S)
• 1 XLR microphone cable (3 meters)
• 1 copy of Ableton Live Lite
• 1 copy of Scarlett Plug-in Suite
• 1 copy of Novation Bass Station Plug-in
• 2GB of Loopmasters samples

Another big hit in the microphone package world by Focusrite, this one here is a bit less popular than the 2i2 because of the interface’s less ins and outs, but comes in a bit cheaper in case the previous bundle wasn’t in your budget. While it contains all the necessary equipment in order to create your own studio, it is the feature of being able to work on a variety of devices that makes this one of the best microphone bundles to purchase. With the ability to plug directly into your Mac, PC, or even your iPad, it is simple to transfer your music directly to the software you are using. The large condenser microphone works to give you precision and clarity in your sound if you’re in a home studio, which is easily heard through their closed-back, over-ear headphones that let you focus on what you are mixing and remove any background noise that can distract from your sound. In addition, the microphone and iTrack device are small enough in size that they are ideal for travel. Simply plug in the mic, attach it to your computer or iPad, and you are able to record wherever you may be. Regarded for its high quality sound and accuracy, the iTrack Solo Studio is a solid set for all users alike if you don’t need extra inputs for instruments and only intend on recording vocals. You also get the same software package as their previously listed bundle, but also included are some samples if you want to start producing as well.

Audix DP7 Drum Microphone Pack

In the drum mic package:

• 1 kick drum microphone (D6)
• 2 dynamic drum microphones (D2)
• 1 floor tom mic (D4)
• 1 snare mic (i5)
• 2 studio condenser microphones (ADX51)
• 4 rim mount clips (D-Vice)
• 3 tension fit mic clips
• 1 foam-lined hard-shell aluminum case

Let’s take a break from packages for vocalists and provide a nice bundle for drummers in case you’re somewhere out there reading this guide. If you’re one of those people who subscribe to the idea that “if you look good, you feel good,” then walking around with the Audix DP7 Drum Microphone Pack is sure to motivate you to record the best audio possible. Mainly designed with drum instruments in mind, the variety of microphones provided give you the exact precision and clarity you need for all different frequencies and level of sound. These seven microphones and clips adjust to the specific drum you are working with, from kick, snare, drum, and floor toms. Regarded for their very low mass (VLM) in their lightweight design, these microphones aim to capture an accurate reproduction of the music you are playing, and with a gooseneck design for flexibility you are able to record at all angles to fit the placement you need.  Well reviewed and known for their instrument-specific microphones, the Audix DP7 drum microphone package is a higher-budget option with quality results, regardless if you’re going to record or perform on stage.

M-Audio Vocal Studio Pro II

Included the mic bundle:

• 1 large-diaphragm condenser microphone
• 1 audio interface (M-Track)
• 1 pair of studio headphones
• 1 mic clip
• 1 XLR mic cable
• 1 USB cable
• 1 copy of Ableton Live Lite
• 1 copy of Waves plug-in pack

A customer favorite with highly regarded reviews, the M-Audio Vocal Studio Pro II is the sleek microphone bundle that provides you with upgraded technology for very clear recording. Designed to work in a variety of facets (vocals, instrumentals, podcasting), the included large diaphragm microphone, headphones, and interface are simplistic in design and user friendly. Sensitive to low noises and recording at a wide frequency, the microphone does well to captures your sound exactly as you record it so that you can go back in later and add your favorite effects provided in the included software (yes, Ableton Live Lite again, seeing a trend here?). Plus, with the compact design and durable nature of the microphone and device, it is easy to transport your “studio” with you so that you can record whenever inspiration hits. Additionally, the included headphones (which provide comfort in their adjustable headphone and padded ear cups) remove all external sound to let you focus in on what you are creating. Complete with everything you need for your own endeavors, the M-Audio Vocal Studio Pro II is yet another one of the best microphone packages out there in the music gear world, by a reputable brand in M-Audio.

Shure SM58-S Package

Included in the microphone package:

• 1 dynamic microphone (Shure SM58)
• 1 microphone boom stand
• 1 windscreen
• 1 20 foot XLR cable
• 1 polishing cloth

Let’s talk live performance microphone packages to end the guide. Known for its unparalleled quality of sound and its durable design, the Shure SM58-S is considered to be one of the legendary and premiere microphones, making this package one of the best microphone bundles for singers on stage available on the market. At a budget friendly price that is realistic for many, the SM58-S uses a dynamic design within its microphones, intended on capturing the exact vocal it is recording in front of it and eliminating any external noise that may detract when coming from an audience. The bass roll off and brightened mid-range work to remove the low frequencies that detract from the sound and instead balance it with both the upper and lower frequencies. Additionally, the shock mount works to remove vibrations that may naturally occur in recording to give consistency within the audio. Plus, since this is a microphone that is known to be used for the stage as well as recording studios, it is known to be able to withstand quite a bit of wear and tear while remaining durable and reliant. With the rave reviews it receives from professionals and amateurs alike, the Shure SM58-S package is a strong option for those seeking the best microphone bundle if you’ll be on stage.

Sennheiser E 835 Bundle

Included in the microphone bundle:

• 1 dynamic vocal microphone (Sennheiser E 835)
• 1 microphone boom stand
• 1 20 foot XLR microphone cable
• 1 microphone clip
• 1 carrying pouch (fits only the E 835)

To finish off this list in another live mic bundle is the Sennheiser E 835 bundle, complete with microphone, stand, connector cable, and pouch. The durable E 835 microphone is built for the stage and the studio alike, with the ability to handle high pressures of volume while simultaneously eliminating external noise that may disrupt the quality of sound. Designed within a “family” of microphones in their beloved E series, Sennheiser works to ensure great clarity within their audio recording while also reaching a wide range of frequencies. Continuously, the boom stand is designed with the ability to be easy to transport while still remaining sturdy and solid when in use. Adjusting for height and microphone flexibility is easy with a locking clutch that keeps everything in place, and tear down is minimal. Add in the included cable to connect to your equipment for mixing and the Sennheiser E 835 bundle is a quality option for a reasonable price, capping off our list of the top 10 best microphone packages in the market today.

Buying a microphone for gaming will give your voice a step up when it comes to one of the most important parts of the process as a whole — communication (both to your teammates or even your enemies). Whether you’re in need of a simple solution to replace your headset mic (that really isn’t ideal for sound quality in general), or perhaps prefer to game with a high-quality pair of headphones and need a microphone to accompany your setup, we found 10 of our favorite models here to recommend you today. Many of these will also work for those who stream, record, or partake in any other side projects that need a mic. First we would like to teach you a few factors to keep in mind while you look for the best gaming microphone for you, since we have a lot of options depending on your budget, setting as well as type of mic preference.

Finding the best gaming microphone

• Money: Budget will always steer us in a particular direction, especially if you’re in need of a simple solution without a few bells and whistles. We found a range of microphones for gaming in this article, going from $50 or less all the way to a few hundred bucks. The following factors may entail you start saving up if you don’t have the cash now, or if you’re in need of just something to portray your voice to other gamers, we recommend just grabbing something in your price-range.
• Type of microphone: Similar to a few of our other guides on task-specific needs, such as our vlogging microphones or even mics for YouTube articles (since those are recording uses but also streaming), we’ll spell out a few options that you have when it comes to the type of microphone you can buy, in particular for gaming.
  • USB microphones: By far the most popular choice for gamers, USB mics are very convenient since you basically just plug them into your computer and you’re good to go (all USB mics are compatible with Mac, PC or even laptops, just as long as you have a USB port of course). They come in many different shapes, sizes, and price-points, so a majority of our picks down below will cover a range of different USB microphones for gaming.
  • Condenser microphones: Technically USB mics are ‘condenser mics’, but in this bullet-point we mean studio condensers that don’t connect with USB but instead use something called an XLR connection. These aren’t as popular for any computer use, since they have a little more that go into them, and are instead preferred by musicians who record and need tip-top quality. We do know a few gamers, in particular those who stream, podcast, or anything that involves actually recording, prefer XLR connected studio condensers since they give us more power and better quality. You’ll need phantom power (an external device to power up the mic, since USB mics get their power straight from your computer), and a few other accessories, such as mic stands or pop filters (USB mics have these built-in or come with them in the box). But if you’re one to want to stand out from the rest, we recommend going this route instead of a simple USB mic.
• Gaming setting: Are you gaming on a PC in an office or your bedroom? Playing PS4 or Xbox in your living room? On-the-go on your smart device? This will definitely dictate the type of mic you buy because those on a desk will need a solution that remains stationary near or on their desk, while those in a living room will need to be creative depending on how you like to game (being able to keep the mic close to you). If you’re on-the-go and have some more versatility with a smart device such as a phone or tablet, there are some better options for you out there as well.
• Additive features: This is always last in our microphone guides because ‘additive’ doesn’t necessarily mean “I really need this”. For those who just want a mic to stand at their desk and capture your voice, you won’t need some of the following popular features we’ve seen in higher-priced mics: attenuation switches, bass roll offs, multiple polar pattern switches, gain and volume control on the mic itself, included carrying cases, or any microphone bundles and packages that come with accessories you may want (typically with studio condensers).

The top 10 best microphones for gaming

Samson G-Track PRO

Up first as our recommendation as the best gaming microphone is a brand new USB mic made by Samson, a quite popular brand in the budget-friendly mic world. This one however has made a name for itself, and we personally were able to test it out at the NAMM show (our Samson G-Track PRO review can give you some more details). Coming with a large-diaphragm (25mm) dual 1″ capsule for a big pickup pattern to grab our voices well, this one is a condenser microphone so it’s specialty is capturing what’s in front of it and rejecting the back and sides — perfect for those gaming and need a little desktop microphone to sit by your side while you game. However, you can also use it’s ‘polar pattern switch’ in case you need to change how it picks up sound, depending on how you position or really use this thing — change to you want to pick up in all directions (perhaps recording more than one person in a room?) or even birectional to do front and back if needed.

What really makes this pick stand out from the others is sound quality — you have a higher-end resolution recording (for USB mics, especially without audio interfaces, at least) at 24-bit/96 kHz for more than enough clarity for any game you’re on. You additionally have some gain control on the mic itself if you need to adjust your voice level on the fly, as well as headphone volume knob if you plug your phones directly into the mic itself.  The Samson G-Track PRO is a high-end USB microphone to start our list of the best microphones for gaming strong — it’s a heavy-hitter in the desktop USB microphone game at the moment.

Audio-Technica AT2020USB+

Up second is another one of our favorite USB models in the market, and continues to keep our best microphones for gaming in the USB category (for now). First and foremost if you’re debating on either this pick or our previous G-Track PRO, their retail prices are the same but if a particular website out there on the net is selling either for cheaper, we say go for that one. The AT2020+ is very similar in regards to features and specs — a condenser cardioid mic type and pickup pattern, nifty desktop stand in the box, and plug-and-play with no need for driver installation to get to using it right after removing the packaging.

The only draw here is the slightly less bit depth at 16-bit instead of 24-bit with the G-Track PRO, but for gaming, that isn’t a completely noticeable difference. The only time we would keep this as a priority is if you’re recording music with the mic as well. Especially if this one is cheaper, the Audio-Technica AT2020+ is another solid mic for gaming we love.

Rode NT1-A Bundle

Now we’ll get into a higher-priced option but if you have the cash, this is a more studio-friendly option that blows any USB mic out of the water as the best microphone for gaming. We recommend this one for gamers even though it’s a studio mic because it’s still within the budget-friendly option of not getting too ‘crazy’ in terms of build or sound quality that’s better for recording artists but can still bring a very high-quality audio for gamers. With a great large 1″ gold-plated diaphragm and very dynamic range with low self noise (only 5 dB), the NT1-A is a warm and professional sound to it’s recording and streaming.

You will need a mic stand since it doesn’t just rest on our desktops like the others, but if you can invest in a stand and some accessories this is a next-level option for gaming. The link we’ll provide you is to a bundle that gives us a shock mount and pop filter. The Rode NT1-A is a great pick for gamers if you wanted an even further step up from regular USB mics.

Blue Yeti

What’s a microphone guide that has to do with computers, games, or even USB mics in general with a Yeti mention? As this used to be one of our go-to USB mics in the game, the G-Track PRO took over due to the bit-depth and cheaper price. If you do want to get up to the G-Track Pro’s resolution you’ll have to get the Yeti PRO which is more expensive. Regardless, the Blue Yeti is still a viable option as the best gaming microphone due to the legendary reputation it has (and cheaper price if you want to save some money as opposed to our previous USB mic picks).

Here are the highlight specs and features — a built-in desktop stand, gain control on the mic, color options to buy, multi-pattern (being able to switch the polar pattern for pickup style as previously explained), driver-free operation, and the ability to buy a few of their mounts in case you aren’t into mini desktop stands. For example, you can buy their Blue Compass, which is a boom arm (typically used for podcasters but very useful for gamers, too) that mounts to the bank of your monitor and hooks above your head. This will maximize some more space in your gaming environment. The Blue Yeti is a mention due to the high amount of reviews and overall stability it will bring our gaming gear setups — grab it if you want one of the best USB mics out there in the world. Standard Yeti’s go to 16-bit/48 kHz while the Pro hits 24-bit/192 kHz.

Neewer NW-700

Since we’re at the middle of our guide of the best microphones for gaming and are still reading, we’ll give you an option that may pique your interest, especially if you want to save some cash while still grabbing a mic that’s a lot better than the stick on your headset. Coming in as a traditional ‘studio-grade condenser microphone’, this is one of the cheapest mics we’ll recommend for really any type of use, especially gaming. You’ll also be needing to purchase either an audio interface or a device that provides phantom power of the standard 48 volts. This package however does come with all of the necessary accessories to get going right out of the box once you do find a power source — scissor arm stand (like the Blue Compass), shock mount, clamping kit, pop filter, and XLR cable. The reviews back up this mic’s effectiveness, albeit keeping the price in mind — you’re by no means getting anything ‘professional’ here (like the Rode mic we previously recommended).

Still, we’d grab this if you didn’t want a USB mic and instead of a more traditional studio-type of condenser microphone that uses the traditional phantom power and doesn’t rely on USB to power up. The needed accessories are also great since it comes with a friendly price-tag to combine everything we need aside from power. If you’re a beginner musician this may also be a great bang-for-your-buck, but gamers only can still benefit from the Neewer NW-700.

eBerry Plug and Play

Let’s talk super cheap, and when we mean super cheap, we mean basically an add-on for carts and the best gaming microphone if you need just one thing — being able to provide listenable audio to the people you’re gaming with. This doesn’t take into consideration fancy features like polar patterns, audio resolution (it’s at least better than a phone), fancy mounts or special connectivity. This one is for those who may have broken their headset mic and need a quick and simple solution for finding your gaming voice again. It is indeed at least USB connective and doesn’t rely on the dinky 3.5 mm we’re all familiar (at least what I grew up with when I used to buy these from Best Buy when I was a kid).

The neck is adjustable so you can fit it to your liking, and the small size is super convenient for putting it in an existing gaming setup and fitting it snug on to your desk. Compatible with both Mac and PC, the eBerry Plug and Play is a mic for gaming for those who need the one thing microphones are supposed to do — portray our voices to teammates and enemies.

Razer Seiren Elite

Let’s get back to something high-end and within the USB world as the best microphone for gaming. Razer is a brand that screams high-end gaming gear, so the name alone will give us confidence that we can trust the investment for this one. The look alone of this USB microphone is slick, and although the appearance isn’t always a priority, can be for some — we love the sleek black finish of this, and the material it’s built of is very high-quality with no cheap plastic that will break easily. There’s a built-in high-pass filter that aids in the sound quality by cutting pesky low-frequency noise that times occurs in streaming environments (think rumbles from nearby fans or air conditioners, or perhaps cars outside). You also have both volume and gain control on the mic itself, similar to the G-Track PRO and Yeti.

On top of the high-pass filter (you can switch it on and off if you need to, but we’d keep it on at all times), there’s a digital/analog limiter that also combines to reduce distortion. Pair this up with a resolution of 16-bit/48 kHz, we have a standard high-quality sound for being heard in our games quite well. If you want a step up from the other USB mics (no, the G-Track PRO still wins in the resolution numbers department) in regards to overall build and extra features that ensure your voice is clear and noise-free, the Razer Seiren Elite is another great pick as the best microphone for gaming.

MXL 770

Here’s another highly affordable traditional studio condenser microphone to use for gaming. We chose this due to the obvious affordability but also reputation it has within the mic game. The 770 is known for it’s very balanced sound, rugged body to last as a long-term investment, as well as it’s custom -10 dB attenuation switch (reduces the output level in case you’re one to yell and scream, or perhaps you want to record some instruments on the side) and bass frequency roll off switch. The box typically comes with a shock-mount for reduction of vibrations (you’ll need to buy a pop filter and mic stand as well) and a carrying case if you plan on traveling to game.

Note that you’ll have to buy some phantom power on the side to power this baby up, but all in all we feel the MXL 770 is another one of the best gaming microphones if you wanted a different spin to your mic and may want to make some music on the side. If you take the time to look around, this is also a popular microphone that’s included in bundles depending on the accessories that you need (such as a traditional mic stand or even boom arm stand for your monitor).

Blue Snowball iCE

The next few gaming mics we’ll recommend to finish the list will focus on ultra-portable USB microphones in case you’re a mobile gamer, or perhaps just want a small and simple solution for the desk. Blue’s other famous mic here is the Snowball iCE, and although not as powerful or stacked in terms of specs as the Yeti, brings us a nice punch for the size. Great for all types of recording and streaming with both Mac and PC, the Snowball iCe is cheap in price, comes with a cardioid polar pattern like most popular condensers (no polar pattern switch here), and also comes with a convenient tripod desktop stand for easy placement in your gaming setup.

The sample rate isn’t as high as some higher-priced USB mics, but still gets the job done with a very high 16-bit/44.1 kHz which is feasible for any gaming environment. Weighing in at only 460 grams, the Blue Snowball iCe is one of our favorite affordable and portable picks as the best microphone for gaming. It’s available in black and white.

Samson Go Mic

We’ll end our list with one of the most popular portable USB mics out there in the Samson Go Mic. Mimicking the near size a wallet, it actually does fold into a smaller, leather case that can squeeze into some pockets and most backpack spaces for easy traveling. If you’re one to game on a laptop wherever you may be, such as the airport, coffee shop, different rooms of the home or anywhere else you find the urge to game, you’re covered here. The price is also very affordable, just slightly less than the Snowball iCe’s retail price, so if you’re debating on the two in regards to a mobile USB mic, we’d say grab what’s cheapest. This is because the Go Mic does have the same resolution as well as similar features such as being Mac and PC compatible, comes with the needed pickups and having a cardioid pickup pattern.

However, the Go Mic also has a switchable omnidirectional pickup patterns which may be of use to you. The versatility of this gaming mic however is just simply hard to ignore — mount it with the little case on top of your laptop and you’re good to go, or use it as a microphone for streaming, music, chats and more. The Samson Go Mic is huge in the microphone game for a reason. In case you’re gaming on your phone and want a super portable smart device mic, you can read our Go Mic Mobile review, which they’ve just come out for this year.

The debate between condenser mics and dynamic mics will always be a relevant debate. Anyone who owns a handful of microphones probably has at least one condenser microphone and one dynamic microphone. In my experience with both live and studio sound, I have seen countless applications of condenser mics and dynamic mics, sometimes even for the same instrument. Each time I ask the engineer why they chose that microphone for that application, the answer is almost always some manifesto about how that is the only way to do it. In this post, I’ll be explaining the differences between these two types of microphones and you can make your own decision as to how you’ll use these two common types of microphones.

Dynamic vs. Condenser Microphones

Microphone construction

All types of microphones do the same thing: capture sound so that it can be amplified or recorded. There are several different ways to capture sound. The first sound capture device was a gramophone. Many of us have seen these devices in movies and television. A gramophone was like a record player with a giant horn, but this type of record player worked in reverse. A blank record was placed on the table and as you made sound into the horn, a needle etched those sound vibrations into the record so that you could play it back on a standard record player.

Now, obviously, microphones are a bit different. Microphones convert sound into an analog signal. The two types of signal are analog and digital. Analog sound is sound waves traveling through some sort of transducer whereas digital sound is analog sound converted into numbers. Think about a picture you have viewed on a computer. At first glance it might look real depending on the quality of your monitor. As you zoom in on the picture, you start to notice edges becoming a little ugly and eventually you can see individual pictures. This happens when you convert analog sound to digital sound. If you look very closely at an analog signal that has been converted into digital signal, you notice “aliasing.” Aliasing is the inevitable error that occurs when each fraction signal is rounded to one number or the next to accommodate a digital format. Nowadays, this is not a huge issue as the depth of digital signal has grown so great that the aliasing is almost completely indistinguishable.

In all microphones, there must be some type of membrane that converts sound waves into sound signal. In other words, microphones take one form of energy and convert it to another. The technology in this membrane is what separates one type of microphone from the next. Dynamic and condenser microphones are named for their unique technologies.

Dynamic microphones have a thin plastic membrane (a diaphragm) that initially receives the vibration from sound waves. Fixed underneath that membrane is a circular wire coil called a “voice coil” that floats in a magnetic field created by a permanently fixed magnet. The motion created by the vibrating membrane carries over to the voice coil and as that voice coil moves in its magnetic field, it creates a unique electric signal depending on the types of vibrations picked up by the membrane.

Condenser microphones also contain a thin membrane (diaphragm) this time made out of very thin metal or sometimes metal-coated plastic. Behind this membrane there is a small pocket of empty space between the membrane and an electrically charged backplate, known as a capacitor or a condenser (this is where this type of microphone gets its name). Because the backplate is electrically charged and the membrane is either thin metal or coated with metal, there is a magnetic field that is created in the space between the two surfaces. As sound waves cause the membrane to vibrate, the motion of the membrane and the movement in the electric field create the electric signal.

Sonic characteristics

Now that we know how dynamic and condenser microphones differ from one another, we can try to understand how those differences create variations in the characteristics of each type’s sound. In theory, the diaphragm of a dynamic microphone has the capability to move more than the diaphragm of the condenser microphone. Does that mean that a dynamic microphone can handle louder signal? Yes, but not without consequences.

Since the membrane on a dynamic microphone can move more freely, it has the capability to generate a stronger electric signal to send through the cable. Remember that the energy is created when the diaphragm moves relative to the sound waves it receives. This causes the voice coil to move within its magnetic field. As this coil moves through the magnetic field, energy is created.

The diaphragm on a condenser microphone is aligned parallel to its backplate and they are placed extremely close to one another. As sound hits the diaphragm, it vibrates back and forth and the space between the diaphragm and the backplate changes rapidly. This distance change is interpreted as sound signal. The backplate and the diaphragm must have opposite magnetic charges in order for this technology to work. As such, condenser microphones either have a built-in battery or require power from the mixer. This power is known as phantom power. Also, the technology that combines a diaphragm with a backplate is called “capacitor” technology, but it used to be called “condenser” technology. This is where this type of microphone gets its name.

Currently, microphones are so advanced and the market is so competitive that most quality condenser and dynamic microphones have such similar stats that they’re almost entirely interchangeable and the differences in sonic characteristics have almost become theoretical. This is why as I stated earlier almost every sound engineer has a manifesto on why each mic type might be better suited for one thing or another even though they directly contradict one another.

Theoretically, the transducer technology of the condenser microphone lends itself to applications that require more sensitivity and precision. This is because the ability of the magnetically charged diaphragm and backplate to move with such precision can create a much more defined nuanced signal. As such, condenser microphones respond better to higher frequencies and capture the attacks of sounds more precisely than dynamic microphones.

The construction of a dynamic microphone does lend itself to be more suited to capture louder more intense signal without loss in precision. Think of it this way… If you’re a singer in a rock band that is constantly shouting into the microphone, you’re going to want to use a dynamic microphone because its diaphragm is more rugged and can handle more intense sound pressure. If you are a singer in a rock band and you want to capture the sound of your yell in a room, you might use a condenser microphone placed several feet away from yourself and you’ll capture a more nuanced detailed signal of what your voice sounds like. You can our microphone specifications guide for some more technical information if you’d like.

Other dynamic vs. condenser considerations

The transducer technology on a condenser microphone can be described as flimsy and fragile. If you’re constantly setting up and tearing down every day as your band tours from one venue to another, then dynamic microphones are for you. You’re going to want microphones that you can toss into a bucket and know that they’re going to be just fine.

If you’re going to be performing in a concert hall where there will not be much ambient noise and the precision of the sound is the most important thing, you’ll want to use condenser mics as they will pick up even the most detailed signal. Condenser mics are most commonly used in the studio as they are the most controlled environment where precision is most important.

Recording voice overs is a professional career for many, but without the proper microphone to capture the quality needed we’re essentially at a wash. As we’ve reviewed microphones for many years now, we’ve gotten a good hang of creating guides for particular uses, so today for our voice over microphone guide wanted to give you an array of choices that span across multiple microphone types, connectivity, budgets and more. We do recommend saving up some cash if your budget is still pretty low — voice overs mainly concern sound quality, which will translate into a decent price tag but to us is well worth the investment. Let’s take a look.

Checklist for the best voice over microphones

• Budget – An obvious main factor when keeping in mind any purchase, we do want to first note that when choosing the best voice over microphone for you, money will go a long way. Especially if you’re doing this as a career or at least a potential lifelong journey, saving up a few extra bucks to find a microphone that provides a feasible sound quality will stand you a part from others. Number one in the voice over game as we said is sound quality. Not having it is like an out of shape police offer — they exist, but are noticeable and fall off quickly, right?
• Type of microphone – We recommend a condenser microphone no matter what. It can be either USB connectivity or hooked up traditionally using an XLR port and cable. Our ultimate preference if we had to choose would be an XLR microphone due to the flexibility we’ll attain. USB mics are great for plug-n-play and ease of use, and many (which we recommend) come with amazing sound quality. However, having an XLR connection gives you the ability to find a middle man since they need an external device for phantom power. You can choose either a stand power supply, or what we love is either a microphone preamp or an audio interface. The benefits of these are unmatched and you simply do not get these with USB mics (you can’t hook up USB mics to audio interfaces or preamps) — you can adjust gain, add FX, and tweak your sound even further instead of relying on post-production in your music software. USB mics are still feasible, especially for those on lower budget.
• Need other gear? Just a microphone isn’t always enough. If you’re grabbing a USB microphone for voice overs, you can technically get away with just plugging it into a laptop or computer and you’re good to go. However, when we say “other gear”, we mean some equipment you may already have lying around or didn’t even know you needed, such as headphones, certain cables, audio interfaces or preamps, mic stands, shock mounts, pop filters and more. Keep this in mind not only for budget purposes, but also not wanting to get your microphone in the mail only to be found that you can’t even use it yet and have to buy more gear. We recommend a few microphone packages below if you want to look into buying more than just a microphone while also saving some money. Or you can shop for them all separately.

The best microphones for voice overs

Blue Yeti Pro

Up first we have an easy recommendation for many “audio quality” and “ease of use” concerns, combined with a beautiful build and relatively affordable price tag. The Yeti is now one of the most legendary USB microphones in the game and will be for quite some time in our opinion, but the ‘Pro’ version here is recommended for voice overs since it offers both USB as well as XLR connectivity and has some of the highest audio quality in a USB mic right now. The reason we recommend XLR to many voice over recording artists is due to the flexibility we attain, since we can plug it into either an external preamp or audio interface. Having an extra ‘middle-man’ like this can give us more freedom for tweaking the sound quality we attain, whether it’s adding FX, gain, additional EQ, or really a ‘feel’ and ‘sound’ that isn’t attainable straight into a computer using a USB port.

In regards to specs, the Yeti Pro gives us a beautiful and whopping 24-bit/192 kHz audio resolution, a built-in A-D converter (essentially a preamp) if you do indeed want the USB route, as well as four adjustable pattern settings available — cardioid (recommended for voice overs in a studio), omnidirectional, stereo, and bi-directional. These can come in handy if you want to use this microphone for other uses as well. This really just scratches the surface on this one, but our pick as the best voice over microphone definitely goes to the Blue Yeti Pro.

Rode NT1A

Here’s our favorite affordable studio-quality condenser microphone for voice overs or really, any type of recording you can think of when it comes to a warm and clear sound. This one typically comes in a microphone package that includes a pop filter and shock mount, so if you’re in need of extra gear this will be a decent bundle to buy (you may still have to buy a mic stand and perhaps a mic preamp or audio interface). With an extended dynamic range and high sound-pressure level tolerance, we won’t have to worry about a lack of depth and ability to handle the possibility of distortion. The inside includes what’s called a JFET impedance converter which is definitely fancy-sounding, but to put it simply, is a higher-quality inside build to ensure quality and conversion of your sound waves into your recordings.

We would prefer an XLR microphone like this as opposed to a desktop USB mic if you can afford it, but if not we’ll understand and ask you continue on later down the list for a cheaper alternative. At the end of the day however, the Rode NT1-A is a beautiful microphone that has a price-tag which still makes us scratch our heads at times. A great microphone for voice overs here, or any recording uses you can think of outside of that, too.

Neumann TLM103

Let’s talk high-end for a second. Neumann is a fancy brand but has unmatched quality if your budget goes into the thousands — not many of you may apply here but for some, this one takes the cake by far as a professional and beautiful microphone for voice overs. Usually used for vocals in the studio, if you have this bad boy at your fingertips for voice overs, you’ll never have to worry about “quality” ever again. This is a lot smaller than many other “studio mics” but size with music and recording gear is never an indicator for anything. If anything it says this thing packs a powerful and advanced punch within a small body.

So what makes this voice microphone so much more expensive than the others? Without getting too technical, it’s all in the internal build (and external of course, considering we have a rugged casing made of metal with a nickel finish). The circuitry doesn’t include a transformer which aids in decreasing self-noise and increasing the SPL handling significantly. It also aids in feedback suppression. We could get into more details but for now, just know the Neumann TLM-103 is the real deal if you have a big budget.

Focusrite Scarlett 2i2 Studio

Here’s a slightly different spin to a voice over microphone since it includes much more than that, but as previously stated, may be exactly what you need when it comes to saving money and finding the right additional gear you’ll need for a complete setup. The staplepoint of this package is Focusrite’s Scarlett 2i2 audio interface (we’re using this one at the moment), which is one of the most popular budget-friendly and starter audio interfaces in the world. It converts audio at 192 kHz and 24-bit, while having two ins for microphones (in case you do your voice overs with somebody else), and also a separate monitor and headphone knob on the interface itself for ease of use. The microphone itself is solid and will do a great job in a recording atmosphere, albeit isn’t necessarily an expensive and high-end condenser microphone we’ve listed previously. If you are in need of a feasible mic to record voice overs, their included CM25 is suitable even for those who do this for money.

The package lastly includes some of their HP60 closed-back headphones, which are great for noise isolation to disallow your mix from getting jumbled with noise. You may already have headphones, but make sure they’re suitable for recording, otherwise you’ll have sound leak into the mic and disrupt the mix. Overall, the Scarlet 2i2 Studio made it into our microphone packages at number one for a reason, and is a great solution for voice over recording artists if you needed more than just a microphone while saving some money on top of it.

Samson G-Track Pro

Half way through our guide of the best voice over microphones, we have another of our favorite USB mics in the market today. This one definitely rivals the Blue Yeti, but is slightly cheaper than their Pro in case you wanted a higher-end USB microphone while saving a few bucks. New for this year, the G-Track Pro offers a built-in desktop stand for those who prefer to do it on their desks (you can remove it), with some nifty controls on the actual mic itself as well — recording select switch (mono or two tracks), a polar pattern switch button, mic volume, instrument volume, headphone volume knob, as well as a master mute button.

Coming with a resolution of 24-bit/96 kHz for recordings, this is the higher-end range for USB’s nowadays, starting to rival pro condenser mics (not yet, however). It also has a ‘built-in’ audio interface, albeit not as effective as standalone interfaces, will save you some money if you prefer to just go straight through the mic to computer. The Samson G-Track Pro is just another great option for voice over artists looking to grab a USB microphone without the hassle of extra gear and don’t want to fiddle with an XLR input and external power source.

Avantone Pro CV-12

Are you concerned with not just having the clearest, most digital-sounding audio? Need some warmth and an old-school, vintage, and ‘warmer’ (yes, totally subjective terms, but that’s what many mic heads state) feel to your voice overs? Let’s chat about a classic tube microphone that’s one of our favorites ever. The CV-12 is still a studio microphone with an XLR connection that needs phantom power, but instead has a different inside build than many others in this guide. Tube microphones are very unique, and to summarize very quickly, entail an actual ‘tube’ in the inside which converts sound into data for our recordings. Many argue that this is purely subjective and ‘nonsense’, while others swear by it. We ultimately recommend you test the two types separately on your own to get a feel for what you want.

Regardless of what people ‘claim’, the CV-12 is still a solid mic, tube or not. It’s praised for its nine polar patterns, rugged build, sleek size, and of course, high quality sound. Grab the Avantone Pro CV-12 if you want to have a different sound than most.

Audio-Technica AT2020USB

Here’s another one of the most popular USB microphones in the game at the moment. It’s typically seen slightly cheaper than both the G-Track Pro and Yeti Pro, so if you’re able to sacrifice a slight decrease in audio resolution (but still with solid quality) and wanted to save a few bucks, we say go with this one by Audio-Technica. It has a lot of similarities to the others, too — built-in desktop stand to fit nicely on your office desk (you can definitely travel with this thing as well), mix and volume control, a headphone jack on the unit itself, as well as easy plug-n-play capabilities with no drivers needed (I mean, it is 2018).

The audio resolution hits up to 16-bit/48 kHz with its built-in A/D converter, so this will be feasible for many voice overs unless you’re in the professional realm, we still recommend a previously listed condenser mic with an XLR connection. The Audio-Technica AT2020USB+ is rated very highly by many customer reviews for a reason, and we love the overall quality it brings for a great price.

MXL 770

Let’s talk budget-friendly condenser microphones for voice overs. Coming in cheaper than most of the USB mics we’ve listed in here, the MXL 770 is a great solution for voice over pros who wanted a cheaper solution to a mic while still maintaining the flexibility of an XLR connection to use an interface or preamp. With a high-quality small-diaphragm and cardioid polar pattern, we have the necessary specs to be confident in having the right type of mic for our usage.

The sound in this one is very balanced and many have praised the overall quality to price-tag ratio we get with this purchase. There’s a nice bass frequency roll off switch which comes in handy for clarifying vocals that have a deeper tone to them, and also a nifty -10 dB attenuation switch for further customizing if you need to. Look at the MXL 770 if your budget is limited but you still want a great condenser as the best voice over microphone.

PreSonus AudioBox Studio

One more microphone package we wanted to recommend before our guide finishes up here. The AudioBox Studio is another heavy hitter in the bundle game aside from the Focusrite pick before in the list, and this particular package comes with a microphone (XLR), an audio interface (their beloved AudioBox), closed-back, over-ear headphones, and of course the necessary cables (XLR and USB to power the interface).

This is about fifty bucks cheaper than the 2i2 Studio, so in regards to saving money for a particular package for voice overs, this is your best bet. It’s for beginner to intermediate voice over artists who want to grab it all at once to not only save money but the hassle as well. We’re big fans of the PreSonus AudioBox Studio if it fits into your needs.

Blue Snowball iCE

Last but not least to end our list of the best voice over microphones, the Snowball iCE is a cheap USB mic with decent quality to look into if you weren’t wanting to spending a hundred bucks or more on your mic. Coming with a very sleek size and adjustable built-in mini tripod, this one is very travel friendly or can fit nicely in an existing office or laptop setup. The specs include a mini custom condenser capsule with a cardioid polar pattern, resolution of 16-bit/44.1 kHz (no, not as high as the others, but still feasible), and a small weight of about a pound.

This one just screams versatility, and although audio quality is definitely the number one component to voice overs, will still get the job done considering the price. We always recommend saving up as much as you can for a better resolution, especially if you’re doing this as a job or potential career; however, the Blue Snowball iCE is a great way to get your feet wet in the recording voice overs game.

Not just any microphone for recording vocals will do. When searching for the perfect mic, it will take some time for you to figure out not only what your budget is, but preferences are in regards to sound, feel and energy of your vocal recordings. Today we’ve found our 10 favorite recommendations as vocal mics, and although it wasn’t easy, feel confident our selections will give you a decent range not only when it comes to price-points, but overall sound as well. You’ll first have to figure out a few of your needs before we give you our picks, so let’s get into some of the details.

Finding a vocal recording microphone

Aside from budget, selecting the best type of microphone for your vocal recordings will be key here. We’ve been able to narrow it down to a few of our favorite types specifically for vocals.

• Condenser microphones: These are the most popular types of mics for recording vocals, let alone anything, really. The reason is due to their internal builds being most optimal for their sensitivity and detail, which is of course useful when we’re recording vocals for song. They are also built very well and have polar patterns that aid in sound isolation for only recording what’s in front of it, as opposed to some other microphones designed for other uses.
• Tube microphones: Still technically a ‘condenser’ microphone, tube mics are sometimes associated with “the old days”. To us, “old” sound even sounds better than digital-based, super-mastered tracks in this day and age (depends on who you ask). In the end, ‘tube’ mics have different internal builds than normal condensers, and if you can guess, they have ‘tubes’ that handle audio as opposed to transistors. The result is a different ‘sound’, albeit very subject and really depending on the listener and recorder. We recommend giving the microphones a listen to see for yourself and determine whether or not you want a tube instead of a regular condenser.
• USB microphones: Although not considered a ‘type’ since they’re all technically ‘condensers’ as well, we’d still like to keep this direction separate for a few reasons. For one, they’re a lot easier to use and mostly for beginner vocalists since you merely plug them into your computer and they’re powered up and ready to use that way. They’re also a lot more affordable than some professional condenser microphones out there. However, their quality isn’t nearly as on par as standard condenser mics, and you can’t hook them up to a preamp or audio interface for flexibility in your recording settings. It’s all up to what you want and need at this time of your vocalist career.

Once you’ve chosen which “type” you need, let’s talk about extra microphone gear. For example as stated previously, condenser microphones will need to be powered up by some external source of power (‘phantom power’), and although many do come with a standard 48-volt power box to use them with, there are more options for you to give you some flexibility while you record. For example, many opt into using either a microphone preamp or an audio interface to power up their condenser vocal mic. The reason is because they do more than just “power it up”, such as providing FX to record with, adjusting gain, being able to hook up multiple instruments and record them at the same time, and much more. Aside from your power and recording capabilities, you’ll also want to look into gear that are typically found in microphone packages, such as pop filters, mic stands, shock mounts, carrying case, and more.

Lastly, let’s highlight what microphone specifications are and mean (in a nut shell). For vocalists, your style will depend on what numbers you want to see. For example, Sound Pressure Level (SPL) will be of a concern, but only if you’re one to scream into the mic or have a much louder volume than others — most microphones in here should handle your SPL. SPL is typically concerned for those recording very loud and abrupt instruments, such as snares. You can also look into the different polar patterns microphones offer, but typically vocal recording will ask for a microphone pick up pattern than picks up what’s in front of it and rejects the others to ensure it’s a clean track without any outside noise (cardioid).

Other than that, unless you’re a professional engineer spending thousands upon thousands for a studio, you will be fine with any of our picks below. Let’s get down to it!

The top 10 best microphones for recording vocals

Warm Audio WA-47

Up first, we have a superb tube mic to act as our pick for the best vocal microphone in the market today. Although definitely on the higher-end of the budget-range, if you can afford this one, you’ll have some extremely clear and pleasing vocal tracks in your songs. This brand in particular focuses on ‘vintage’-like compressors, preamps and mics, and this one is no different from their others. The vacuum tube circuitry brings a very natural and unique sound, but one that isn’t over-the-top (used by Sinatra and George Martin frequently — not this particular mic, but a variation and older version of this one).

This one has nine polar patterns built-in available to your liking and flexibility, and it can handle up to 140dB SPL. You can also use this to record various instruments, such as piano, drums, and guitar. Ultimately however, the biggest standout of the Warm Audio WA-47 is by far simply how it sounds, which to us makes it the best microphone for recording vocals and so worth it if you have the cash at hand.

Audio-Technica AT2035

It was tough trying to pick just one Audio-Technica mic to recommend in here for vocals, but ultimately this one made sense. The AT2035 is a very popular model for recording vocals and the hundreds of user reviews everywhere helps us with confidence in its reliability and performance. It’s a side-address condenser with a switchable 80 Hz high-pass filter and 10 dB pad for some extra emphasis in capturing the mid and high-ranges of a voice. Also great sound pressure handling alongside its shock mount included gives us a good feel in its ruggedness.

Ultimately the key with this microphone for recording vocals pick is its combination of great construction, smooth and natural sound alongside its price — we’d definitely consider this one budget-friendly, at least compared to many others in this guide. All in all, we love including the Audio-Technica AT2035 in here for those just starting out in recording and who don’t have too much cash to drop on a high-end and expensive mic to begin their adventures.

Shure SM7B

Up next, we have a very popular microphone for vocals here with Shure’s SM7B, which is actually a dynamic microphone with a cardioid pickup pattern. But wait, didn’t you previously say condenser microphones are mostly preferred for vocals? Yes, they are. However, there are quite a few dynamic mics out there that are worth looking at as well, and we wanted to at least include one of our favorites in this guide. Michael Jackson actually used the SM7 throughout his recording days, in particular with “Billie Jean”.

This mic has been out for decades (in the 70’s), so it’s been a proven heavy-hitter in the recording realm since many of us were even born. It’s known for its smooth, wide-range frequency response with a flat recording output, a great setting for music and speech, and we’ve heard of many broadcasters use this microphone as well. There is also a widely praised bass roll off and mid-range presence in it’s mixes, which gives a nice and distinct sound for vocals. There’s also a built-in shock isolation as well as pop filter to protect our tracks from any pesky distractions. The Shure SM7B is simply legendary and by far one of the best microphones for vocals.

Blue Yeti Pro

Let’s get into one of our favorite USB microphones of all time — the Blue Yeti, but we want to recommend their ‘Pro’ version not just because it’s more expensive, but due to the audio quality at least coming close to some traditional condenser microphones out there. This one is actually both USB and XLR, so we’ll have flexibility in choosing how we hook up this mic to our studio setup. We have some top-notch (at least some the highest we’ve seen in the USB game) 24-bit/192kHz digital recordings here.

Overall, the Yeti has thousands of user reviews everywhere praising the quality of build and of course, sound. It’s been chosen for all of those “best USB microphone” articles you see flooded around search engines (ours as well), and that is all for a reason. It’s simply the most all-around solid USB mic in the game right now, and although there are some competitors trying their best to come close, we still feel this is worth mentioning first in a vocal recording article if you really want a USB connected microphone. The Blue Yeti Pro is a gem.

Mojave Audio MA-200

Let’s talk more tube mics for vocals, and the MA-200 is one of the best in the game if your budget is in the higher range if we perked up your ears when talking vacuum tube condensers and how they sound. This particular model has been highly reviewed for being a “secret weapon” with its warm low-end and crisp highs. It has a full sound with great detail that’s typically compared to other microphones twice the price. Most widely used for vocals but there are many we’ve read who use this for guitar as well.

David Royer did a great job with this microphone and if you aren’t aware of who the guy actually is, may ring a bell when you think of “Royer Labs” and many other legendary microphones he was responsible for building (along with mic preamps and compressors, too). The insides of this is what’s responsible for the sound, and if you’re into details here are the specs — 3 gold-sputtered capsules, military-grade JAN 5840 vacuum tubes, and Jensen audio transformers. It has a very distinct sound which is why we love the Mojave Audio MA-200 as a pick as the best microphone for recording vocals.

Rode NT1-A

Where do we start with one of our favorite microphone packages of all time? At least for those with a relatively low-budget, the NT1-A is simply remarkable and legendary at this point. Coming with a shock mount, pop filter as well as dust cover, we’ll be good to go right out of the box (aside from phantom power, of course). The large 1″ gold-plated diaphragm brings us a very warm and neutral sound to our vocal recordings.

Also great for instruments such as bass, piano and guitar, this one is just all-around solid and another viable option for those in the beginning stages of recording vocals or wanting to start building their home recording studio. If you do have more cash we recommend scrolling down further, otherwise the Rode NT1-A of our favorite picks as the best vocal microphones, especially if you want an all-around microphone in the lower price-point of this guide.

Apogee Mic PLUS

Let’s talk about another very high-quality USB microphone for vocals. Apogee’s first MiC 96k was a hit when USB microphones first started to really take off, and new for this past year (we checked it out at NAMM 2018) is a new and improved model of their previous hit with even better audio quality and more flexibility. With this vocal microphone, we have 24-bit/96 kHz resolution, three-color LED status, input level and Blend mode indicator, headphone out control for monitoring with zero-latency, and an input gain adjustment/mute control. This thing is also super tiny and weighs about half a pound, sitting nicely on your desk or even allowing you to travel to make music if that’s your thing (such as bringing it to a friend’s studio to record instead).

When it comes to comparing this with our previous USB model recommended, they hover around the same price, and since they have very similar specs (although with the audio quality capabilities, the Yeti Pro does go up to 192 kHz), we’d say grab whomever is priced lower at the time. If you’re still unsure, keep in mind the Yeti Pro can go XLR as well while the MiC+ cannot. So stick with the Apogee Mic PLUS if you want strictly a USB mic for your studio.

AKG C414 XLII

The C414 is another high-end vocal recording microphone made by one of our favorite brands in the mic game, AKG. This is a large-diaphragm condenser with 9 switchable polar patterns (great for those recording multiple instruments or sources), advanced and high-quality material internal build, and of course, beautiful sound. We love this mic mainly due to the distinct sound it provides but also some of the extra controls we have on the mic itself.

There is a slight presence boost in the vocals here, which means you have a very little emphasis in the mid-range ever so-slightly for a different sound in case it’s what your ear is asking for. This typically makes vocals and other solo instruments stand out a bit more in a layered mix (also great for drums). You also have some more control over your sound with an on-board bass cut as well as pre-attenuation pads filter (three of them at either -6, -12, or -18dB) so you can adapt to whosoever voice is currently being tracked. The AKG C414 XLII is just another one of our favorites as the best microphone for recording vocals.

Neumann TLM 103

Neumann is a special brand unlike many others out there. This German-based mic creator focuses on detail, so you’ll be getting a very high-end and luxurious mic that doesn’t spare any part whatsoever — we just hope your budget allows. Regardless, the TLM 103 is one of our favorites made by them (they don’t have a bunch of mics available like many others, but focus on models they’ve had for many years and continue to improve and re-release them). The sound of the TLM 103 is smooth as butter, while coming with a 20 Hz – 20 kHz frequency range, very low self-noise, and overall rugged build (it’s extremely small compared to many other large-diaphragms out there).

It’s been used commonly for classical recordings that have a big range, but also for sampling, mic amps, live use, and of course, vocals in the studio. It also represents a nice SPL handling if you’re looking to record some drums as well, or perhaps you one to love belting out your vocals passionately. What you’re really buying here is a transformer-less circuitry and pressure gradient transducer that specializes in low noise and attention to detail. The Neumann TLM 103 is a privilege to own.

Rode NTK

Last but not least as our final pick as the best vocal microphone, the Rode NTK is our favorite mic in the middle price-range of all of these recommendations. It will always have a place in our heart since we used this during our rapping and beat production days throughout the past decade (we’ve since switched to a different tube mic for more poppy and electronic genres). The highlights of the legendary NTK are obviously the clear sound we love, but also the rugged build (it will last years as an investment), and vintage feel (powered by a twin-triode 6922 tube).

Big recommendation here due to the price — if the thousand dollar range was a bit too steep for you but you still wanted a high-end tube mic with warm sound, we recommend grabbing the Rode NTK as our final pick as the best microphone for recording vocals.

The microphones in smartphones are unfortunately never a part of that “upgraded feature” list your newest phone creator dishes out every year or so. If you’re doing anything remotely serious with your smartphone that includes audio, you’ll 9 times out of 10 have to either use an external device completely different from your phone and sync later, or in our case today, grab a high quality external microphone to use instead of that clunky, stock “thing” that “records” audio built-in. Today we wanted to give our readers our 10 best smartphone microphones to help your shopping search, so let’s get going.

The top 10 best microphones for smartphones

Rode VideoMic Me

Up first as our pick for the best smartphone microphone, we have a high quality model that’s still pretty new to the market by Rode (one of our favorite brands). The VideoMic Me is stated to be iPhone only, but if you are an iOS user this is a very reliable and high-quality microphone (it can indeed work with Android devices as long as the headset input on the device is on the opposite side to the actual camera so that you do not see the microphone while filming). It connects directly to the TRRS/headphone socket and has a very flexible mounting bracket to fit for both the primary camera on the back or selfie on the front. You also have a high-end furry windshield accessory to use in case you’d like to ensure those P’s and S’s don’t bleed through your recordings, or perhaps you’ll be outside and want to make sure you’ve everything in place.

It’s pretty cheap in our opinion with a retail price of sixty bucks, but if you were looking for a cheaper solution there are definitely more out there. We highly recommend the Rode VideoMic Me for users who see fit in the way this one mounts to the camera — it’s also very small in size and can essentially come with you in your pocket if you’re ever on the road. Or perhaps keep this one safe in a case (doesn’t come with one, but can fit in backpacks, purses, etc.).

Blue Raspberry

This particular runner-up as the best microphone for smartphones doesn’t mount to your device, but instead is able to sit nicely next to it like a desktop mic in case your use will allow for this type of set up. Blue Microphones at this point continues to dominate the game whichever category they release their mic for, and in this case today have another beautiful model here that spans across USB microphones for PC, Mac, iPhone and iPad. The recommended uses include podcasting, voice overs, YouTube videos, making music, and even mobile gaming if you can find somewhere to be stationary while you play.

In terms of specs, we have 24-bit audio which is way more than stock quality, no latency monitoring, a nice carrying pouch included (soft-seude) and your headphones can plug-in to the mic directly. We love the Blue Raspberry since it’s so versatile and can be a viable option for many readers out there with different types of intentions with their new smartphone microphone.

Dayton Audio iMM-6

Up next is a better pick for those who need a cheaper solution to capturing their smartphone’s audio. The iMM-6 has a sleek and slim design for convenience, and is compatible with iOS devices or other types of phones with a proper input (we’ve read it be used with many different devices, such as Surface Pros, Galaxy’s, etc.). It is a precision condenser microphone with a headphone/line out to help you test for signals and listen to playback in regards to what you’re recording. The omnidirectional pattern is great for capturing in multiple directions of what’s around you, and the overall design is rugged enough to last an investment if you take proper care of it.

This is our pick as the best microphone for smartphones since it’s so cheap but also brings us at least significantly better quality to our recordings, regardless of the exact device you’re on. We also love the fact that this is compatible with nearly all smartphones since many out there are still “iOS only”. Check out the Dayton Audio iMM-6 if it fits your needs.

Apogee MiC+

The Apogee MiC+ is often used in home recording studios, and the fact that they have a version out for smartphones makes us very excited since the specs on this thing are getting really close to competing even with some small home studios condenser mics out there. With 24-bit / 96kHz audio quality, if that was your concern then you’ll be more than covered in the resolution department. We also have a 46 dB mic preamp gain that is adjustable on the mic itself so you can mix on-the-fly. Great zero latency recording here and it’s plug-n-play (looks like Mac, iPhone, iPad and Windows only for now).

There’s also nifty LED lighting on the mic itself for indication and input level monitoring, and the uses for this really doesn’t many limits — voice overs, interviews, podcasts, gaming, music, you name it. It does have a limitation some may find since you can’t mount it to the camera itself and be quite mobile with it, but if you’re OK with standing stationary or perhaps holding it up to your audio source you will be fine. The Apogee MiC Plus is a beautiful pick as the best smartphone microphone if you can afford it as it’s one of the most expensive in our list.

Rode smartLav+

Let’s talk a different type of microphone here as we get to the midway point of our guide to the best microphones for smartphones. The smartLav+ is what’s called a “lavalier microphone”, and as you can see from the picture that tiny little mic that clips onto clothing or other gear in order to capture the audio (you’ve probably seen them around on TV such as with interviews or news anchors). We also love this because it spans across multiple types of smartphones, such as iOS as well as Android. The small size and means to setting it up won’t span across all of you out there, but for those who can use it to their advantage, the small lavalier 4.5mm miniature microphone will be very convenient.

You will indeed be dictated by the wire (we have a wireless model further down), but it shouldn’t be a problem when filming somebody else and capturing their audio because the wire is non-intrusive and quite long. You’ll have to download an external app wo work it but their Rode Rec App is highly rated and very easy to use. You’ll have to sync up your audio later in post-production (there are tons of apps for that as well). Regardless, the Rode smartLav+ is by far the best smartphone microphone if you’re needing a lavalier mic to upgrade that clunky audio. This was also in our best iOS microphone guide.

Movo WMIC10

Let’s talk wire free audio for your smartphones. This is a lavalier microphone as previously listed, but this time we’re able to have even more convenience and leeway without having to worry about wires while we record. The WMIC10 is universal and compatible with iOS, Androids, or even DSLR cameras if you use those as well. It broadcasts using what’s called a ‘frequency spectrum’ (many wireless electronics use this) at 2.4 GHz. It comes with a bodypack transmitter, lav mic, pop-filter, receiver, and necessary cables to get going on recording right away.

You can adjust the volume gain on the receivers itself, and there’s also a headphone monitoring input to allow you to hear what you’re recording real-time. You can also buy another on the side if you want to record more than one person at once. Simply edit in post-production and you’ll be good to go. We’ve read that sound quality is great within 15 feet but after that it starts to disrupt a bit. To us that is still a decent length when it comes to wireless recording, especially with a smartphone. Check out the Movo WMIC10 if you want a wireless lavalier for your smartphones.

Rode i-XY

Another Rode model here, and this time just another simply high quality solution for iPhone and iPad that gets you up to 24-bit / 96k recording and high-end A/D conversion for smooth and very clear sound. It attaches at the bottom of your phone or iPad but comes in two version — lightning or 30-pin, your choice in case you have an older iPhone (4s and earlier).

The i-XY actually has two little 1/2″ condenser capsules that form an “XY” directional recording pattern for better pickup. It’s housed in a sturdy metal casing and won’t break on your easily at all, and is small enough to fit in a lot of pockets as well (it does come with a nice zip case, too). Check out the Rode i-XY if you’re an iOS user who wants a simple, mountable solution as the best smartphone microphone and you have a decent amount of cash saved up.

Shure MV88

Coming in as a rival to the previously listed model, this is another one of our favorite picks as the best microphone for smartphones if the XY pattern wasn’t your thing and you instead want another high-quality iOS mic that mounts at the bottom of your phone or iPad very easily. They also have a nice app you can use to adjust EQ, polar patterns, stereo width and even edit, record and combine audio to create full on projects.

The mic itself is adjustable up to 90 degrees on a hinge, and you can also rotate the mic head for ideal positioning depending on what you’re doing. We’ve this used a lot for uses where you can set your phone or iPad down and record talks, interviews, band practices, etc. It connects directly to your device using lightning. In terms of specs, we have an audio resolution of up to 24 Bit / 48 kHz. The Shure MV88 is a beautiful solution for those who want another high-end iOS mic. You can read our Shure MV88 review for some more info.

Miracle Sound 4330236175

Here is an extremely cheap solution to be the best microphone for smartphones, and this one is literally under $20 in case you wanted a budget-friendly fix with just a bit of an upgrade to sound in your smartphone. This is another lavalier microphone and is better suited for those who don’t necessarily want to upgrade their sound resolution but instead pick up audio better from a distance. For example if you’re recording somebody talk from a distance, instead of having to rely on your phone to pick up the audio (while at the same time picking up its surroundings), you’ll have the audio a lot closer to the source.

Again, this one is very cheap and something you’d see in line at your local electronics store, but it’s a nice option for those not wanting to spend an arm and a leg on an upgrade to their smartphone audio. Look into the Ultimate Lavalier Microphone for something easy and useful.

BOYA BY-MM1

Last but not least, we have a very interesting and useful solution as our final pick to be the best microphone for smartphones. The BY-MM1 isn’t necessarily by a huge brand, but has many positive reviews praising its effectiveness and overall quality for the price. This one can mount to both iPhones and digital cameras (or really anything with a TRRS) and is considered a ‘shotgun microphone’ as it points directly to the source you’d like to record.

We’ve read that the mounting clip is quite fragile, so be careful when using it. The audio quality overall however is praised well by many, and considering the price we don’t expect a crazy build like many others we’ve listed in the hundreds range. You’ll get what you pay for here, but overall we think the BOYA BY-MM1 is a great solution for those wanting a smartphone microphone within the lower price-point with great audio quality and easy mounting versatility.

A microphone for your Android device will completely change your audio resolution, and as many are aware, is a big deal considering the stock quality really won’t cut it if you’re doing anything serious with it. We’ve seen many guides focus on microphones for iOS devices or even articles such as what we’ve written in our best smartphone microphone guide, but many out there rarely cover recommendations strictly for Android devices in particular. Today we wanted to do the hefty research for you and explain why each of these mics will be recommended, which of course will depend on what your needs individuals are.

Finding the best Android microphone

Unfortunately, there are way more external iOS microphones than there are for Android devices. For some reason it hasn’t become as widespread for Androids, which we’re assuming microphone creators are prioritizing due to the “more popularity” in the operating system and device type. But never fear, there are some gems out there we were able to find.

Aside from budget, you’ll have to look into what type of microphone you’ll be seeking for your Android device. The main types of mics in this particular article will include lavalier mics (the tiny microphones which can clip on to your shirt), shotgun mics (which will mount on to your phone itself and protrude out in order to record), as well as traditional condenser microphone (mics you’ll need to set aside on a surface to record).

The best microphones for Android devices

Shure MVL

Up first as our pick to be the best Android microphone, the MVL by Shure is a lav mic which connects via a long 3.5 mm cord (you’ll need a TRRS connector and does not come with one). It is an omnidirectional microphone with a great signal-to-noise ratio that won’t distort on your easily and pick up a clear sound. Omindirectional means it will be picking up sound from all directions, so it’s great for being close to a speaker in an interview or presentation. It will however not reject any sides either, so the possibility for picking up sound from its surroundings will be more probably as opposed to a one-directional mic.

The sleek, discreet appearance is great for those who don’t want to necessarily portray that they’re recording, or at least make it less distracting or obvious. It comes with a windscreen, clothing clip as well as carrying pouch. We’ve seen this one used by musicians, podcasters, journalists, vloggers and more. You can also use their ShurePlus MOTIV App to record and have some extra settings to tweak for your recordings. Check out the Shure MVL for a high-end lavalier microphone for your Android.

Rode VideoMic Me

Here’s Rode’s highly rated microphone for Android devices, and this one brings us a different design and means to capturing audio on your smart device. It’s very versatile since you can either position it for your front or rear camera. Termed a ‘directional’ microphone since it mimics a ‘shotgun microphone’ by capturing whatever source of audio it is exactly pointed at with its front end, and uses the 3.5mm headphone jack for play-through of audio. This is just a solid Android microphone all-around and is great for those who are capturing either themselves or a source in front of them. You also don’t have to worry about cables or clips and simply mount it to your device. We love the Rode VideoMic Me for any Android user needing a simple solution to upgrading their audio quality.

PowerDeWise Lapel Microphone

Another one of the best microphones for Androids is a lapel (also known as lavlier) and is quite budget-friendly for those just wanting a simple and affordable solution for a bit of an upgrade in the audio department. They advertise this as ‘noise cancelling’ but we’re sure this isn’t the technical and ‘real’ “Active Noise Canceling” we see in some headphones, but it’s still a great option for those wanting to record a close source and you’re OK with clipping it on somewhere near them or yourself. What’s also great is the super long extension cord that comes in the box (79″), extra wind muff, mono adapter, as well as carrying case for safe storage. We’ve also read through user reviews and see it’s been used for outdoor conditions and that you’re able to hold the mic nearly 10 feet away and still capture some sound. Check out the PowerDeWise Lapel for a great, budget-friendly solution to your Android microphone.

Audio-Technica ATR3350iS

Next, a possible verdict as the best microphone for Android devices come to you by one of our favorite brands ever, with an affordable omnidirectional lavalier microphone with surprisingly great quality for the listing price. It has a sleek and low-profile design for minimal visibility, and there’s also an included adapter for smart phones (newer Androids), tie clip, battery, and foam windscreen. Again, the omnidirectional pickup pattern has full coverage of what’s around it, so it’ll depend on what you plan on doing with your Android mic. We know some who just need a directional mic such as the Rode listed above, or something like this to ensure you capture the whole picture. The Audio-Technica ATR3350iS is a great lapel mic for Androids.

Saramonic SmartMic

Here’s a bit of a different spin to the best microphones for Androids. The SmartMic is a little mini condenser that isn’t obtrusive at all and is flexible in terms of how you’re able to position it — it’s directional and can rotate 90 degrees. There’s also an integrated shock mount to help absorb some unwanted noise that may try to bleed through in to your recordings, and it’s super cheap on top of it all (one of the lowest priced in here). It isn’t necessarily the best at recording isolated sources, so if you’ll be in a busy environment and need something more professional this won’t be your pick. Otherwise, look into the Saramonic SmartMic if you want an Android microphone that’s super cheap and effective for what it’s supposed to be able to do.

Movo WMIC10

Let’s talk wireless Android device microphones. We include this particular microphone in many of our guides for a reason — effectiveness and affordability. The WMIC10 is a lavalier microphone with a bodypack transmitter (includes belt clip, too), and broadcasts on a 2.4 GHz frequency spectrum up to 50 feet. You can also adjust the volume gain and headphone monitor input on the transmitter itself. Operates using two “AA” batteries, so we’d bring some extra just in case it dies on you in the field. All in all however, this is the perfect pick for you if you wanted a wireless solution to your Android audio. The Movo WMIC10 is highly rated by many.

ZaxSound Condenser Microphone

Last but not least, we have a more traditional ‘microphone’ build here with a larger condenser that stands next to your device with a tripod. That means it can really work for any device out there, aside from Androids — PC, Laptops, Macs, Xbox, all of the above. You can hook it up wither either a USB cable or TRRS 3.5mm, and the cable is around 6 feet long for a decent distance. The particular pickup pattern on this Android mic only takes what’s in front of it and cancels out the sides and back, so it’ll be great for uses such as podcasting, gaming, recording interviews, and more. Check out the ZaxSound Condenser as our last pick to be the best Android microphone in the market today.

Finding your tone on a guitar amp takes a while. That is why people refer to great tone on a guitar as “dialed in.” It takes fine adjustments on the amp, your pedals, and your instrument over several sessions to finally find that perfect sound. Once you’ve found that sound and you’re ready to record, the last thing you’ll want is a microphone or mixing setup that doesn’t communicate that sound your amp is making clearly. This guide should help you make some smart decisions about which mic to use, where to place it, and how to recreate that sound you’ve “dialed in” to your amp.

Common Microphone Tech Specs

Before we can talk about choosing the right microphone, we’ll need to talk about what makes some mics more suited for guitars than others. In order to do that, we’ll need to explain a few things about shopping for mics. Microphones usually have the following tech specs on their packaging or description:

• Sensitivity
• Pickup Pattern (directionality)
• Dynamic Range
• Frequency Response
• Maximum Acoustic Input

Some microphones have other categories listed but I believe these are the most important to consider when shopping for a microphone. We’ll go through each of these one by one and explain what they all mean, how to make sense of the data, and how it should impact your decision.

Sensitivity

Sensitivity is essentially exactly what it sounds like: How sensitive is this microphone? Microphone sensitivity is measured against a standard reference point of a 1 kHz tone at 94 dB SPL.

I know, you’re already a bit confused. Let’s dive a bit deeper into those terms.

“1 kHz” – The “pitch” of a sound, or its highness or lowness, is measured in hertz. Basically, this is the amount of times a sound vibration occurs per second. Higher pitches have higher hertz (Hz) while lower pitches have lower Hz. An “A” played towards the center of the piano vibrates at 440 Hz. “A” vibrating at 440 Hz is the standard by which almost all instruments are tuned, and the next “A” up on the piano will vibrate at 880 Hz, while the next “A” below will vibrate at 220 Hz. Do you see a pattern?

“dB” – This is the abbreviation for “decibel.” Decibels are a measurement of amplitude in sound waves, or in other words: Decibels measure how loud sound is. The higher the number, the louder the sound.

Pickup Pattern

A microphone’s pickup pattern is a diagram that shows how sensitive a microphone is to sound coming from 360 degrees of possible directions. The most common are:

• Omnidirectional – equal sensitivity in all directions
• Bidrectional – equal sensitivity to the front and the rear, but poor sensitivity to the sides.
• Cardioid – high sensitivity towards the front and that sensitivity gradually tapers off as the source of sound drifts to the sides and eventually diminishes completely from the rear.
• Supercardioid – like a cardioid pattern, with weakened sensitivity to the sides, but moderate sensitivity to the rear.

Dynamic Range

The dynamic range of a microphone refers to how a microphone will detect sound at various volumes. The top of the dynamic range is that microphone’s maximum acoustic input. If your amp sounds best when the volume is pretty high, you’ll want to get a microphone with a high dynamic range ceiling.

Frequency Response

The frequency response of a microphone shows how sensitive a microphone is across the spectrum of common frequencies. Typically it looks like a flat arc with even sensitivity from about 400 Hz to 6000 Hz with a slight fall-off at both ends. For some perspective:

15 Hz – The lower end of the range sound a kick drum makes

41 Hz – The low open E string on a Bass guitar

440 Hz – The open A string on a guitar

4,000 Hz – About the middle of the range of sound a Hi-Hat makes

The Best Microphones for Guitar Amps

Based on the specifications, here are my recommendations for microphones for guitar amps:

The Shure SM57 is an extremely versatile microphone. You’ll end up using this microphone for a lot more than just miking your guitar amp. It has a great frequency response for a 6 string guitar, a high dynamic range and maximum acoustic input and a cardiord pickup pattern so you can aim it right at your amp and get a comprehensive sound.

The Sennheiser e609 is pretty much only for miking guitar amps. This is the microphone you see draped over a guitar amp in studios or most live music venues that frequently host rock or blues bands. If you think you’ll be recording a lot of guitar or you can afford to have a specialty mic, this one is for you and will perform slightly better than the Shure microphone due to its higher dynamic range and maximum acoustic input.

Miking the Guitar Amplifier

So you’ve selected your microphone and you’re ready to record! Believe it or not, the first thing you’ll want to do has nothing to do with a microphone. You’ll want to decide where your amp is going to sit in the room, which way its going to face, and whether you want it on the floor or on a chair.

It is important to remember that just because the sound is coming out of the amplifier, that doesn’t mean that you don’t have to consider the echo in your room.  Sound echoes off the floor as well, so elevating your amp is probably a good idea.

After you’ve selected the placement of the amp in the room with consideration to how the sound will bounce off your walls, you’re ready to start placing your mic. Remember that behind the grill of your speaker are your drivers, the parts of your amp that actually make noise. Each driver on your amp is going to be putting out almost identical sounds, so the driver you choose to mic is pretty insignificant. Each driver has three parts:

The first zone is the dust cap which is the black rounded portion at the very center of the speaker. The sound at the dust cap is full of high and bright frequencies. The white area surrounding the dust cap is the cone of the speaker. The cone has a broader and more comprehensive range of sound. Miking the cone of the speaker will give you a more accurate representation of your sound. The surrounder is the rounded edge of of the cone. Miking the surrounder will give you a sound similar to that of the dust cap.

Placing your microphone correctly will allow you to pick up an accurate representation of your guitar amp’s tone without having to do too much equalization on the mixer. If you’re having trouble seeing through your grill, most grills pop on or off easily with Velcro. Once you’ve found your desired location, you’ll want to place your microphone about an inch or two away from the grill. Remember that as your speakers drive sound, they’ll be offsetting air. The closer your microphone is to the driver, the more likely you are to pick up the “boom” of the air moving rapidly around the speaker. Also, cardioid pickup patterns have a tendency to get more ‘boom’ and sound lower the closer they are to their source.

Do not be afraid to try different locations, distances, or even angles when placing your microphone. There is no agreed upon perfect spot, you’ll want to do some test recordings with the same riff over and over again to compare and contrast the different locations, distances and angles that work best for your tone. If your tone is too low, back up the mic or aim it more towards the dust cap. If it sounds too twangy, move it closer or angle it more towards the cone.

The goal of choosing the right microphone, the right amp placement, and the right mic placement is to have an accurate representation of your tone without any equalization on the mixer. Your mixer should be right down the middle for your guitar channel. If you’ve taken everything here into consideration and experimented with all your locations and mic angles, you should be able to get a great sound on your guitar channel in your recording! Good luck!

Have you ever wondered how a microphone actually works? Understanding what goes into the construction of a microphone and what each component does can actually go a long way towards making sure that you are choosing the correct microphone. I’ve often struggled to wrap my head around how two microphones can have almost identical specifications yet differ in price by hundreds of dollars. It was not until I really understood what went into the construction of a microphone that this all made sense to me.

Microphones have been needed throughout history for two reasons: to record audio for the purpose of having historical records, and to amplify sound so that it can carry across a large distance or audience. The modern definition of a microphone is a transducer that can convert sound into an electronic signal, and this makes sense because microphones for recording and microphones for amplification are pretty much interchangeable. The first microphone however did not use any electronics whatsoever, and it is still used today.

History of the Microphone

If you’ve ever been to a college football game, you’ve probably seen this ancient technology. A megaphone amplifies a voice by allowing the sound to reflect several times off the interior of the cone before eventually leaving in an amplified directional pattern. There is evidence of these megaphones being used in ancient Greece as early as the 5th century BC.

The megaphone could no longer be considered a microphone as it does not have a transducer. In modern microphones, it is the transducer that converts sound energy into electric energy, but a transducer is any device that can convert energy from one form to another. The first example of a microphone with a transducer was invented by 1965 by Robert Hooke. Many of us have seen this type of microphone in pop culture. It is the “Lover’s Telephone.”

That’s right, two cans connected by a wire are transducer microphones. Sound waves enter one can, are converted to vibrations by the wire, and converted again back to sound by the next can. While this type of microphone would be highly ineffective for almost all modern applications of the microphone, it is a great example of how sound can be converted by a transducer into something else.

We moved one step closer to the modern microphone with the invention of the phonograph in 1877. A phonograph looks like a record player with a giant horn, but it works in reverse. A magnetically charged membrane called a diaphragm picks up sound, converts it to vibration and a needle etches that vibration into a record so that it can be replayed. This was a huge step towards modern microphones as that magnetically charged membrane is still used in almost all microphones today.

The diaphragm is a key component in a modern microphone. It simulates the diaphragm in our ears, more commonly referred to as our ear drums, by suspending a metal membrane using magnetic energy. As sound waves meet that membrane, its vibrations are measured and converted to electric signal by a transducer. Different types of microphones have different technologies when it comes to membranes and transducers and as we now dive deeper into naming the parts of the microphone, you’ll see some similarities between the primitive microphones listed above and the modern microphones we use today.

The most common microphone is the dynamic microphone. We’ll use this as our first example and explain other microphones by listing how they differ from the dynamic microphone. You can also read our microphone specifications article for more info on the terminology used by many microphone companies and users.

The parts of the dynamic microphone are as follows:

Different Parts of a Microphone

• Wind Screen: This is the part of the mic you speak into. Typically a microphone has a round protective barrier made of woven hard metal. Directly beneath this barrier lies the wind screen. Almost all microphones come with a built-in wind screen, but for studio use or even outdoor performances where wind could be an issue, it is wise to use an additional pop filter. The wind screen is a thin layer of foam designed to block out wind from entering the diaphragm and creating unnecessary noise in the signal.
• Diaphragm: This is the membrane of the microphone that is most similar to our ear drums. As sound waves enter the microphone, they meet the diaphragm and cause the diaphragm to vibrate. This vibration is turned into electric signal by the microphone. A diaphragm is probably the biggest factor of the entire microphone when it comes to quality of sound.
• Coil: The coil is unique to dynamic microphones. The coil is attached to the diaphragm so when the diaphragm begins to vibrate, so will the coil. As the coil vibrates, it will move back and forth between a magnet. The movement between the magnetically charged coil and the magnet create the electric energy in the signal.
• Magnetic Core: This is also unique to a dynamic microphone. The magnetic core creates a magnetic field for the coil so that the vibrations can create an electric signal.
• Capsule: On any microphone, the capsule is where sound is transformed from vibration to electric signal. On a dynamic microphone, the coil and the core are apart of the capsule. Some microphones require power for the capsule to do its job while others do not. Microphones can draw power from a mixer through a setting called “phantom power.” Be sure to be aware whether or not your microphones require phantom power.
• Body: The body of the microphone probably has the least to do with its quality of sound and the most to do with how long your microphone will last. The body of the microphone is like the chassis of a car. Great microphones have sturdy bodies with intelligently placed electronics on the inside so that they can handle bumps, drops, and other things that are sure to happen during the life of your microphone.
• Output: On any microphone, this is where you would plug a cable into the mic. The default cable type for microphones is XLR. This three-pronged cable sends stereo signal, and can be purchased in many lengths. Some microphones have outputs for 1/4” cables while some cheaper microphones come with the cable attached.

Almost all of these components can be purchased independently of the microphone, so when your microphone starts to give you trouble, this guide could help you determine what parts you might be able to buy so that you can fix your microphone instead of buying a new one.

Streaming has become one of the most popular activities, hobbies, and even professions on the internet. Without a microphone to stream with, you literally can’t do it, but even those who have something super cheap won’t come across as legitimate. That’s why we wanted to spend today writing a guide on some of our favorite microphones for streaming, and ensured we covered a bit of everything in regards to budget, types of microphones, shapes, sizes and personalities. But first let’s highlight some factors to keep in mind before you start shopping around.

Finding your microphone for streaming

Budget of course is always a factor for anything in life, but today we especially want you to keep in mind not only how much money you’re willing to spend, but also need to spend. If you’re doing this for fun with some friends and/or family and want to share your experiences, you don’t need to get all crazy with microphones and extra gear. However, if you indeed want to start a serious channel and get going on a potential long-run of a streaming endeavor, we recommend making an investment since this is your number one priority — sound quality.

In our opinion, the type of microphone is something to keep in mind as well. For streaming in particular, we recommend condenser microphones, because they offer the clearest quality for ‘recording environments’. This is due to their internal builds and sensitivity that focus on capturing detail as opposed to other types of mics that may concentrate on picking up sound while also rejecting outside ambient noise. With a condenser, you’ll have to be wary of your environment and that there isn’t any unwanted noise that will leak into the mix. We also recommend looking into USB microphones since they’re becoming more and more popular today and advancing in quality. Otherwise, you can grab a ‘traditional condenser’ which entails an ‘XLR connection’, but with that you’ll need some additional gear to power them up.

Speaking of additional gear, we lastly want you to keep in mind what else you’ll need to spend some money on. We’re talking headphones, audio interfaces, microphone pop filters, mic stands, cables, sound proofing (if you want to get nuts), and more. We did include a microphone package down below but just one, so that guide may interest you if you want to find a package that will get you extra gear and save money at the same time.

The best streaming microphones

Blue Yeti Pro

Up first, our best microphone for streaming comes to be the The Blue Yeti Pro, a versatile, high-resolution USB and XLR true dual system microphone. This mike is designed to capture 24 bit/ 192 Khz sound quality on your desktop and channel them to your professional studio recording equipment. It comes with four different pattern settings and three custom condenser capsules. The output of the Yeti Pro is highly detailed and sharp and is therefore great for different recording scenarios such as studio, home, or even in other streaming environments you may find yourself in.

Considering that it produces a high-quality audio output, this type of microphone is used by the world’s top streamers — we guarantee you more often than not even the biggest streamers have used or have heard of the Yeti Pro before. It has a reputable design that is engineered to deliver rich and quite detailed sound from podcasts, music projects, game streaming, and voice overs. It comes with an adjustable design so that you can position the mike in the best placement possible with the little stand, otherwise you can convert it to a traditional studio microphone and place it on a mic stand if that’s what you fancy. It’s four pattern settings are omnidirectional, bi-directional, stereo and cardioid. It is worth noting that it is a zero latency microphone, making the Blue Yeti Pro one of the best microphones for streaming on the planet.

Apogee MiC Plus

This is another studio quality USB microphone that offers various connectivity options for iPhone, iPad, iPod Touch, Mac devices or just your normal PC if you stream cross-platform. It is engineered to record any sound you want and produce a solid quality output. It comes with a professional cardioid condenser microphone capsule and makes use of a pure digital connection that gives it a pure sound quality of up to 24 bit / 96kHz audio resolution (not quite as high as the Yeti Pro but it’s cheaper so you can choose what’s worth it). It is also designed with a digitally controlled 46dB microphone preamp gain for greater precision and power.

When it comes to connectivity, you just plug it in and start recording with no configuration required. The Apogee MiC Plus size is ideal as it can fit in your pocket for easy portability. Its high-sensitive capsule gives it a wide dynamic range that captures any streamer out there. The sound produced is great for the cost; however, compared to the Yeti Pro some may say it isn’t “as good” in regards to sound quality, but it’s just about 92 kHz you’re missing. The smaller size and compatibility with other devices may attract you to this instead. The ability to record from any environment makes this microphone an ideal choice for streaming.

Audio-Technica AT2020

This is another great model we are going to put in our basket of best streaming microphones. First, it is engineered using consistent high-quality standards that set it apart from other microphones within its class. It makes use of a low mass diaphragm, which is dedicated to handling the superior transient response and extended frequency response. It also has a rugged construction design, which makes it a durable and long-lasting asset for your studio.

The Audio-Technica AT2020 offers a wide dynamic range, and it is good at handing high sound pressure with ease. With its great versatility, it is ideal for streaming as well as for home and studio project applications. Its element is made of a fixed charge black plate with a permanently polarized condenser, while the polar pattern is the cardioid type. The frequency response range is between 20 to 20,000 Hz with a sensitivity of –37 dB. Most people who have bought and reviewed it simply say that it is durable and easy to use with a great sound quality. Most who have tried it do not hesitate to recommend it to a friend especially considering the budget-friendly price. Just another one of our favorite picks as the best streaming microphone in the market.

Rode NT1-A

The Rode NT1-A is one of our favorite condenser microphones ever, and in our opinion worth every cent you spend when buying. What makes it an ideal microphone for streaming? Well, to begin with, it is an industry standard that is capable of delivering the required extended dynamic range with clarity used in studios across the world. It is not affected by external noise and has a 5 dBA self-noise level. This makes it one of the best studio streaming microphones as it is very quiet yet with a great amount of sensitivity to capture great detail in your voice.

With the low self-noise, it is a perfect vocal microphone for many applications within the home, studio or any other studio recording environment. It comes in a large 1” capsule design with a gold-plated diaphragm and a cardioid polar pattern. It is also engineered with an externally biased true condenser and an internal capsule shock mounting. It comes with a 10 year extended warranty when you register the microphone. With such a warranty, this Rode NT1-A is definitely worth checking out.

Rode NT-USB

The Rode NT-USB can be another great choice for streaming in the higher-end USB microphone category. It is a versatile studio quality USB microphone designed with a 3.5 mm stereo headphone jack for handling zero latency monitoring. We’ve seen it used for various applications such as instrumentation, streaming, song recording, voice-overs, and podcasting.

This versatile microphone is readily compatible with the majority of mainstream recording applications for Mac OS and Windows based PC. Using GarageBand or Rode Rec, you can connect it to an Apple iPad, although you will be required to use a USB connection adapter. What will be included in the box is a tripod desk stand, pop shield, ring mount, USB cable and storage pouch. The active electronics used in the Rode NT-USB are a JFET impedance converter with a bipolar output buffer and a 16 bit 48 kHz A/D converter, making it another streaming microphone gem.

Blue Bluebird

Half way through our guide, now, If you are looking for the best microphone for streaming and need a super high-end traditional condenser, you should take a look at the Blue Bluebird. From the same creators of the Yeti, this is a large diaphragm studio condenser microphone that delivers modern crystal clear sound. Its 20dB pad and high pass filter makes it ideal for capturing the true tones of your voice. It produces excellent extended upper clarity, smooth mid frequencies and rich lows. It is engineered using the latest technology with refined Sonics and versatile switches.

This streaming microphone has a gold sputtered Mylar diaphragm that gives it the ability to produce superior resonance even at high frequencies. It also comes with a sculpted rear black plate that guarantees a balanced sound output. An onboard switchable 100 Hz high pass filter has also been included. The Blue Bluebird is a great choice for your streaming microphone needs and is definitely high-end and more advanced than others, so we only recommend this for those who are serious about their streams and want a long-term investment here.

Focusrite SCARLETT Studio

This may be the choice that you need to complete your home recording studio and streaming setup. As stated previously, we included a package in here to give you some options, as this is one of our favorite bundles that includes more than just a microphone for streaming. It makes use of a USB audio interface and comes with a CM25 large, durable diaphragm condenser plus a three meter XLR mic cable and stand clip. Background noise is blocked by the closed back headphone design. The Focusrite SCARLETT Studio is a great package for streaming as it has extremely low latency and gives you headphones if you’re in need of those as well.

The two natural sounding Scarlett preamps included in the interface provide it with an even gain. The frequency range response of the Focusrite SCARLETT Studio is 20 Hz – 20 kHz with a plus or minus of 0.25dB. It is easy to use and beautifully designed with high-quality, clear sound. Those who have bought it describe it as having amazing quality for the right price, and most say they would definitely recommend it to others especially if you’re in a lower-budget setting such as a home studio or a starter streaming setup. You cannot go wrong with all these features when looking for a microphone for streaming and want to save some money on extra gear as well.

Audio-Technica AT2020USB+

Looking at the Audio-Technica AT2020USB+, you will find it is great for the price. Some even count it among the best streaming microphone for the studio or even a simple home environment. It comes equipped with a USB output and is engineered to capture acoustic audio or music in a true digital way. It is compatible with your favorite recording software. This mike can be used by voiceover artists, streamers, field recorders, songwriters, singers, podcasters, and home studio recorders.

It is designed with a built-in head phone jack equipped with volume controls. It is thus possible to monitor and control the mic signal with no delay. You can also blend pre-recorded audio with microphone input using the mix controls. Its internal components are engineered in a perfect way to ensure that voice reproduction is high quality. The production process follows reliable standards that have been used to come up with this long-lasting Audio-Technica AT2020USB+ microphone.

Blue Snowball iCE

Perhaps this is what you have been looking for—a streaming USB microphone that lets you just plug and play without even the need to install drivers at a super low price. Even with this simplicity, expect to get the some great high-quality sound for streaming and recording. It is engineered with a customized cardioid condenser capsule that allows it to produce decent quality, clear audio that rival others in the USB mic game.

The system requirements for both Windows and Mac are quite minimal. For Windows you will require: Windows 7, 8, 10, USB 1.1/2.0 (or newer) and 64MB RAM (or higher). For Macintosh you will need Mac OSX (10.4.11 or higher), USB 1.1/2.0 and 64 MB RAM (minimum). It comes with an adjustable stand, making it easier to change the direction. The sleeker size is also great for those may need to travel or simply take it to different streaming environments you’ll find yourself in. The Blue Snowball iCE is also readily compatible with your favorite software and another great pick as the best microphone for streaming if you needed something simple that does one job — capture audio without a huge price tag.

AmazonBasics Portable USB Condenser Microphone

Last but not least, it seems as if Amazon is making everything these days. However to our surprise, we have a great mic here that’s a super (and we mean, super) low-priced option to end our guide on mics for streaming here. This is portable USB condenser mike that is ideal for streaming. This is because it has an excellent high quality sound when recording. It is quite good for various uses such as streaming, podcasting, voice-overs, recording, instruments, vocals, and home movies. Its sound pick is omnidirectional, so it is able to pick from any direction. Another good thing about this mic is that it is plug-and-play. No need for drivers—you just connect and start recording.

It is compatible with a wide range of computer operating systems such as Windows XP, Windows 7, Vista, Windows 8 and the other higher versions. It will work with Mac OS as well as Linux based systems. It is designed to clip easily onto a laptop with a secure placement. For storage or portability, you can rely on its travel friendly carrying case. Most importantly with this model however is it’s ability to fold into a nearly wallet-sized, travel-friendly shape. The AmazonBasics USB will be a great choice with an affordable price for your streaming needs.

Finding a rap vocal microphone won’t be impossible, but it will be very important to take your time and choose wisely. When spitting bars, it is imperative that one utilizes a microphone that reflects their voice in the best way possible. Nowadays, we have some decent options if you’re on a budget, or if you have some cash saved up, can grab a beast that will last you years as an investment. Unlike performance microphones which are more of general purpose utilities, one needs to be very particular about the rap microphone they use when recording in a studio, regardless if it’s professional or in your home. With our research and experience (yes, we’ve been rapping since the early 2000’s), we were able to collect some of our favorite picks as the best microphone for recording rap vocals in the market today. But first, let’s get into some of the specifics to look for.

Selecting the best rap vocal microphone

Since we’re talking in particular about rapping in this guide, not just recording vocals. So here are the specifics we want to look out for when it comes to this “type” of vocal recording and to prioritize your emphasis on while you search through microphones:

• A decent Sound-Pressure Level (SPL): Rapping style is very diverse when it comes to the actual pressure of your voice (also to be simplified as ‘volume’). We know a lot of rappers who love getting that power and nearly screaming their verse into the mic, while others take a softer and more smooth approach and need the gain turned up pretty high. Regardless, keep in mind SPL and what your style may call for. Most mics should be fine in this regard.
• Solid dynamic range: We want a microphone that’s able to pick up a good amount of frequency range to ensure we have a full sound. Grabbing cheaper mics (even some USB under $50 won’t do at all).
• Emphasis on sensitivity: Recording = detail. We want as much detail as possible, to really paint that picture of our voice and our verses. Microphones that emphasize ‘microphone sensitivity’
• Condenser microphones: Speaking of sensitivity, these are the number one industry standard for recording vocals (and most instruments) in a studio setting due to their ability to pick up detail. This is why you’ll need a super quiet and snug environment to record in — we’ve had our rapping mic literally pickup bird noises from outside even though our window was closed (many studios don’t have windows due to this). So our recommendation is focusing on condenser microphones, period. You can either grab a traditional XLR-connected condenser mic or a new wave of USB microphones (we have a few in here) that have become great solutions for home studios.
• Cardioid polar patterns: While most condenser microphones entail this polar pattern, just a last minute reminder to avoid most ‘dynamic microphones’ that pick up from the tail-end of the mic (most you have to hold). You want a mountable, cardioid pickup that picks up in front of it while you stand and rap directly into it. If you’re unaware of ‘polar patterns’ and want to learn more, read our microphone specifications guide.

The best microphone for rapping

Audio-Technica AT2035

Up first as our number one pick as the best microphone for rap vocals, we have a model that covers all of the bases we’ve listed previously to keep in mind. Not only with a reputation and reviews to back up it’s reliability and clarity, but in regards to specifications and overall long-term use as well. Fully equipped with a 10 dB pad and an 80 Hz high-pass filter, the AT 2035 provides low noise and highly detailed rap vocals for home or professional studio use. It solely relies on a cardioid polar pattern and has a frequency response of 20 – 20,000 Hz. Its performance specifications include roll-off as well as flat switches, a typical dynamic range of 136 dB, 120 ohms impedance, sensitivity of -33 dB, and finally, a maximum input sound level of 158 dB when the 10 dB pad is engaged, (otherwise, its sound level is 148 db). With acute response to both low and high sounds, great sensitivity, and a shock-mount that is snug enough to allow for use in a variety of positions, the Audio-Technica AT2035 is arguably one of the best rapping microphone options available in the market today. It’s on the low-end of the price-tags when compared to others, too. If you want to invest some more cash however and perhaps need a higher-end mic, continue reading.

Rode NT1-A

Up next, we have one of our most beloved microphones we’ve recommended for years, regardless of ‘vocal type’. Rode is one of the most reputable manufacturers of microphones in the music industry today. Among it’s line of microphones is the NT1-A, which is known to deliver an extended, warm dynamic range and offer high SPL abilities, as well as reliable clarity. In terms of build, the NT1-A is made up of a large 1 inch capsule with a stylish diaphragm, plated with gold. It weighs a meager 326 grams with a diameter of 50 mm, width of 50 mm and height of 19 0mm, making it relatively easy to carry around. Performance-wise, the NT1-A is great with a frequency range of 20 -20 kHz, a maximal SPL of 137 db, sensitivity of -31.9 dB, and noise level equivalence of 5 dBA. A lot of people say that the Rode NT1-A is worth its price since it is built to high manufacturer standards and has the ability to perform an extended range of recording tasks. Overall, the sound is warm, clear, and the rapping microphone is just strictly reliable to last you a decade or more in the studio if you can take proper care of it.

Blue Yeti Pro

What makes a mic the best microphone for rap vocals? The answer is versatility and high-resolution; two of the most standout features of the Blue Yeti Pro. Coming in as the most popular USB mic in the game today, it has a wide range of technical capabilities which have been made possible by its amplified headphone and mic performance. To this regard, some of its technical features include a sample rate of 192 kHz / 24-bit, a signal to noise rate of 114 dB, 130 megawatts power output, an impedance of at least 16 ohms, sensitivity of 4.5mV/Pa, and frequency response rate of up to 20 kHz. Also, this rapping microphone allows both amateur and seasoned rappers to record quality audios since it has 4 different pattern modes. These include cardioid which records sounds emanating from directly in front of the mic leading to a rich and complete sound, omni-directional which collects sound from all round the mic, bi-Directional which collects sound from the back as well as front of the mic, and stereo which combines sound with a wide array of instruments including a piano or acoustic guitar. Look into the Blue Yeti Pro if you want a high-end USB mic to record your rap vocals with — you can’t go wrong with this, especially seeing all of those 5 stars all around the net.

Neumann TLM 102

Let’s bring our guide on the best microphones for rapping up to a higher-end as we reach the middle of our list. With a treble boost, sound production that is free from distortions at the highest pressure levels, convenient plug and play functionality, and a sound many snobs don’t come near any other microphone (that Neumann name is like the BMW of mics), it comes as no surprise that the TLM 102 is viewed by many as the best microphone for rap vocals, or really any type of vocal recording in the game. Unlike most rapping mics, this model is able to directly jump in dynamic without necessarily experiencing any sound distortion. Moreover, it is fully capable of processing extremely high volume which is quite common in the hip-hop scene if you go to semi-pro or even professional studios. With its highly refined treble and detailed bass, this microphone reproduces up to 144 dB sound pressure. Other notable features include an in-built pop shield, easy handling, 50 ohms impedance, cardioid directional pattern, sensitivity of 11 mV/Pa, and a maximum SPL of 144 db (higher than most). The Neumann TLM 102‘s build also allows for easy handling as it weighs 210 grams, is 116 mm long, and has a diameter of 52 mm. One of the best microphones for recording rap vocals, period. Or really recording anything you can think of.

Shure SM7B

Let’s talk about maybe one of the most highly-regarded recording microphones of all time. If you are looking for the best rapping microphone to preserve all the natural elements of your sound, then look no further than the Shure SM7B. In terms of sound quality, majority of reviews give this mic a rating of 5/5. This is due to its sturdy performance which includes its ability to reduce distortion from noisy sources, bass roll-off and an emphasis on its mid-range. The microphone also comes fully equipped with a switch cover plate and close-talk windscreen which facilitates its rugged construction. Additionally, the microphone’s dynamic cartridge has an extended range and flat response that reproduces naturally clean rapping sound, as well as music. Most sound engineers and rappers find this microphone to be exceptionally useful in cases where smooth and warm frequencies are mandatory, especially in studios utilizing instruments with close-miking abilities. According to online reviews, however, the microphone offers solid quality but needs extra articles in order to function. Herein lies the problem since this forces users to incur extra costs. Nonetheless, the Shure SM7B is legendary at this point among recording enthusiasts and definitely one of our picks as the best rap vocal microphones in the market.

Avantone Pro CV-12

Ever heard of a tube microphone? This will give you a different ‘sound’ (arguably by some) than others, so if you want a different feel (more of an old-school, vintage, retro sound) than others trying to make it in the rapping game, this is a great option if you have the cash. Rap is all about style and swagger; and the Avantone Pro CV-12 has both. This red tube-type condenser is considered to be among the best rapping microphones. With up to 9 polar patterns that can be selected at a power supply of PS-12, an equivalence noise level of not more than 17 dB, output impedance of lesser than or equal to 250 Ohms, an S/N ratio of 78 dB and sensitivity of -35 dB, it is easy to see why this microphone comes highly rated. One of its most unique features is its build which comprises of a polished nickel trim finish that is embodied in a red capsule to give it that fresh, hip look. It weighs 8 KG and is 237 mm long and 46 mm wide, which makes this rap microphone quite easy to handle when recording. Other notable features that make it the best microphone for rap vocals include a -10 dB attenuation switch, a male XLR output connector pin, an 80 Hz high-pass switch that operates at 6 dB per octave and a maximum SPL of 146 dB whenever the pad is engaged. The Avantone Pro CV-12 brings a different spin to ‘sound’ with recording rapping — you’ll have to hear it for yourself and see if you can even notice. Some say they totally can, while others state it’s merely subjective.

Rode NT-USB

This side-address microphone is a good choice not only for rappers, but also other spoken functions such as podcasts or voice-overs. Its specifications include a 3.5 mm headphone jack for monitoring at zero-latency, 16-bit resolution (not 24-bit like the Yeti Pro, but it’s a lot cheaper), frequency range of 20 Hz -20 kHz, and a plethora of USB and power options. Just as the name suggests, the NT-USB is arguably a great microphone for rap vocals when it comes to its USB connectivity and other flexible connection alternatives. As such, not only is it compatible with the smart device if you make music that way, but also Mac OS and Windows based computers. In fact, its package includes a 6 mm USB cable which facilitates these connections. Other items included in the Rode NT-USB package include a black zip case for extra protection, a tripod stand, ring mount and pop filter for enhanced convenience.

Audio Technica AT2020

This highly reviewed rap microphone is ideal for home studios and another great option by Audio-Technica. It is a side-address compressor with a noise level of 20 dB. It specifically uses a cardioid polar pattern which helps minimize the amount of noise picked up either from the rear or the side, hence sticking to the desired source as we recommended earlier. The custom-engineered diaphragm is of a low-mass nature which in turn allows it to provide rappers with good transient response and a wide frequency response. Several music lovers define the AT 2020 and being the best rapping microphone with specific regards to its versatility — this is because it can handle high sound pressure levels as well as an extensive dynamic range. The Audio-Technica AT2020 is also quite appealing to the eye due to the black speckled finish that gives it a professional yet hip outlook.

Warm Audio WA-251

Do you want to sound like a legend? Then the WA-251 by musical conglomerate, Warm Audio, is exactly what you are after. This is one of the best recording microphones for rapping in regards to that tube ‘retro’ sound we previously explained with that CV-12. Produced by the renowned company with a dynamic range of 125 dBA, 3 polar pattern ability (omni, figure-of-eight, cardioid), a grounded PSU for external IEC, a maximum sound pressure level of 132 dB, a rated load impedance of greater or equal to 2K ohms, and an s/n ratio of 80 dBA. Combined, these technical features boost the microphone’s recording performance allowing it to capture your voice in its most raw form. That tube processing is what transforms the audio into that ‘analog’-type sound. The Warm Audio WA-251 also boast of a pretty good design which takes on the classic 1960’s look which includes some of the most vintage microphone components iv its 247 x 46 mm tubular golden mic. It’s definitely up there in price, of course.

AKG C214

Last on this list of the best rap vocal microphone is the AKG C214 condenser mic which has a notably sizable diaphragm. It is listed among the best recording microphones especially for rapping majorly due to its immense versatility. This AKG mic has a large diaphragm which allows it to the ability to achieve an extensively wide dynamic range. In result, this mic can reach a dynamic range of up to 143 dB, thus, creating natural and uncompressed transients. Stile on its variety, the AKG C214 can be used on a wide variety of sound sources. It performs equally well on different instruments thanks to its low-cut filter and attenuation pad of 20 dB, both of which are switchable. Also noteworthy, its XLR output, scratch resistant finish an sturdy metal grille give this mic a quality construction for enhanced sonic accuracy. It will last you years, and is a great cap to our list here today.

Live performance stage microphones can be make or break when it comes to a show. This is largely because they offer one a captivating means of portraying their musical pieces to the audience — we need to be able to portray our art in the most optimal way possible. We know from experience being on stage for years — we’ve used terrible mics that really disappointed us (and the audience), whereas a great mic paired up with a good sound system and mixing team made a world of difference. We’ll focus on one thing in this guide — the best microphone for live stage use. Let’s get into what we want you to look for, first.

Finding your performance vocal microphone

We’re huge into buying a dynamic microphone if you’ll be performing vocals on stage, regardless of your audience size, stage environment, etc. The purpose for using dynamic mics vs. condensers is quite simple — the means to which they’re built, constructed and how they capture sound overall. Whereas condensers are always preferred for studio settings, dynamic mics are preferred for live applications because they can handle louder and more intense signals without loss of clarity. Condeners are very ‘sensitive’ and pick up whatever it can that is in front of it — dynamic mics need rejection on the sides which we don’t want to be played out loud in order to really focus on what’s in front of it — your voice!

For those who are looking for wireless mics, we recommend reading our guide on the best wireless microphones instead. This however will bring up a lot of information you’ll have to read about and learn, such as setting up a wireless mic system, using external power sources, mixing (hopefully you have your sound crew already?).

The best microphones for live stage

Rode M2

This vocal stage microphone has been designed specifically for vocalists needing a versatile and relatively affordable mic to bring up to the lights. It includes a solid cardioid polar pattern that allows the microphone to effectively reject off-axis sound to help isolate your voice in front o fit. What’s more, the Rode M2 is a relatively powerful given its considerably high frequency range of between 20 kHz and 35 kHz; higher than most dynamic microphones. Rode believes in the M2 design so much that these pieces of hardware come with a warranty of 10 years which is testament to its sturdy build. On the flip side, it relies solely on phantom power although it can use up any source within a voltage range of 48V and 24V. So make sure you have a power source to use when connecting it up on stage. Noteworthy, with the Rode M2, you need not worry about buying a stand mount as it is included in the original package alongside a pouch for added portability.

Sennheiser e835

One of the most popular models in Sennheiser’s EVOLUTION series, the e835 is known for its cardioid pickup pattern and dynamic design both of which give users a considerable amount of stage presence boost. Compared to other models within this series such as the highly acclaimed SM58, the e835 adds extra body to the sound produced. On the other hand, when it comes to making rolled-off highs, this mic tends to experience a low amount of mid-range congestion, hence, tampering with your sound projection. Nonetheless, it amplifies low sounds which make it ideal for performers with rather weak sounds. On the whole, the Sennheiser e835 qualifies as one of the best microphones for live performances on stage due to it’s clarity, power, and overall reputation.

AKG D5

At first glance, there is not much that sets the D5 apart from other microphones in the market. It takes on the common ‘mesh ball with a handle’ design in addition to the XLR cable that runs through its rear end. However, its most impressive features are more in line with its performance features rather than build. Top of the list is its laminated diaphragm with a variable thickness that allows it to produce smooth sounds. More importantly, this feature ensures that there is zero mechanical feedback during sound production. It is, therefore, most ideal for live performances. Other standout features include a rugged construction, a super-cardioid polar pattern, and a weight of 2 pounds for extra portability. Combined, these features make the AKG D5 a top contender for best stage microphone.

Shure KSM9

Most people are still blind to the fact that most ‘legacy’ hardware are today eclipsed in terms of performance by modern gadgets. One such modern piece of hardware is the Shure KSM9 that is uniquely designed for use in high-end live setups. It is available in a charcoal black or silver finish which gives it aesthetic appeal. One of its standout features is the mini-switch which allows users to switch in-between a super cardioid and cardioid pattern during performances. The switch is located right underneath the grille assembly. What’s more, it has a dual diaphragm that goes a long way in minimizing proximity effect. It boasts of a frequency rate of 50 Hz to 20 kHz while its response rate lies in-between 100 Hz and 2 kHz. A very natural and clear sound here. These added to its consistent sonic performance make the Shure KSM9 one of the best stage microphones in the market today.

Audix i5

The Audix i5 is a great stage vocal microphone for the price. It features a frequency response rate of 50 Hz to 16 kHz making it ideal for home studios, live steaming, podcasting or live shows. According to most reviews, the i5 is best utilized alongside wind instruments especially the guitar, but for vocals we’ve also heard many great responses. It is highly portable given that it comes with a soft pouch and a stand holder. Its sturdy metallic design also adds a layer of durability to the microphone ensuring you get to use it for as long as you would like. Other notable features that make this Audix i5 dynamic mic one of the best microphones for live performances include an XLR connector, a meager weight of 0.4 lbs., and a cardioid polar pattern. It’s quite versatile and reliable considering it is so budget-friendly.

Shure SM58

Since 1925, Shure has reigned supreme in the microphone market having released some of the most iconic models of all time. The SM58 is one of the most legendary additions to the list. This cardioid dynamic vocal mic features added proximity effect control with a brighter bass and mid-range roll off for a reliable frequency response rate. As such, this microphone has been specifically designed for live stage performances. It also has an in-built sphere-like pop and wind filter that contribute to its frequency response rate of 15,000 Hz and 50 Hz. One of the major problems with live performance microphones is handling noise which tends to disrupt audio flow. However, with the SM58 this should not be much of a problem since the mic also has a pneumatic shock-mount to help limit these disruptions. And as a bonus, the cardioid pattern reduces background noise as well as isolating the primary source of sound. In sum, it is evident that the Shure SM58 is one of the best mics for live performances on stage, period. Especially for those on a budget. We’ve known many musicians who have 2-3 of these in their toolbox.

Sennheiser e945

Let’s talk high-end. With the ability to cut through the mix and offer a bright live performance for both high and deep bass vocalists, the Sennheiser e945 easily qualifies as one of the best stage microphone models available in today’s market. This versatile piece of hardware works in similar fashion to a condensed microphone when it comes to sound balance as well as clarity. Using its capsule mounting that is shock-resistant and features a hum-bucking coil, this mic can cancel a substantial amount of background noise, thus offering you high audibility. It is also durable given its rugged metal build. However, it lacks one of the most basic features of any live performance microphone; an on/off switch. All in all, it is still great for the price and blows many of the mics in this guide out of the water if you have the cash to spare.

TC-Helicon MP-75

The MP-75 comes fully equipped with a super cardioid polar pattern which allows it to efficiently cancel out background noise. However, it is still difficult to locate the most ideal spots on stage in a bid to fully minimize noise emanating from various regions in the background. Due to this, some people say that a hyper cardioid pattern would be more suitable fit for the MP-75. Being that it is wireless, you can still move around quite easily while on stage. To this end, it has an impedance of 150 ohm in addition to several integrated filters as well as effects. It also features a frequency range of 18,000 and 50 Hz while its curve neither has high nor low frequencies since it has been built to emphasize on mid-range frequencies. This makes the TC-Helicon MP-75 an ideal pick for on stage vocals, thus, making the MP-75 one of the best microphones for live performances.

Shure Beta 58A

Enter the Shure Beta 58A, a super cardioid high output dynamic microphone that is an ideal pick for touring artistes and vocalists. It is ranked among the best live performance microphone options since it produces great power and clarity, high gain prior to feedback, produces minute coloration for off-axis tones, and its consistent super cardioid pattern that remains constant across its frequency range. This sonic performance is made possible by its rated impedance of 150 ohms, an open circuit voltage of 2.7 mV, a symmetrical super cardioid pattern, a slip-in/adjustable mounting as well as a meager weight of 9.92 ounces for added portability. We’re glad to end this guide with the Shure Beta 58A since it’s a classic among all types of vocal stage microphones in the world.