Interviewing whether you’re on a novice or professional level can sometimes be a bit tricky, and without a proper microphone setup you won’t be able to truly get the job done. It may even make or break the quality of your interviews and most of the time we don’t want to sacrifice that. Today we spent some time researching not only the different types of methods people use to interview others, but which actual microphones should be recommended as we sort through all of the different models out there that flood the market. Let’s first get into what we should be looking at, then we’ll provide you our picks for the best microphones for interviews.

Finding the best interview microphone

There are a few factors we want you to keep in mind before proceeding to our picks. First and foremost, your budget is going to deter you at least some type of direction, so we included a few of each different type of microphone below. We’ll begin with a lower-end and eventually provide a higher-quality in case you want the option. Next, the environment you’ll be in is important. We know for many this may be undecided, or perhaps can change. But if you’ll be in a noisy environment let’s say, finding a good solution with proper noise-rejection and isolation will be key. Most of these however are dedicated to capturing whatever it’s target is, but just keep in mind if you’ll be at perhaps a trade show that you want to be careful of the type of pickup your mic has.

Also to keep in mind, what exactly will you be recording on? Are you using a camera and need to hook up your microphone to it? Then look into compatible mics. Do you need a smartphone microphone if you’re using your smart device to capture the video? Or separately and will be syncing up later?

Lastly, here are the types of interview microphones:

• Lavalier microphones: These are those tiny mics you see clipped on to people’s shirts in various settings. They’re great for a non-intrusive style to interviews or if you’re recording somebody giving a presentation. Most are wired and need to be hook up to somebody’s device in their pocket, or you can find a wireless system to plug it into and record that way. Otherwise you’re going to need a separate device to record their answers in an interview and put in their pocket.
• Shotgun microphones: These attach to the actual video camera you’re using to record the interview visually. They attach to video cameras up top and are long and skinny and point directly at your interview (you’ll be in there too unless you want to sit behind the camera and not necessarily record your questions). Most of these are compatible with DSLR video cameras.
• Handheld reporter style mics: These are your traditional-looking microphones that you hold to capture the interview. This is pretty straight forward.

The best microphones for interviews

Rode Smartlav+

From live broadcasts to film sets and television, the Rode Smartlav+ can be used in almost all interview scenarios. More specifically, this new-age lavalier microphone is best suited for interviews that require the broadcast audio to be recorded in a portable and discreet format without the need for extra wireless apparatus. Its ease of use and portability is one of the primary attributes that make this one of the best microphones for interviews. Users are required to simply mount the mic onto a talent and connect it directly to a smart gadget, be it a mobile phone, tablet, or even laptop. However, it is more compatible with iOS gadgets as one can use the Rode Recording application for instant live recording, but any app will do as it hooks up directly into your device. Also noteworthy, this mic is fully equipped with a decent-quality omni-directional condenser capsule which allows it to pick up sound from all directions. It simply clips to your interviewee’s shirt or somewhere else discreet on their body to pick up their voice. By and large, the Rode Smartlav+ is a highly rated user-friendly option as the best interview microphone.

Sennheiser ME 2

Conveniently small and vocally stable, this is a straightforward way of describing the ME 2 lavalier by Sennheiser. If you wanted a higher-quality option as compared to the Smartlav+ and have the cash (it’s about double the price), this is a beautiful wired lavalier to buy for interviews. More importantly, it has high speech intelligibility for enhanced sound quality and is easily attached to all kinds of clothing. Another one of its key features is the mini jack which includes body-pack transmitters that add on to its crisp sound delivery, so if you want to make it wireless you can definitely do so if you want to invest in a transmitter. And not to worry, a clip and metal windscreen are included in the pack during purchase, thus, there is no need for you to spend extra on accessories in order to enjoy Sennheiser ME 2’s services. Combined, these features go a long way in making this one of the best interview microphones of today as well.

Countryman B3

Let’s jump into the higher tier and final tier of lavalier microphones for interviews. For those looking to conduct interviews in busy environments say an award ceremony or anywhere you really need to isolate your interviewee’s voice, Countryman B3 is definitely one of the best interview mic options out there at a price. In fact, most reviews describe this as a must have for individuals with a pro audio toolkit. It too is an omni-directional lavalier mic that features high frequency response caps and is adjustable for various fields. Handling and background noises are maintained at a minimum ensuring that one picks up solid quality audio frequencies. Also, it is relatively versatile as one can adjust the signing or talking style with a capability of at most 150 dB SPL and distortion is also maintained at a low of up to 140 db. Its most standout feature, however, is the fact that Countryman B3 is practically invisible (you can purchase it in different colors but white is usually the popular one). It is so minute that one can comfortably fit it in one’s hair or even hide it among flowers in a vase! Essentially, it has been designed to fade into the environment when needed and look appealing to the eye when noticeable.

Rode VideoMic Pro

VideoMic Pro by RODE should be your go-to shotgun mic. It’s definitely ours if you’ve ever read one of our guides before that comes to closer to needing a solution like this. It is created to be used with DSLR cameras, all manner of portable audio recorders or camcorders. As such, we’re going to be able to record what it’s pointing at. It comes equipped with a 1/2 inch condenser capsule that allows for self noise of as low as 14 dB and includes a mini-jack connector is 3.5 mm that creates a connection for mono signal outputs to the right as well as left channels. The capsule’s polar pattern is also designed to minimize background noise as the recording focuses solely on the individual or object that is positioned immediately in front of the camera or microphone. Other standout features that make this one of the best mic for interviews include a two-step high pass filter with a flat rate of 80 Hz, optimized 3 position level control, a 9 volt battery with up to 70 hours usage time, shock mounting, a foam widescreen, and a meager weight of 85 grams. The Rode VideoMic Pro is a big one.

Sennheiser MKE 400

When it comes to compact shotgun options, the Sennheiser MKE 400 is arguably one of the best microphones for interviews available in the current market. It is meant for use with cameras that include an external microphone input as well as a reliable shoe mount for added usability. Physically, this microphone is tiny but quite durable as its housing is made purely from metal. What’s more, it has been optimized for use during video recordings given that it offers maximum noise rejection from the side. Flexibility is another of its key traits as its sensitivity can be adjusted to fit both short and long distances. The wind noise filter is also switchable. Just another option in the shotgun mic arena we think would be important for you to look into.

Rode Reporter

This is one of the best interview microphones especially for use in presentations and handheld interviews. It uses an omni-directional dynamic capsule that is developed with a view of allowing users high levels of freedom when in use. Ideally, one can comfortably move about during the interview without interfering with sound quality. As for its frequency response, the Reporter specializes in voice reproduction. This way, it can offer users optimum intelligibility and deliver solid quality audio performance regardless of the environment. Its rugged exterior is another major plus for the Rode Reporter. It is made from aluminum combined with an anti-glare black finish for increased durability.

Sennheiser MD 46

What makes the MD 46 one of the best mics for interviews? Yes, it’s merely another reporter-style mic. However, it is largely due to its relatively stable sound capabilities which feature omni-directional use and low handling noise. Not to mention Senny is one of the most trust brands for mics, ever. Despite indiscriminately picking all kinds of audio from the background, this microphone is designed to focus solely on the subject of the interview. This way, it maintains clarity while creating a realistic background setting that does not in any way interfere with the sound quality. What’s more, the dynamic capsule gets rid of wind noise, vocal popping, and allows for low handling of noise. Lastly, the Sennheiser MD 46 also comes fully equipped with a double layer grille basket for optimal usability.

Electro-Voice RE50B

The RE50B by Electro-Voice is one of the best interview handheld microphones that is more commonly utilized in broadcast television. Its reputation speaks for itself as this mic has previously been used in interviews with some of the most prominent figures in the country from the beloved POTUS to hundreds of celebrities. Due to its rather bulk nature, this mic has been tailored to withstand intense weather conditions include high levels of humidity, corrosive atmospheric salt, and extreme temperatures. What’s more, it relies on an omni-directional polar pattern and is equipped with a ‘Dyna-Damp’ for reliable low handling of noise. The pop filter on the other hand prevents the Electro-Voice RE50B from interruptions caused by wind noise. Another one of our favorite picks as the best microphone for interviews in the market if you have a higher-budget.

Rode i-XLR

Before we end our guide of the best microphones for interviewing, let’s get into a few different types of solutions that may pique your interest. This mic adapter is designed for use alongside iOS gadgets. Users are expected to take full advantage of this feature by connecting the mic to a lighting adapter which allows one to record clear and audible sounds directly onto their device. Other notable features that make this one of the best interviewing solutions is the included headphone monitoring with the ability to be trimmed and allows for zero latency. On the whole, the Rode i-XLR is definitely a different spin to what an ‘interview mic’ may be, but it is extremely flexible, easy to monitor, compact and easy to use.

Rode RODELink Newsshooter Kit

The RODELink Newsshooter Kit is a new generation, high-end wireless microphone kit that is designed for use in a wide array of scenarios. It utilizes a Series II 2.4 GHz digital system that includes a 128-bit encryption with the ability to keep tabs of incoming frequencies and toggle form one frequency to the other in pursuit of its optimal performance. What’s more, it has a signal range of 100 meters, hence, allowing one to collect solid quality sound even from a distance. As the name suggests, this is one of the best interview solutions for one-on-one encounters and the need of major flexibility. In fact, it is mountable on standard cameras by means of a belt-clip or a 3/8 inch thread.

Concluding our best interview microphone guide

Interviews can be planned or sudden, audio only or video, conducted while sited or while standing, done indoors or outdoors, and the list goes on and on. As such, each of these scenarios requires one to utilize specific equipment in order to get the most out of the interview. This is inclusive of microphones since different kinds of mics work differently in different setups. For instance, most interviewers prefer using a combination of shotgun and lavalier mics with the latter acting as a backup for the former.

It is important not to get lost in this wide array of possibilities. And what better way to do this other than by picking the right mic for your setup. With that in mind, above is a list of the best interview microphones. Hopefully this list will steer you towards making a quality purchase and we were able to help.

Portable audio recorders are not easily replaceable, even as smart phones continue to become more advanced in any many facets. Audio quality is still a huge deal with phones and smart devices as a whole, and sometimes we just need a piece of gear that’s more advanced and equipped to handle capturing real audio with quality feasible enough for movies, songs and more. We’ve been researching and writing about these types of recorders for quite a while, and since our website here is dedicated to microphones, we felt it was at least significantly relevant to give you all a guide on the best portable audio recorders.

Looking For the Best Portable Audio Recorder

We have a few bullet points (and questions) to keep in mind when you’re shopping for a portable audio recorder.

• Overall size — Does your portable audio recorder need to fit in your pocket? Or can you get away with a carrying case, in a backpack or bag, etc.? Some are “extremely portable”, while others a bit larger.
• Recording technique / microphone type — Some of these models have microphones built- in to them, without a particular style or method. You’ll have to merely keep the portable audio recorder near your subject like a smart phone. Others have more advanced designs meant to broaden the depth of recording, or even pin-point more towards a specific target.
• Audio recording quality — We do not recommend going lower than 16-bit / 96 kHz. Anything higher is a plus.
• Battery life — Will you be able to switch out the batteries if you need to extend your day? What about charging the audio recorder if it is only rechargeable and doesn’t support AA batteries? Look into each model’s battery life.
• Importance of additional features — Portable audio recorders are sought out for more than just their ‘recording capabilities’. Unless you just want to record some FX, voices or meetings/lectures, see why each stands out from the other. Some come with some fancy features you may like, such as auto recording, multi-track recording, interchangeable microphone capsules, PC support, smart phone control, frequency filters, etc.

The Best Portable Audio Recorders

Zoom H6

Up first in our list, the H6 is one of Zoom’s most highly rated and overall best portable audio recorders given its solid audio abilities and high-end features. These include a windscreen, 4 AA batteries, up to 128 GB SD card capability, and two interchangeable recording capsules: the MSH-6 MS and the XYH-6 X/Y. Similar to Zoom’s H5, a big standout of their recorders is the feature of two capsules to allow for added flexibility. Users are free to pick one that best suits their current use or style — the X/Y module (pictured above), which gives a better recording spectrum to capture what’s in front of it with the microphones pointing in different directions, while the MS acts more like a shotgun microphone to pin-point an exact source.

This recorder weighs only 10 pounds for great portability. The actual size may be a bit too bulky to let’s say fit in your pocket, however. More importantly, just as the name suggests, the H6 is like no other stereo track portable recorder as it allows for multi-recording using 6 different tracks. As such, it is possible to layer different sounds and isn’t just a simple voice recorder with one track. All in all, the Zoom H6 is famous for a reason. It’s pretty expensive as compared to others because this does more than just jot down your thoughts or song ideas — it’s used for field recording for films, FX and everything else you can think of in that arena.

Tascam DR-100mkIII

When it comes to rugged designs, the Tascam DR-100mkIII is by far one of the best portable audio recorders due to its sturdy, aluminum anodized body. In addition to its sturdy design, this recorder has a professional outlook that blends perfectly in official environments. Performance wise, the DR-100mkIII has 4 built-in mics: 2 cardioid and 2 omnidirectional. It is also possible to input digital signals directly using the S/PDIF input. Its battery life is another one of its key features as it uses 2 power Li-ion batteries with the ability to run the recorder for multiple hours (up to 12 hours at a time). Accessory wise, it includes a USB cable, a soft casing for added protection, and a windsock.

Additionally, the Tascam DR-100mkIII has a wireless remote control for added usability (great for interviews if you’re sitting away from the recorder and want to keep it next to your subject) and gives a lot of Zoom’s models a run for their money. It just doesn’t have an interchangeable capsule feature but if you don’t need to bother with that, this may even be better due to it’s slimmer, more portable size.

Sony PCM-D100

This list would be incomplete without a Sony audio recorder. As such, the PCM-D100 makes for a viable choice given its enhanced hardware and software features. At first glance, you’ll notice this microphone features chunkier and bigger electret condenser microphones compared to previous models. The 15mm stereo mics offer heightened audio recording performance for solid audio quality. What’s more, they are adjustable at 120 and 90 degrees. Another major advantage of using this model is its ability to capture rates of up to 192 kHz. However, most people state that its microphone cannot actually capture peak frequencies but to us it’s been fine. They achieve optimal functionality at 45 kHz.

Nonetheless, other notable features that make this one of the best portable audio recorders include its ability to simultaneously record two formats, automatic power down while idle, 24-bit resolution and a wide range of recording effects such as fade clips, key control, playback tone and sound effects such as bass or jazz. We love the Sony PCM-D100 for many reasons if it fits within your budget and recording needs.

Zoom H4N

Here’s another Zoom digital multitrack recorder and it weighs in at a meager 300 grams, thus making it one of the best audio recorders for those really concerned with portability. However, its superiority goes beyond its weight. It has an impressive sound pressure capacity of 140 dB which makes it ideal for extremely high and top heavy sounds and like other Zoom recorders, gives us that X/Y recording technique to cover a wide area of sound capturing. You can also adjust the angle of these mics if you prefer.

It’s finish is made from rubber which gives the H4N added ergonomic value and the interface features a 1.9” backlit LCD and a number of buttons including play, pause, stop, and record. Another notable feature is it’s 3 input models which add versatility. These include 4CH, stereo, and MTR. However, despite its decent resolution range of 24-96 kHz, the Zoom H4N has a relatively longer boot period as compared to most high-end models, but only about 30 seconds which isn’t too big of deal.

Roland R-07

We like this one the best because of it’s small and sleek size. The microphone is actually built-in to the recorder so it’s not going to be as hefty or take up space in your pocket (if you do want to carry it in your pocket like us). It’s about the size of a phone so we just keep it in the same pocket in case we ever have to pull it out and record something really quick on the fly. The Roland R-07 qualifies as one of the best portable audio recorders largely due to its unique blend of modern features which include a 24/96 resolution, Bluetooth support, Android as well as iOS remote control, and scene preset recording configurations.

Additionally, it has two inbuilt omnidirectional microphones arranged in an AB sequence. As such, it is ideal for capturing performances, environmental sounds, lectures, or rehearsals. One can also add a more direction-based stereo pattern using the microphone input. In terms of use, this recorder can last for up to 15 hours making it ideal for lengthy recordings. Unlike most modern recorders, the Roland R-07 is capable of recording MP3 and WAV files which makes it all the more versatile. On the flip side, it lacks an x/y microphone or any type of interchangeable mic solution.

Tascam DR-60DMkII

Let’s talk “portable audio recorder” in a different spin for now. Technically you can carry this around but it’s no where near the size of what others may deem suitable for this guide, but we wanted to stick it in here just in case it was what you were looking for. This 4 track audio recorder features proprietary HDDA mic preamps which are renowned for their high S/N ratio, minimal distortion, and reduced input-referred noise. What’s more, it can record both BWF and AV files at 48 or 96 kHz. Users can very well record 4 channels simultaneously after which they can mix them down to a single stereo signal. It boasts of a nominal input level of +4 dB, an input impedance of 10 kΩ, a 3.5 mm stereo mini jack used for mi/line and camera inputs, plus widows and Mac compatibility.

Its maximum power consumption is 5.4 watts and weighs in at only 510g. Other notable features that make the Tascam DR-60DMkII one of the best portable audio recorders include the HI+PLUS that allow for optimal input gain [64 dB], phantom power provided by means of the XLR line-mic inputs, TRS/XLR combo jacks, a low-cut filter that minimizes low-frequency noises, and a camera input for enhanced audio monitoring using a DSLR camera. This is more geared towards the pros.

Zoom H5

The H5 was mentioned earlier and is another entrant into this list as Zoom continues to dominate the portable recorder market. The H5 includes an LD display with back lighting for use even in dark areas. However, this interface also features numerous buttons which can end up confusing novices. Nonetheless, its design is rugged and relatively sturdy. The finish is made from part rubber which not only adds to the recorder’s durability but also allows users to maintain a firm grip on the recorder in all kinds of weather. Additionally, in a bid to minimize handling noise and vibrations, the piece is placed on a shock mounter.

Combined, these factors make the H5 one of the best portable audio recorders for outdoor engagements. Another key attribute of the H5 is that it records audio directly to SDHC or SD memory cards. Therefore, storage space should not be much of an issue. Also, the Zoom H5 features dual mic inputs each of which has a -20 dB pad and phantom power. The only downside is that it might feel a bit bulky due to the thicker rubber design.

Tascam DR-05X

We love the Tascam DR-05X as the best portable audio recorder for quite a few reasons. For one, this fits in your pocket, purse or bag pretty easily. It’s great for recording band practice, dictation, meetings and other similar uses. Audio quality here is 24-bit / 96 kHz, and it uses a micro SD to capture recordings. It’s super easy to operate with the record button right there at the tip of your thumb (we sometimes have to record on the fly and this will be useful), and you can also adjust levels, delete bad takes or even add markers with just one press.

Battery life is nice here, and if recording at standard wav at 44.1 kHz, can give us up to about 17 hours. You can also use something called ‘Audio Interface mode’ which allows it to be connected to a PC and used as a voice over, live stream or pod cast tool pretty easily. Lastly, a nice little feature we like of the DR-05x is the ‘auto record function’ to detect sound input signal levels and simply record when it needs to — great for those who are working solo and don’t want to hassle stressing.

Zoom H1n

Being Zoom’s basic model , the H1n stands out as one of the best portable audio recorders on account of its unique features and solid performance. This handy recorder comes fully equipped with a streamlined body, a mic enclosure for enhanced protection, and a neat matte finish. What’s more, the enclosure allows for added portability ensuring that users can easily carry the recorder around while conducting an interview or the likes. Generally, the H1n has a rugged yet compact design that makes it possible for users to record from any location. The interface is also a step ahead of the rest as it includes one touch buttons, a localized menu setup, and a clear LCD display. Such a straightforward interface setup makes it possible for novices to conveniently use this recorder.

Technically speaking, the Zoom H1n allows up to 120 dB of sound pressure and includes an on-board limiter that makes it possible for users to record all manner of sounds with little to no sound distortion. Another key feature of this handy recorder is the Playback Speed Control which facilitates transcribing of inaudible recordings. On the other hands, musicians could also benefit immensely from the A-B repeat function especially during rehearsals or when mastering a specific song. On the flip side, most critics say that its plastic design leaves this recorder susceptible to damage during heavy impact.

Sangean DAR-101

Sangean DAR-101 is a long shot as it ends our guide, but it’s designed to meet your every recording need, from amateur interview recordings to professional grade uses. It stands out as one of the best portable audio recorders due to its blend of features and solid sound quality. Top of the list is its multiple recording sources including telephone input, internal mics, and line-in. To add to the mix, the DAR-1010 features external stereo mics which allow users to record local sound using enhanced stereo audio formats. Other notable features include an internal dual-AGC (Automatic Gain Control), max SD card size of 32 GB, adjustable sound recording levels, and multiple bit-rates including 192, 64, 128 kbps. The Sangean DAR-101 also comes fully equipped with an audio peak indicator, file-browsing system, voice-activated recording, and an efficient rotary menu.

Concluding the Best Portable Audio Recorder

Possessing any one of the best portable audio recorders is a necessity for a variety of professions, especially journalists and musicians. By and large, they are invaluable for anyone with the need to make solid quality recording of interviews, meetings, lectures, etc. These gadgets have been in the market since the 1970’s and have gradually evolved both technically and in terms of physical design.

Back then, they took the form of shabby, minute radios that utilized cassette tapes. At best, they offered average quality sound recordings and required users to continually flip cassette sides in order to create more space for their recordings. Nonetheless, technological advancements have turned audio recorders into state of the art, highly portable gadgets, with enhanced sound quality. There is an extensively wide variety of solid audio recorders to choose from in the current market. But which of these offer the best value for money? And why?

A wireless lavalier microphone system in your repertoire is going to be a great addition, especially if you’re in need of a discreet and easy way to record some audio. Regardless of your use, whether it’s lectures, interviews, public speaking, theater and more, we’ve learned in our lavalier microphone guide that there’s just nothing else like a lapel. However, in that guide we focused on a mixture of those with and without wires, so today we wanted to specifically get into wireless lavalier microphone systems. Let’s get into our picks.

The best wireless lavalier microphone systems

Shure BLX14/CVL

Up first in our guide, we have a solid model here to consider that in our opinion covered most bases to recommend to our broader audience — decently affordable, great quality audio and transmission, and of course by a brand that’s reputable. The BLX14/CVL boasts of far-reaching analogue wireless transmission that makes it one of the best wireless lav mics for spoken word use.  It incorporates an intuitive setup into a simple setup with enhanced sound recording abilities, thus, allowing for a generally reliable audio performance.

What’s more, it is available in a number of configurations which makes it a solid choice for individuals looking to use it on different stage platforms. Its box package comes fully equipped with all the necessary apparatus for successful recording. These include the BLX4 wireless receiver, a CVL lavalier mic, one clip, a body pack transmitter, a comprehensive user guide, and windscreens. There is also a power supply system that enables users to charge the mic for extensive portable use. We love the Shure BLX14/CVL as the best wireless lavalier microphone for many reasons if you can squeeze into your budget.

Audio-Technica ATW-1311/L

Ease of use, expandability, and solid quality sound performance-these are some of the key traits that make the ATW-1311 one of the best wireless lavalier mics available in today’s market. We try not to be biased but when it comes to brand name, Audio-Technica always gives us a sense of safety when it comes to microphones. This lav system features a 19 inch rack running on the ‘System 10’ and with the capacity to install 4 different channels which makes it relatively compatible.

Nonetheless, uses do not have to worry about system 10’s complicated configurations. It is an effective wireless professional system that needs zero training. It is straightforward system with heightened sound abilities. In terms of expandability, this system can connect up to 10 receivers and 5 frames. This is made possible by the presence of an external RJ12 cable. More importantly, the System 10 provides users with high-end audio quality over the whole frequency band — a trait that is largely attributed to the lack of compression not only during the transmission phase but also during reception. Look into the Audio-Technica ATW-1311/L. for a great quality wireless lavalier microphone system. It’s obviously nearly double the price of our previous pick but if you have a larger budget, this thing is going to be perfect and never give you any trouble.

Sennheiser EW 112P G4-A

For users looking for the best wireless lav mic offering broadcast quality sound transmission, Sennheiser’s EW 112P G4-A is a viable pick. In addition to its sound performance, it also offers optimal flexibility especially for outdoor applications. Its battery offers an operation time of 8 hours and it serves a maximum range of 100 meters, thus, making it ideal for field use.

What’s more, the EW-112P G4 is quite easy to use and especially when it comes to setting it up. Mounting this apparatus is a straightforward venture and its interface is not overcrowded. By and large, its ease of use, rugged construction, and sound transmission ability make this one of the best body microphones for use in the outdoors. Within the middle price-point but great for the money if you can buy it.

Rode RODELink FM

The RODELink FM is designed to enable all manner of content creators to come up with solid quality recordings. As one of the best wireless lavalier microphone systems in our opinion (at least within the relatively affordable options), this system boasts of a plug-and-play operation, extended battery life, and a pretty good sound performance. It comprises of a single omnidirectional lav mic and a body pack transmitter for convenient hands-free operations. The kit also includes a camera mount receiver that makes it possible to conveniently place the mic on the camera for enhanced audio recording capabilities.

More importantly, the mic’s 2.4 GHz operational spectrum makes it possible to utilize this appliance from all corners of the globe without worrying about radio or television signal interference. Ease of use is among its prime attributes given that the receiver and the transmitter are paired during manufacture. This implies that all that is needed is for one to power up the system and it is ready for use. Additionally, the Rode RODELink FM has a battery life of at least 30 hours and a total of 8 systems, not to mention by a brand we trust very much.

Comica CVM-WM100 Plus

The CVM-WM100 Plus is an ultra-high frequency microphone that is fully equipped with a single receiver and a dual-transmitter. This combination makes it use quite convenient. Among its other strengthd is the lavalier microphone’s signal range as it covers a distance of up to 100 meters. However, this is limited to open spaces. Otherwise in areas with obstacles, the frequency range is reduced to 60 meters.

This is one of the best wireless lavalier mic for multiple devices that are setup to work simultaneously while avoiding disruptions from other signals. This is made possible by its optional 48 channels which offer a variety of distribution points for the different devices. Other notable features of the Comica CVM-VM100 Plus include the lattice LCD display, volume dynamic monitor with up to 16 volume adjustments, real time monitoring, and multiple power supply systems i.e. 2 AA batteries and external charging. It’s pretty affordable if you didn’t want the ‘cheapest of the cheap’, and needed to take just a smaller step above for something of better quality.

Sennheiser EW 100 G4-ME4

Most people describe the EW 100 G4-ME4 as a rugged mic with all-in-one application. Ideally, its versatility is what makes this one of the best wireless lavalier mics given that it is ideal for all manner of uses including interviews, singing, and even playing instruments on stage. It definitely isn’t the most cheap wireless lavalier mic in here and sits around the middle price-point as compared to the others.

It features 12 systems which have been linked together to produce an impressive bandwidth of 42MHz. This, added to its unobtrusive design makes it ideal for on-stage moderators as well as other highly mobile presentation roles. Some of its other notable features include a transmission range of 330 feet, 20-channel compatibility, and an RF output of 30 mW although this is dependent on the regional regulations. The EW 100 G4-ME4 is another great wireless lavalier microphone by Sennheiser to consider if you have a decent chunk of cash at hand.

Movo WMIC70

Let’s talk budget-friendly wireless lavalier microphone. If you want something simple and easy that doesn’t break the wallet, this is a great pick as it sits usually under two-hundred bucks. With a frequency range of 584-608 MHz (labeled as ‘Ultra High Frequency’), it is easy to see why the Movo WMIC70 is ranked among the best budget-friendly wireless lav mics of today. This range makes it possible for the system to capture solid quality audio for a wide range of application including DIY videography to professional, on-stage recording. What’s more, it has the ability to cover an extensively wide range of up to 328 feet.

This is in addition to its selection of 48 optional channels which further adds to the microphone’s flexibility especially for filming purposes. Some other highlight specs include an audio output level of 120 mV, an input range of 600-2000 mV, takes 2 AA batteries power supply that facilitate up to 8 hours of operation, and an omni-directional polar pattern.

Shure QLXD14/93

Given Shure’s continued dominance as a top-rated microphone producer, it is only fair that another one of its products makes it to this list; that is the QLXD14/93. Although it comes in a rather simplified package, this mic features professional attributes that make it ideal for both novices and expert videographers. As one of the best wireless lav microphones in the current market, this model is known for delivering wireless and reliable functionality that is best suited for the business setup as well as mid-sized occasions.

As such, the Shure GLXD14/93 is more commonly used in government offices, conferences, live performance, learning institution, and business setups. It’s pretty high up there in regards to price-point so for those in need of a more professional route, this is a good bet.

FULAIM MX10

What makes FULAIM’s MX10 one of the best wireless lavalier microphones? The answer lies in its unique blend of features which include 4 UHF channels, omnidirectional abilities, real time audio monitoring, and multiple power options. Its optional channels allow for flexible matching of channels. This feature goes a long way in helping users prevent signal interference given that one can easily switch to a different channel whenever channels operate in close proximity or within a similar space.

On the other hand, real time audio monitoring makes it possible to listen in to your recording by connecting earphones or headphones to the 3.5mm plug. As such, one can keep tabs of the audio’s status throughout the recording process. What’s more, the system features an LCD display that is only readable during the daytime to show channels in use, battery status, the overall quality of the incoming signals. A great wireless lavalier microphone especially smartphones here.

Rode Wireless GO

RODE’s Wireless GO ends our guide with a different spin to what many would consider a ‘lav mic’ and comes in a small package but offers big results. It weighs in at a meager 31 g and boasts of the smallest belt pack in the world making it quite easy to clip-on and carry around. You treat it like any other lavalier — with most of us clipping it on to clothing, a camera, or really anywhere else on your source’s body (or near it, but preferably as cloase as you can). This makes it one of the best wireless lavalier mics for vlogging, filmmaking, and YouTubing, as it maintains solid quality audio performance while offering unobtrusive presentation. Its audio performance is enhanced by the 2.4GHz band that produces broadcast-grade transmissions. Also, its ease of use surpasses all other mics. All one needs to do is power it up and pair it before clipping it onto the recording’s subject. Ideally, the Rode Wireless GO offers a great performance while remaining discreet like all the other wireless lavalier microphones in this guide.

Concluding the best wireless lavalier microphones

Also commonly referred to as body mics, lapel mics, or clip mics, lavalier microphones are best known for their minute size which in turn allows for their unobtrusive use. Usually, these microphones are clipped onto the recording’s subject body or clothing. Just as the name suggests, they are attached to the individual’s lapel, collar or any other strategic location within the upper body. Ideally, lavalier mics are meant to be placed near the speaker’s mouth in discreet manner to ensure that the footage maintains a more candid look while still maintaining solid quality audio.

By and large, their hands-free design is meant to allow for a more convenient means of recording audio during video interviews. As such, these microphones are more commonly used by field journalists such as sports anchors given that it allows both the interviewer and interviewee to move freely during the discourse while still maintaining good quality audio.

Once Winter NAMM starts to hit each year, we can’t help but geek out when it comes to being able to explore new products within the world of music equipment, and more specifically for our niche: microphones. Mackie surprised us getting into the mic game when we hit their booth this year for 2020 since we’re so used to their products being predominantly speakers and DJ gear (although they had done so previously with their in-ear monitors and headphones, so we like their confidence when it comes to experimenting with different gear categories). Once we noticed some microphones at hand, we got down to business and tried them out ourselves with the time we had. Here is our write-up and review of the new EM-USB microphone by Mackie, so let’s get into the details and see what they plan on competing with in the upcoming years (especially in such a crowded category when it comes to USB microphones).

Mackie EM-USB condenser microphone features

• Recommended for streamers, podcasts, interviews, and more
• USB-C connection directly into computer
• On-board gain control and monitoring
• On-board mute button
• Cardioid polar pattern
• Software bundle included (we’ll elaborate later)
• Included tabletop tripod and mic clip
• Rugged build housing

Standout features, design and build

First and foremost with this particular USB mic, we’re really digging the on-board gain control, monitoring and mute button.  The mute button in particular is going to be very convenient if you’re podcasting, streaming or really any other type of use that may include wanting outside noise to be cut out when you aren’t using it or feel like taking a break (perhaps podcasting in front of an audience and you want to keep it down while the other is talking? Or your partner is going for a story and you want to tune out your coughing or breathing?). The gain control is also a great feature for us, especially with recording vocals or some type of audio for music or content creation as we’re nitpickers in regards to mixing — you never know when you need to tweak the gain on the fly. Lastly, the monitoring of course to us is almost mandatory at this point in the game of USB microphones, considering we have to hear ourselves while we talk — plus adjusting that volume separately is super convenient (perhaps the gain needs to be up to record but you don’t want your playback to be as loud while you’re recording).

When it comes to actually using this microphone, it’s what USB mics are most known for — usability. What’s nifty with USB microphones is their ability to act as it’s own audio interface. If you want to save some money on purchasing an external mic preamp or perhaps audio interface, USB mics (especially this one) don’t need anything else — just plug it in and you’re good to go. Your computer should recognize it instantly and download the drivers automatically and it’s the same for the EM-USB.

In regards to build, we noticed mainly with all of Mackie’s new EleMent microphone series, the builds are great quality here, something Mackie never messes up on. It’s not going to break on you easily even if you drop it on accident — no cheap plastic here, and the included desktop tripod is a higher-grade material that will definitely come in handy for those who need this mic to sit snug on their desk.

Sound quality of the Mackie EM-USB

What’s the most important aspect of a microphone? The answer is obvious here, so we won’t waste any more of your reading time. Let’s talk sound quality. It’s hard to convey what we think is “good quality”, or even describe a microphone’s sound objectively using superlatives that may resonate with you. So a large part of reviewing microphones for us is sticking straight to the numbers first (especially when it comes to USB microphones). The EM-USB condenser microphone’s bit-rate and resolution hasn’t been provided yet and we didn’t catch it at the show so we are going to wait until they release the technical specs and include it in here. We’ll do our best to explain the (pretty subjective) sound quality below.

The marketers, biased bloggers (not us, promise) and eCommerce sites that want you to buy it are going to call the sound quality of this using a lot of different words, such as ‘pristine’, ‘crystal clear’, ‘beautiful’, etc. We’re not going to cram more of those adjectives into your head but give you a heads up — the audio indeed does the job here. It’s definitely not going to mimic studio-quality condenser microphones that are straight up meant to be as sensitive as possible for professional audio, but we don’t expect that considering those mics go for double, triple the price of this (and many other USB mics in general). Our main concern is this — does it compare with others in the USB mic game within the same price? Yes. Is it “better” than any of them? How are you really able to tell? Human ears can’t even detect the difference really between 16-bit and 24-bit. But the biggest concern to leave you with is that yes, the Mackie EM-USB gets the job done in regards to sound quality and isn’t going to sound cheap, murky or bad. Especially if you’re podcasting, streaming or creating content in general for the internet, you are totally fine here.

If you’re indeed recording vocals for music, it isn’t completely professional and we don’t usually recommend using a USB microphone for recording vocals since you don’t get as much of a raw sound and sensitivity as real condensers, plus not being able to use a interface or preamp doesn’t give you as much room for customizing your sound as we’d like. But if you absolutely must do so and your budget is low, or you’re creating a new home studio, be our guest — it’ll be fine for now and you can upgrade later.

Included software bundle

This is going to be a make or break for many people, considering nowadays a lot of USB microphone are relatively the ‘same’ when it comes to sound quality (especially the technical aspects, such as bit-rate and resolution). Even if you do prefer a few buttons on the front as compared to others, we don’t think that’s a big deciding factor when all of the specs of certain compared USB microphones are lined up. So here’s where the bigger fish to fry comes in — software! Here’s where your money is going to start being worth it. A question to ask is this — am I in the market for a digital audio workstation (music software), plugins (both VST sounds and effects), and more? Or do I really just need a microphone and am I focused on getting the best quality of mic for my money?

Here’s what we’re getting with the Mackie EM-USB in regards to software, sounds and effects. First and foremost, a copy of Pro Tools | First, essentially their version of a ‘beginners’ or ‘trial’ copy of the beloved digital audio workstation. Mackie recently partnered with Avid so you’re going to be seeing this a lot more often. If you don’t have a DAW yet, or have always been itching to dive into the deep world of Pro Tools, this is a big deal. Next we have something called Waveform OEM, which is another DAW that’s a little less known than the popular music software out there, but may be a little fun to play with if you still don’t have any software at all.

Lastly, let’s talk effects. Mackie really crammed a lot in here. We have “The Musician Collection” for ProTools | First, which has 23 plugins (notables include 304E EQ, 304C compressor, BBD delay, and Eleven Lite). You then have “The DAW Essentials Bundle” for Waveform OEM with 16 effects plugins (like compressor, reverber8, limit and equaliser). Our only gripe here is that these effects only work with their respected DAW, and can’t be used with other software if you’re already using a particular digital audio workstation. Interestingly enough Mackie doesn’t include any VST sounds, but focuses on effects. That’s because they’re really marketing podcasters, streamers and other non-musical uses as the years go by, which is fine with us. Pro Tools | First or even Waveform OEM is going to be good enough if you’re trying to just record some simple audio with a few talkers and music in regards to streaming or videos.

What’s in the EM-USB’s box?

• One (1) EM-USB condenser microphone
• One (1) USB-C cable
• One (1) desktop tripod mount
• The software bundle (you download these — CD’s don’t really exist anymore)

Concluding our Mackie EM-USB review

This USB microphone here is perfect for streaming, content creation (whether that’s YouTube videos or vlogging in general), podcasting, and yes, even music recording if you need something cheap (in particular vocals or guitar). We think it’s going to make it’s way through the ranks as the year goes by and USB microphones continue to evolve, especially within the lower price-point with a street price and retail of $150 (double check sites to see exact pricing at the moment). If we could give you two comparisons to look into the other’s software or overall design to for some options, we’d say this gives both a few of our favorites. the Blue Yeti and Audio-Technica AT2020USB+, a run for their money.

The EM-USB doesn’t necessarily bring features of a USB microphone that make us say that it’s going to change the game or anything, but Mackie here is merely giving us another great option for a USB mic that offers affordability, up-to-par sound quality (anything lower than our bit-rate and resolution here is considered old now), and of course, a very massive software package that in our opinion appears to be relatively above-average. Again, it will definitely matter if you need the software or not (some great effects included as well as DAW), but even if the software wasn’t something you completely needed, this is a good option to buy if you don’t want to spend an arm and a leg on a USB microphone. The Mackie EM-USB condenser microphone will be around for a while, but you can always read our best USB microphones guide for a better comparison of some of the more popular models (but have had more time to sit in the game) out there for the time being. All in all we’re digging it, Mackie.

All new for 2020, we have one of our favorite brand in Samson always coming out with at least one new model we love to have in the microphone game. Here we have a USB and dynamic microphone to be readily available for ‘broadcasting’, which can translate into useful for podcasters, streamers, gamers or really any desktop or computer types of recording alike. What’s first important here to note is that it is indeed both USB as well as XLR connective, so you can either do some plug-and-play like many other USB mics out there or use it in a traditional recording sense in a studio and hook it up to your microphone preamps or audio interfaces. Here are some details of the Samson Q9U dynamic microphone.

Features of the Samson Q9U

• Dynamic capsule (neodymium magnet and humbucking coil)
• Polar pattern: cardioid
• XLR analog output
• USB-C digital output
• 24-bit / 96 kHz recording resolution
• Switches: Low cut filter or mid-presence boost
• Built-in dual layer windscreen
• USB cable included
• Mute button (both XLR and USB outputs)
• Compatible with Windows and Mac

Highlights of the Q9U broadcast microphone

The Samson Q9U offers some great zero latency recording with a switchable mid boost or low cut, one of our ‘essentials’ especially in the broadcasting recording world since switching it to the low cut will help rid some lower frequencies microphones tend to pick up, especially higher sensitivity mics. In regards to vocals or talking tracks, getting more of the higher frequencies or really just cutting out the unnecessary low-end helps our voices sound a bit ‘brighter’ and less ‘muddy’. Boosting that middle tier of the frequencies can also help attenuate important parts of our voices. I typically do this with a lot of my vocal tracks, especially the backing ones. I however am not usually a fan of the switches on the actual microphones because capturing the raw audio first and then EQ’ing in post-production gives us more flexibility, but it will really depend on personal preference.

The Q9U has a humbucking microphone capsule, which in Layman’s terms means in some moving-coil mics, there is an implementation of a mechanism that reduces the pickup of EMI (electromagnetic interference). It also has dual-layer wind screens and air-pneumatic shock absorbers inside of the mic which is a big plus to not need either an external pop filter (you can still use one to be extra safe) or a shock mount, so you’re getting all of that in just the mic unit itself. Just set that up on your desk or hook it up to a traditional mic stand or arm stand and you’re good to go. The cardioid polar pattern is going to be efficient in keeping that voice right at the center and rejecting any off-axis or ambiance pickup around you. Definitely make sure your environment is as quiet as possible, but this extra help in the overall design of the mic will be a plus.

Pair that up with a solid 24-bit / 96 kHz and we’re in business here. We would’ve liked it to compete with some other USB mics within this price range that offer 192 kHz, but in the end what’s really make or break about resolution nowadays is the bit-rate. Unless you’re in straight up professional movie studios or recording studios (which don’t even come close to using USB mics), when it comes to the difference between 96 and 192 kHz, it’s extremely difficult for human ears to notice. It doesn’t hurt nowadays when it comes to nit-picking certain mics and models to see which we should actually buy; however, this is very small facet in our opinion and the audio quality in this microphone is still promising.

Concluding our Samson Q9U review

We definitely recommend this for only those who are streaming or podcasting, or any other word or use you can think of that falls under the umbrella of ‘broadcasting’. We have indeed seen dynamic microphones such as this used for music recording, but more geared towards instruments, such as guitars, kick drums or guitar cabs; however, there are probably some better options out there for you, especially at two-hundred bucks street pricing.

Source: Samson.com

It does have built-in gain stage which means we’re not needing any phantom power necessarily, which helps it act as a standalone USB microphone if that’s what you need it to be. The fact that it can convert into also an XLR mic to be used with mic preamps or audio interfaces in a more traditional setup is a big plus in our opinion, considering a lot of mics really don’t have that yet. Is this a trend we’ll be starting to see in the coming years? We think so to be honest, because ultimately, why not? It will help us blend the two most popular ways of connecting to a recording setup nowadays. On top of this, we don’t see a lot of USB ‘dynamic’ mics either, most of them are simply condenser. You can read our best USB microphones guide for some popular competitors out there.

The Samson Q9U broadcasting microphone definitely brings a lot to the table of microphones, and spins some different features we haven’t seen a mic come equipped with. In terms of ground breaking or game changing, we usually review products and say ‘no’. But to be honest, if you’re in the broadcasting game and need a flexible solution to recording (and if you do some music or other applications on the side as well), this is going to be a very solid choice if you can afford it for a few hundred Benjamins.

The variety of different microphone polar pickup patterns may be confusing at times, but when it comes down to the facts, we can make sense of it all. To put it in perspective — If you take some time away from a conversation at a busy restaurant to take in the whole scene, you will realize that you ears are capable of absorbing a variety of sounds at the same time. For instance, you will be able to listen to the music while everyone else is busy talking. In fact, you can overhear what members of the next table are talking about while the music is playing and you say hello to a nearby friend. Frankly, it is amazing the variety of audio signals that human ears can take in and especially, the level of detail with which each of these signals is processed to ensure that you understand each and every bit. However, this is made possible by the powerful and intricate processor located between the ears — the brain!

In a more technical setting, a microphone works in the same manner as a human ear but with polar pickup patterns in place of the brain. So, what is a pickup pattern? In layman’s terms, a pickup pattern is generally the description of a mic’s intrinsic directionality. In more specific terms, polar pickup patterns refer to a microphone’s sensitivity to incoming sound signals from various angles in relation to its central axis.

Understanding Polar Pattern Charts

Given the different microphone pickup patterns, different microphones tend to detect and record sound in different ways. As such, different types of microphones are designed to function differently. While some have the ability to detect and record sound signals coming from all directions, others can only take in sounds emanating from in front of them. Therefore, manufacturers specify a microphone’s directionality as a way of explaining to users where sound signals should come from in order for the microphone to record them. In other words, directionality refers to the specific position where the subject should be for the mic in question to function.

As a description of the microphone’s directionality, manufacturers will include a polar pickup pattern chart alongside their microphone specifications on the packaging or documentation. Unfortunately, most of these lines and axes are usually left unexplained which makes it difficult for the majority of users to understand these illustrations. Ideally, a typical chart will show the front of the mic facing the top of the circle and the back facing the circle’s bottom end. The diaphragm, ion the other hand, is positioned on the horizontal line. There are multiple lines extending towards the circle’s circumference from the microphone, each representing a 30 degrees deviation from the ‘on-axis’. To this end, the circle(s) that radiate from the center or from the microphone represent the degrees from which the mic is able to pick up sound signals.

What’s more, the plotted graphs usually include inner circles that represent the mic’s level of sensitivity. There is a difference of 5 dB (decibel) for each circle-the nearer to the center the circle is, the lower the sensitivity.

Types of Mic Polar Patterns

• Omnidirectional

Just as the name suggests, a mic with an omnidirectional polar pattern is one that accepts sound signals from all direction. It is equally sensitive to all signals regardless of their direction, thus, operates as per the pressure principle.  They are resistant to vocal plosives when in excess and show zero proximity effect. Also, with little to no gain-before-feedback, it can be challenging to place such mics near loudspeakers since they lack null points. Unlike other types of mic pickup patterns, omnidirectional mic diaphragms have only their front ends exposed to sound pressure. The back sides are usually encapsulated in minute chambers and are exposed to steady pressure.

They are receptive to signals from all direction, but although this is generally applicable across the board, small lapel mics are considered to be the most effective omnidirectional mics in the market. This is because a good number of omnidirectional mics tend to become unidirectional when operating in areas with high frequencies. This is attributed to the nature of short-wavelength and high-frequency sound signals, in relation to the surface area of the mic. As such, smaller surface areas are more ideal. Lastly, they do not conduct off-axis coloration, hence, are able to collect sound in its most natural form from all angles.

• Bidirectional Polar Pattern

Also common known as Figure-8, bidirectional polar patterns are unreceptive to signals coming from their sides but are equally sensitive to those coming from the back and the front. As such, their off-axis coloration is symmetrical. They contain the highest proximity effect and are regarded as the most ideal pressure-gradient microphones in the market. Being that there are rings of silence present at each side, sound pressure coming from external sources is equally felt on either side of the mic’s diaphragm. These null points, or rather the rings of silence, are positioned at 270 degrees and 90 degrees. Ultimately, this creates more of a cone-shaped scope of functionality such that all audio signals coming from the side are rejected fully.

With regards to vocal plosives, bidirectional mics are at risk of overloading. The pressure-gradient principle shapes this polar pattern, hence, allows them to react to plosives. Lastly, given that each side is subject to external pressures, acoustic labyrinths do not hinder sound waves from reaching the far-end of the mic. In turn, this implies that the distance between the back and the front of such mics is shorter than in omnidirectional mics. It is therefore expected that bidirectional mics have the most proximity effect.

• Cardioid Polar Pattern

This is by far the most popular out of the many different polar patterns out there. Such microphones are most sensitive in their on-axis direction while the opposite direction has a null point. In-between the two is a slow attenuation that hits -6 dB at two points; 270 and 90 degrees. Looking at the image, this pattern forms the shape of a kidney or an inverted heart.

Similar to the bidirectional mic, cardioid patterns also operate by means of the pressure-gradient principle. This implies that each side of the diaphragm is subject to variations in external pressure. Nonetheless, as opposed to bidirectional patterns, unidirectional patterns have an acoustic labyrinth positioned at the rear end. In some cases, lowered amplitude and time delay are usually brought about by dampening of acoustics at this point. With a null point at 180 degrees, this mic setup is the most sensitive to sound signals from a single direction. Also, its gain-before-feedback is relatively solid and it exhibits a proximity effect.

Aside from these three, there are other less common polar patterns. These include:

• Super-cardioid Polar Pattern

Made up of a 3:5 ratio of omnidirectional and bidirectional patterns, super-cardioid patterns are highly directional in nature. Compared to cardioids, they are more directional but they have a cone of silence in-between 233 degrees and 127 degrees, the null points. Such patterns also operate using a pressure gradient principle whereby both sides are exposed to external pressure. Notably, they are commonly used in movies largely due to their focused directionality and are most sensitive at 0 degrees on their null axis. The sides are less sensitive by 10 dB and since these patterns rely on the pressure gradient principle, they are also sensitive to vocal plosives.

• Hyper-cardioid Polar Pattern

As per the title, this is a hyper directional microphone polar pattern whereby both omni and bidirectional patterns are mixed at a ratio of 1:3. Compared to super cardioids, they have a bigger lobe of sensitivity with its null points at 250 and 110 degrees. They are unidirectional which implies that they are responsive to sound coming from one direction and also operate using the pressure-gradient principle with pools of silence on its sides. Its lobe of sensitivity is 6 dB less sensitive than its on-axis and 12 dB less on its sides i.e. at 270 degrees and 90 degrees. Also, they portray a proximity effect and show high levels of sensitivity to vocal plosives.

• Wide Cardioid (Sub-cardioid) Polar Pattern

Despite its unidirectional functionality, this polar pattern encompasses a considerably wide scope as they are somewhat superposition of cardioid and omnidirectional patterns. They operate using a pressure-gradient but lack null points. The difference between its side and on-axis response is 3 dB which makes it to a great extent omnidirectional. At the back, i.e. 180 degrees, the response is less sensitive by 10 dB, but the pattern portrays a proximity effect and is sensitivity to plosives.

• Lobar (Shotgun) Polar Pattern

It is this pattern that allows shotgun microphones to be as directional as they are renowned to be. Such a pattern is based on super-cardioid or in other cases, hyper-cardioid, pattern. To acquire directionality, interference tubes are used and their lobes of sensitivity are positioned at the back and the sides.

Unlike with other different polar patterns, an interference tube is a mandatory requisite for a shotgun patterned mic to work. While other mics have capsules positioned at either end, shotgun microphones have their capsules at the middle of their skinny tubes, thus, the need for an acoustic labyrinth to extend their reach. By default, such mics rely on the pressure-gradient principle since they are based on super or hyper cardioid polar patterns. On the other hand, its irregular shape implies that it has 4 null pints i.e. at 300, 240, 120, and 60 degrees, while its sensitivity is less 10 dB at 180 degrees (back) and less by 18 dB at 270 and 90 degrees (sides). Lastly, it portrays a proximity effect and is sensitive to vocal plosives.

• Boundary (PZM) Polar Pattern

This pattern usually takes a hemispherical form which is made possible by a boundary that is in close proximity to the diaphragm. This boundary is meant to be extremely close to the diaphragm in a bid to get rid of rea reflections that have the ability to bring about phase problems whenever the mic is positioned too close to noise producing surface or subject. On the other hand, such mics can work either unidirectional or omnidirectional.

Basic Microphone Pickup Terminologies

• On-Axis vs. Off-Axis

As aforementioned, the lines extending from the mic to the graph’s circumference represent deviations from the ‘on-axis’. On-axis implies that the sound reaches the mic from the front while the Off-axis implies that sound reaches the mic from either the rear or the side. In essence, the 0° point is used in reference to the on-axis direction of a microphone. All the other sound sources, that is, sound emanating from other directions apart from the on-axis is referred to as the Off-axis. To this end, the on-axis runs outward in a perpendicular position to the mic’s front center. It is the direction that the microphone points towards. Inversely, Off-axis represents all other directions from which the mic is unable to collect or record sound signals. For instance, if a mic has a 180° off-axis, this implies that the off-axis is situated behind the microphone.

• Side-Address vs. Top-Address

Noteworthy, while most off and on-axis parameters are represented in 2D on most polar pattern charts, physically, they occupy space in 3D. With that in mind, when trying to identify the on-axis line of different mic pickup patterns, the answer mainly lies in whether the mic in question is a side-address or a top-address. In a side-address mic, the on-axis line is situated on its side, and its points outwards. This implies that they are more sensitive to sound signals emanating from their sides rather than from the front. In the current market, most side-address mics are large diaphragm condensers or ribbon microphones.

On the flip side, in a top-address mic, the on-axis line is situated at its apex and points outwards. Usually, such mics have capsules positioned at the bottom or end of their bodies since they derive sound from the direction in which they point. Majority of hand-held and pencil microphones are top-address.

• Pressure Principle

A pressure mic is one with only one of its sides receptive to external sound waves while the opposite side is unreceptive to external variables due to its fixed pressure system. With sound pressure being a scalar quantity, such microphones are categorized as omnidirectional. More importantly, given that only one side is subject to external pressures, pressure microphones are mostly immune to vocal plosives and show zero proximity effect.

• Pressure Gradient Principle

Contrary to the former, pressure-gradient microphones are those with both sides receptive to external sound waves. Pressure-gradient capsules are utilized in making majority of omnidirectional patterns present in mics with multiple patterns. Also, they are used in all condenser and directional dynamic mics. In its most natural form, such a mic produces a figure 8 (bidirectional) kind of response. This is a pattern whereby a figure similar to the number 8 is exhibited, due to the sunken sides which represents their openness to external pressure.

• Acoustic Labyrinth

These are pathways and ports that have been designed specifically to delay sound from reaching either end of the microphone’s diaphragm. Capsules or cartridges with such a system are able to attain unidirectionality with only one diaphragm. In essence, there has to be some phase or delay in-between the back and front of microphone diaphragms in a bid to attain unidirectionality. In reality, acoustic labyrinths are used to help mics realize this delay. Noteworthy, bidirectional and omnidirectional mics lack acoustic labyrinths.

• Proximity effect

Usually, when mics are brought closer to the subject or source of sound, pressure-gradient microphones experience a rise in their bass responsiveness. This increase is what experts describe as the proximity effect. Bass goes up as a result of increased need of differences in phase between the back and front diaphragms with reference to amplitude variations. Notably, this effect is only applicable in pressure-gradient microphones since each side of the diaphragm needs to be subjected to identical sound waves in order to realize optimal functionality of the mic.

• Vocal Plosives

When speaking, it is impossible to prevent wind/gases from interfering with your sound. As such, plosives are a term used to describe the robust gusts of wind energy that interfere with sound, especially when produced via the mouth. Normally, plosives are created when specific parts of the speaker’s mouth close during the pronunciation of consonant sounds. These parts include the tongue, teeth, rear side of the mouth, and the lips. In the English dialect, plosives occur during the pronunciation of K, G, D, B, T, and P. While some polar patterns are suited for such pronunciations, others merely make them sound as pops which can be very unpleasant to the ear.

• Off-Axis Coloration

This is the difference between frequency response on the off-axis and its response specifications as detailed by the on-axis. Ideally, off-axis coloration is the reason why sound captured in off-axis sound different.

The Importance of Polar Patterns

Developing a sober understanding of the different mic pickup patterns is of utmost importance as it enables users to more easily and quickly visualizing the directionality of any kind of recording mic. As such, users are in a better position top pick the most effective mic for different sessions. More impotently, one is able to identify the least and most sensitive areas of the microphone as per its polar pattern. As such, users are in a better position to make informed decisions determining the mic’s placement. This way, users are able to maximize on sound recording and avoid unwanted frequencies.

USB microphones are a staple point of really any type of computer setup nowadays. We do remember when they were a rarity and just coming out on the scene, but in this day and age we see them nearly as essential as a mouse or keyboard. We’ve been writing guides on microphones for years now, in particular USB mics, but today we’re going to focus strictly on one budget: the best USB mics for $50 or less. Let us know if you have any questions, otherwise we’ll get right down to it below.

The best USB mics for an under $50 budget

Blue Snowball iCE

We’ve lost count at how many times we’ve recommended this particular model in some of our guides, but it’s one of our favorites when it comes to being the best USB microphone for under $50, or any budget-friendly point for that matter (even USB microphones under $100). Blue is a heavy-hitter in the microphone game but more particularly USB. This model is their budget-friendly mic that comes with a built-in tripod stand, USB cable, a higher-end cardioid condenser capsule, 44.1 kHz / 16 bit sample , and a 40 – 18 kHz frequency response. The Blue Snowball iCe is great for recording (if you’re doing some music, such as vocals, we do recommend saving up some money because 24-bit is better), podcasting and streaming, and the size is also great for travel if you need to be on the go with this one.

Samson Go Mic

Up next is another reliable and trustworthy brand, and this is our favorite USB mic for under 50 dollars due to it’s compact size, ease of use and reputation. If you’re traveling and need one of the smaller models in this guide, the Go Mic is nearly the size of a wallet — it can easily fit in a backpack, laptop bag or even pockets. Regarding specs, it’s compatible with Mac or PC (plug-and-play), 16-bit, 44.1 kHz resolution, a stereo 1/8″ headphone output for headphones if you need to monitor, and it comes with a cable, cable clip and case to carry it in. The Samson Go Mic is famous at this point, and is definitely a USB microphone under $50 to consider.

Marantz Pro M4U

This is a lesser known name brand and one of those cheaper models you can find on Amazon, but has so many reviews to back it up we’ll give it a whirl. It’s shaped like a traditional microphone so you’ll have to speak directly into that front part of it, but the built-in little stand is great for fitting it in your existing computer setup. For features, we have an A/D converter built-in to the capsule as well as a headphone output to monitor (zero latency). There’s an on/off switch so you can keep it plugged in and simply press the button if you need it on, or perhaps need to mute it if you need a breather. Comes with the cable and stand. The Marantz Pro M4U isn’t a bad option as the best USB mic for $50 or less if you weren’t feeling our previous picks.

CMTECK USB Mic

Another lesser-known brand name here that we found around the internet but the reviews were great. Looks a little bit like a snake, and we like the sleek feel of it (as well as size of course for sitting well in our setup). It resembles a gaming type of aesthetic but is a great versatile option as the best USB microphone under $50 if you want an affordable and flexible mic option. That neck is totally bendable so you can form it how you want, and it has a cool blue LED light for visual effect (especially in the dark while you game). It has an acclaimed smart chip inside which blocks out noise and eliminates echo, and the LED light is switchable in case you aren’t feeling it. A nice versatile option here with the CMTECK USB Mic.

Samson Meteorite

Another great Samson model here we just couldn’t ignore. As you can see in their trends, we love the creativity and focus they’ve placed on affordable, relatively compact sized USB microphones under $50. The Meteorite (there’s also another model called the ‘Meteor’ that is a bit bigger albeit more expensive if you want to research it) offers a frequency response of 20 Hz – 20 kHz, recording resolution of 16-bit, 48 kHz, direct plug-and-play, a magnetic base for positioning on your desktop, and a nice chrome-plated build. The Samson Meteorite‘s condenser mic is 14 mm large, which is a bit bigger than a few others in here so your pickup will be larger and more reliable.

Neewer USB Mic

Here’s a USB microphone for $50 or less that looks more like the traditional studio-grade mic you’d see in recording studios or even podcast rooms. This one’s proven itself through a lot of time and user reviews, plus when it comes to affordability you just can’t beat this entire package as you can see what it comes with in the photo. The entire bundle includes: the condenser mic, scissor arm stand, mounting clip, pop filter, shock mount, anti-wind foam cap, and USB cable. It obviously isn’t a high-end thousand-dollar studio mic but the price for the Neewer USB Mic and what it comes with really just boggles our mind.

Audio-Technica ATR4697-USB

Here’s another one we found randomly with a lot of user reviews to back it up despite being a different type than the others here. We do however love Audio-Technica as a brand and can back up the claims that all of their gear is high-end, not cheap whatsoever. It’s a ‘boundary microphone” with USB connectivity, which means it’s typically meant for ‘conference calls’ because the mic is flat and sits down on a desk to cover everything around it. The ATR4697-USB is still a feasible option for those wanting a cheaper USB microphone and want to stream or game, but we really don’t recommend it for recording vocals in music (podcasts can work).

A USB microphone for vocals used to be laughed at by many musicians and recording snobs up until a few years ago (some are still elitist and scoff at the idea, but not us). With the quality of these gadgets slowly increasing over time and audio interfaces and DAW getting better at fine-tuning our recordings, we can now say that (some) USB microphones will work well with home recording studios. That’s why today we wanted to give you all our picks as the best USB microphones for vocals. Let’s see what you need to look out for first.

Choosing your USB vocal microphone

• Your budget – Most USB microphones worth looking at, specifically for vocals, aren’t going to be under $50 or even under $100. When it comes to our recommendations and a USB mic that will actually be able to compete with the standard condenser microphones that are usually seen in recording studios and used as the norm for mics for vocals, we don’t recommend cutting corners. Therefore there are only a handful of USB mics we’ll recommend to our readers, but it won’t necessarily be super cheap.
• Do not get a microphone that is below 24-bit / 96 kHz! A lot of USB mics do go lower so double check. Higher than 96 kHz is always a plus but you’re fine with staying at this. The bit-rate however is what’s most important — 16-bit is old! Once you get can into the 24-bit realm, it then gets into recording with what audio interface (and the quality that it can support) as well as post-production and proper recording techniques. We only have four recommendations in here because of this rule we’ve created. Usually with USB mics you can get away with most models, but if you’re really serious about vocal recording, we again reiterate nothing below 24-bit and 96 kHz audio resolution.
• Software bundles? Gear brands nowadays are starting a trend where they include a ton of software (like with USB microphones, vocal FX, EQ and other types of plugins). We’re a bit skeptical on this. For one, we know many don’t care for a huge bundle that hikes the price up $100 more bucks. At the same time, if you’re just starting out, or perhaps need to beef up your repertoire, this will benefit you. Keep this in mind as you look at what each mic offers, because nowadays a lot of them have the same type of audio resolution or other features like gain control or on-board monitoring and the difference comes down to software.

The best USB microphones for vocals

Apogee MiC PLUS

There’s a few reasons we have the MiC Plus listed first as the best USB microphone vocals — sound and recording quality as well as versatility. Regarding recording resolution, we have our standard 24-bit / 96 kHz with their ‘PureDIGITAL’ connection. The condenser inside is cardioid so it will be picking up the source in front of it and rejecting the sides.

You also have an output with ‘Blend’ feature to give you monitoring and recording without any lag. Lastly it comes with a tripod and mic stand mount, and is compatible also with smart devices in case you have a mobile studio. It’s a great option for not only recording vocals but also podcasting and streaming and recording instruments if you do that as well. We love the Apogee MiC Plus and recommend it in many of our guides.

Blue Yeti Pro

Up next is a must-add in really any type of USB microphone guide, but in particular when it comes to vocals we have heard of many musicians using this popular model by Blue. There are also some controls on the mic’s unit itself, such as the pattern selection, mute, mic gain and headphone volume. It provides three different types of pickup patterns, although for vocal recording we recommend sticking with their cardioid choice. It also gives you the option to use a traditional XLR input in case you want to use a mic preamp or audio interface. There’s a mountable mic stand on it, but you can also use the desktop stand that comes in the box as well.

There is indeed the original ‘Yeti ‘, but it only provides 16-bit / 48 kHz, where as this Pro gives us a whopping 24-bit / 192 kHz. We don’t recommend going with the original Yeti since that audio quality in our opinion is not good enough. The Yeti Pro if your cash allows is definitely one of the best USB microphones for recording vocals.

Samson G-Track Pro

When Samson came out with this we were excited because many of their USB mics have stood the test for time. However we weren’t sure how they’d compete with others in the higher-end region since they have a lot of models we recommend in budget-friendly guides. The G-Track Pro (in our review linked there) with user reviews backing it up now has a place in line when it comes to the heavy hitters.

First and foremost, we have an audio resolution of 24-bit / 96 kHz with plug-and-play connectivity to Mac or Windows. The mic itself measures at 25mm (dual 1″) condenser capsule for a great pickup, and it also has a nifty 1/4″ instrument input in case you need to record anything else alongside your vocals. On the unit itself, some great onboard control. There’s a polar pattern switch (yes, three again here just like the Yeti but we also recommend sticking to cardioid), recording select switch, mic volume, master mute, headphone volume, and instrument volume.

A lot of versatility here and the option to use it as an interface for recording instruments is big, considering not many others out there can do that. If you were going to try recording instruments you would need a separate piece of gear to transport the guitar or keyboard into the computer itself, but this allows you to do that with just the mic instead of spending money on a preamp or audio interface. So that by itself may steer you to this. The Samson G-Track Pro is a great option as the best USB microphone for vocals.

Beyerdynamic Fox USB

Relatively new to the scene, albeit by a brand that has been around for decades, the Fox USB expresses to us that the bar will continue to remain high as we continue to make these types of mics worthy of being in the talks of actually recording vocals with.

It has our recommended, and in our opinion standard, specs and features — 24-bit / 96 kHz resolution, large diaphragm condenser capsule, headphone output for monitoring without latency, a gain switch on the mic itself if you need to beef up your signal, on board controls for volume and a big mute button right at the top, as well as an included desk stand, USB cable and wind shield in the box itself. The Beyerdynamic Fox USB is our last pick but certainly not the least. If you made it this far in our guide, it most likely will be your choice as the best USB microphone for vocals. It’s one of the more price-friendly USB vocal mics in this guide.

USB microphones are one of our favorite types of mics to write about, so we’re continuing our series of budget-friendly guides on this subject with a nice and balanced price-tag here today — $200 or less. Most USB microphones that are labeled as ‘higher-end’ fall within this category, so you’re in good hands for today. We did see in our USB mics under $100 or even under $50 guides give us some decent options, but today we have a nice collection that brings in some better quality models for you to check out.

Which USB Mic Under $200 to Buy?

As with any of our USB microphones guides, let’s talk about your intended use, although the beauty of USB mics in general is the fact that they’re so versatile and span across many categories of recording (or streaming). However, there are a few guidelines we suggest. If you’re actually using these USB mics to record vocals in a music studio, we recommend being very strict about the audio resolution.

We do not recommend going any lower than 16-bit / 48 kHz. This can even go lower for many of you who are streaming, doing YouTube videos, or perhaps even gaming; however, those uses aren’t as strict when it comes to the actual nitty-gritty numbers. Some people out there will say that they don’t hear the difference between 16-bit vs. 24-bit — we’d say we are in the middle when it comes to broadcasting, streaming, online meetings, etc — uses that don’t completely rely on actually recording. Recording however, especially vocals or instruments for music, try to hit 24-bit if you can. We’d say the kHz isn’t as relevant as the bit. Either way, all the models below are feasible in our opinion.

Aside from recording resolution, a lot of these USB mics are the same when it comes to size and a few other standout features. Some side notes to keep in mind: on-board monitoring (such as volume or gain control, headphone outputs), built-in tripods, mute buttons (you never know when you need to just cut the mic out for a bit if you need a break — depends on what you’re doing), and more. We’ll mention each USB mic under $200’s standout features below.

The Best USB Microphones Under $200

Rode NT-USB

Up first, the NT-USB is continuing to make a name for itself as USB mic technology evolves each year. Coming out a few years ago, it first caught our eye of course due to that Rode name in the title but also mainly due to the overall audio quality we’re getting out of this thing. It comes with a pop shield, tripod stand for desks, storage pouch, ring mount and the USB cable (20′). There’s a headphone jack directly on the mic itself for some monitoring (zero-latency), and you can also adjust the direct mix control between the source output and mic input.

Recording quality here comes in at 16-bit / 48 kHz. Compatible with Windows and Mac, as well as iPads. You can also look into their Rode NT-USB Mini if you wanted to save some cash and can sacrifice a few features. Otherwise, the Rode NT-USB is one of the best USB microphones for an under $200 budget right now.

Audio-Technica AT2020USB+

Next up is a USB microphone for under $200 dollars that we’ve recommended more times than we count, whether it’s in USB mic guides or even general microphone purposes such as recording in the studios. This is the USB version of their reputable AT-2020 (that we actually own ourselves), and it brings us some great quality regardless of use. It includes a built-in high quality A/D converter with some resolution hitting 16-bit / 44.1/48 kHz, a built-in headphone jack with volume control on the mic, ‘mix control’ for blending mic signals with your audio that’s pre-recorded, a nice frequency response to cover the spectrum of voices and most instruments.

It includes the tripod desk stand with folding legs as well. Doesn’t include a pop shield like the NT-USB previously listed but we’d say that’s only a plus for vocal recording (you can buy one separately). The Audio-Technica AT-2020USB+ is another solid option. If you’re torn between this or our previous pick, we’d get whatever is priced cheaper at the moment.

Samson G-Track Pro

It’s starting to get a little redundant if you’re still reading, we know. However, like we said before, a lot of these USB mics have the same features.

The G-Track Pro however brings us some of the better specs number-wise. We have most highlighted here 24-bit / 96 kHz resolution, combined with the essentials of USB mics with on-board controls. What we really love about the G-Track Pro is it’s friendliness for musicians. It can act as an audio interface as it also includes an instrument in. So you can record let’s say a guitar and a vocalist all at the same time, all with 24-bit resolution. This is definitely the best USB microphone for under $200 if you’re a musician.

Blue Yeti

Even though we’re getting sick of writing about the Blue Yeti, we won’t let that stop us from continuing to keep them included in our USB mic guides since they’re so effective and essentially paved the way for USB microphones to be taken seriously. You get the essentials with this one — gain control, mute button and a headphone output with zero latency. Plug and play for Mac and PC, a built-in desktop stand but what’s more impressive is the tri-capsule choices. You can choose between omnidirectional, stereo or cardioid, although most uses we recommend the latter. Still a plus for some of you depending on your application.

Audio resolution here is 16-bit / 48 kHz. You can also look into the Blue Yeti Pro for even better audio quality — 24-bit / 192 kHz, as well as a few extra features that may catch your eye. However, it’s a lot more expensive (about $100 more). The Blue Yeti is just famous now, and of course is a valid pick as the best USB microphone for $200 or less.

Mackie EM-USB

Let’s talk about a newer USB microphone we recently reviewed with the Mackie EM-USB. They typically aren’t really known for the mics but nowadays everybody is getting their feet wet in the USB gold rush; and quite frankly we were impressed with what they had to offer here. gain, headphone volume and mute controls, tripod mount, mic clip, USB cable included. What does differentiate this from others is software bundle included. If there are a few mics in here that attract your eye because of that, it will be important to assess which is best and what USB microphone under $200 can save you the most money. It comes with a download for Pro Tools | First, some Waveform software, and something called ‘The Musician’s Collection’ plugin (a bunch of FX VST if you need any).

Great for streaming, gaming or really anything honestly since it’s up to par with the others in this guide. If you’re down this far and the first few picks didn’t cut it for you, the software bundle may catch your eye with the Mackie EM-USB.

M-Audio Uber Mic

Let’s chat about a super new USB microphone by a decent brand out there in the mic world. This one is like the Yeti with a three-capsule condenser element, with 4 selectable polar patterns to held with those who use USB mics for different applications. There’s a headphone jack, USB/direct mixing control and of course, mute button like the others. A different little feature here you may like is the LCD display that shows you the selected control level. If that’s a must or a plus is your call. It’s compatible with iOS (need the iPad camera connection kit sold separately).

Nothing too crazy out of the ordinary here with the M-Audio Uber Mic but it’s at least the last option we’ll give you all for the best USB microphone under $200.

What’s the difference between USB and XLR microphones? You’ve probably heard of an XLR connected microphone, typically when it comes to condenser microphones (at least with today’s comparison). Yet again, with the ever-rising technology of USB microphones, we’ve seen this question come up more often so we’ve decided to write a guide for you all. So, what’s the difference? To be able to understand the difference between these microphones, we have to know a little information about each connectivity type.

• The real answer
• XLR Microphones
• USB Microphones
• Difference between XLR and USB connection
• Choosing the right type
• Pros and cons of USB and XLR mics
• Conclusion

We would not consider these different microphones types. Ultimately, the ‘type’ of microphone (for example dynamic or condenser) can be either USB or XLR connected.

Before we get technical, here’s our straight away answer to save you some time: USB microphones are for convenience, applications that are less reliant on actual audio quality and the need for flexibility with recordings, as well as budget. They’re cheaper and more suitable for uses such as gaming, streaming, online calls, and more.

For home studio applications such as recording music in vocals and instruments, we still recommend going the XLR route so you can have more flexibility with recording control and quality. Using an audio interface and mic preamp goes a long way when it comes to getting serious with tweaking your audio tracks — gain, feel, EQ cuts, you name it. If you can afford it, even XLR mics for streaming or other popular uses will never hurt. It’s just more expensive.

What are XLR Microphones?

X stands for X Connector, L stands for Locking Connector, R stands for Rubber boot. XLR cables capture an analog signal using three-pronged male and female connectors. These microphones carry balanced audio, which is essential for getting a clean sound. Most pro-audio recording gear is designed for XLR microphones.

So, these microphones are compatible with most recording gear. XLR microphones need to be plugged into an audio interface or microphone preamp to be able to use them. If you need to upgrade the sound quality of your microphone, you have the to upgrade the interface and get to keep your microphone. These microphones are used by recording and radio studios, as well as live performers. XLR microphones are also useful when there are more than one performer recording at the same time.

What is a USB microphone?

These are really starting to grow on us, especially when it comes to studio applications (home studios preferably), especially with applications such as USB mics for vocals. These microphones are the easiest way to make high quality recordings on a computer without having to rely on external gear — just plug and play and you’re good to go.

USB microphones have the similar capsules and condenser elements as XLR microphones (mostly), but with the ability to plug directly into the USB port on a computer eliminating the need to buy additional audio equipment to record your audio files. That is why USB microphones are cost-effective. These microphones are designed for digital output, are portable and can be used on a variety of equipment like PCs, tablets, phones and laptops.

Unfortunately, the USB microphone is not upgradeable. In other words, if you want to upgrade the quality of your microphone, you have to replace it with another microphone or just go the XLR route for some more flexibility when it comes to a middle-man with interfaces or preamps.

Difference between XLR and USB

Now that we know the definitions of an XLR microphone and a USB microphone, let’s explore the difference between those two.

It all essentially comes down to the parts of a microphone. Very simply said, the difference between an XLR microphone and a USB microphone is in the connections. The internal organs of each are different. An XLR microphone, having three prongs in its connection, needs to be connected to a mixing board; without which it won’t work. While a USB microphone can be connected directly to your computer without needing any kind of audio interface.

How to choose the right microphone?

With that being said, we can get more in-depth if you’re still reading. Let’s get a bit more detailed here — every single audio setup needs the following three main devices: A microphone, a preamp and an audio to digital converter, also known as A-to-D converter.

A microphone sends practically an inaudible signal which is very, very quiet and is called the mic level signal. That is why it needs a preamp which takes those very quiet electrical signal levels and amplifies them into an audible level strong enough for further processing or sending to a power amplifier and a loudspeaker. The signal is strong enough that we can hear and it is called the line level signal. This signal is then transferred into a digital signal by an analog to digital converter. The A-to-D converter is a system that converts an analog signal, such as sound picked up by a microphone into a digital signal.

If you have an XLR microphone, you need to connect it into an interface or a mixer that has a preamp built into it, then right after it sends it out through a USB out, it converts it into a digital signal. In case of a USB microphone, all three of those main devices; the mic, the preamp and the A-to-D converter are built into the microphone. Therefore, all you need to do is to connect it to a computer through a USB cable. This is convenient, but also less flexible. Think of it like a pre-built computer with all of the parts chosen, as opposed to XLR mics where you can customize the layers to recording.

There are factors that you might think about when deciding which microphone is the right for you. Some of these important factors are:

Cost:

USB microphones are relatively cheaper than XLR microphones because when using the latter, you need to also buy an interface, preamp or a more simple form of phantom power (some do come with this).

Sound:

Usually, XLR microphones have a better sound quality than USB microphones. But it also depends on the application you use it for. If you are just using it for putting audio music on YouTube, for example, you probably will not notice the difference. But if you are going to use lots of different instruments and vocalists with all sorts of dynamic ranges, then you will definitely notice that XLR microphones have a better sound quality.

Usability:

It is recommendable that you try both types of microphone because some people might find out that the XLR works out good with their voice, and yet others, might find out that the USB microphones works out for them.

A USB microphone is usually used by those who want to utilize it as a hobby, not a profession, as well as beginners. That is because it has a low cost, you do not have to have a technical knowledge, it is easier to set up and a lot cheaper than an XLR microphone.

On the other hand, professionals who are considering more of a professional set up, use an XLR microphone because these are connected using mixers.

Lifespan:

Most USB microphones come with a short warranty, whereas XLR microphones come with extended or lifetime warranty which is an indication that they last longer (really just depends on the brand).

Pros and Cons of USB and XLR Mics

USB Microphone Pros

• Portability: Since a USB microphone are powered by a computer, eliminating the need for a phantom power source, it cuts down on the amount of gear you have to carry when you are recording. Therefore, a USB microphone is transportable.
• Simplicity: It is easier to set up because it is simply used by plugging it directly to a computer.
• Affordability: Another pro is that it is a lot cheaper, affordable than an XLR microphone, that is because it doesn’t need any digital audio interface (DAI) to be connected to a computer.

USB Microphone Cons

• One at a time: On the other hand, a USB microphone lacks some of the qualities of an XLR microphone. One of the drawbacks is that it is challenging to record multiple USB microphones at once because your computer will have trouble judging/deciding which microphone is which and will not record the audio correctly.
• Latency: Some USB microphones have latency problems. There is a delay between the time the sound enters the microphone and the time it exits through your headphones, but that’s becoming less of a problem as time goes on.
• Reduced sound quality: Many USB microphones are designed for podcasting or streaming applications, resulting in a considerably less professional sounding recording. It’s more expensive to pack in higher-tech in the bodies as opposed to XLR.
• Control: Since a USB microphone is directly connected to a computer through a USB cable, it leaves no choice for control. You don’t have the options of an interface to have control over the produced sound.
• Choice: Another pro would be choice. Since USB microphones are relatively new, there are fewer options, but we’re starting to see the market flood with new models every year.

XLR Microphones Pros

• Adaptability: XLR microphones are significantly more adaptable to many different functions. Since this type of microphone is connected to an interface, it offers a lot more customization.
• Flexibility: One can easily swap microphones, interfaces, cables and stands to customize the setup to fit your needs. It is better for multiple microphones.
• Sound quality: Simply said, XLR microphones have cleaner sound quality than USB microphones.
• Durability: These microphones have more power; they are built with durability in mind, therefore, they are likely to withstand the tests of time.

XLR Microphone Cons

• Costly: An XLR microphone will end up costing more because it needs a phantom power source.
• Inconvenience: It is an inconvenience to travelers to carry XLR microphones because they have to carry all of the equipment that have to be connected to it.

In Conclusion, Which Microphone Should You Buy?

The strength of having a USB microphone is in its simplicity, plug and go, all in one ease of use. The strength of an XLR microphone is its potential sound quality.

When you’re creating your home studio, it is essential that you choose the right microphone. Buying the correct microphone is really a personal conclusion; it depends on what you’re looking for in a microphone.

So which microphone is the best for you? The XLR? Or the USB?

Although we explained earlier and may sound redundant, here’s the final word. If you are going to use the microphone for home recording, or you are going to use it as a hobby, whether you are going to transport it, or you travel often and want to carry it wherever you go, USB microphones are your best bet. On the other hand, if you’re a radio broadcaster, streamer or even podcaster — someone who needs to record multiple people at the same time like more than one speaker at the same time, a musician performing on stage, or want to record in a studio, XLR microphones are recommendable for you.

USB microphones may appear to be an attractive choice for beginners’ home studio. Some USB microphones are made with cheap parts which will yield poor quality sound. So when buying a microphone, bear in mind that if you want your recordings to have a high quality sound, you have to choose quality equipment.

If you’re trying to build a professional stream, your goal should be a set up with an XLR microphone because it has more options, more sound quality and more control like compression, EQ, all the changes you can do with an analog audio.

Make the right decision with the visions you have.

Condenser microphones under $200 will give us a decent starting point for finding a balance between budget and quality. These types of mics tend to get a lot higher in price if you look into the higher-end category, but we were able to sift through the rubble for you to give you some options. We tried to find a variation in our picks to give you a few different roads to take when it comes to this particular topic.

1. Audio-Technica AT2020
2. AKG P420
3. Avantone Pro CK-6
4. Rode M2
5. Samson CO01
6. Samson G-Track Pro

What is a Condenser Microphone?

To brush up a little before we get into our condenser mics under $200 picks, a condenser microphone is the staple-point of a recording studio. They’re the go-to solution for not only vocals but many instruments as well, mainly due to their sensitivity and ability to capture very minuscule details of what you’re trying to record. These are also great solutions for other applications, such as streaming, gaming and podcasting.

A little side note to keep in mind, especially when getting your budget ready, is the fact that these will need an external power source to use them. You can use audio interfaces (most popular), mic preamps, or smaller phantom power solutions (these are the cheapest). This is of course if you’re using the traditional XLR connectivity. Nowadays USB microphones are becoming more and more popular solutions as condenser mics, but if you look into XLR vs. USB mics you’ll notice you have a little less flexibility with USB because there isn’t a middle-man for power than give you more options at tweaking your sound. The plus side to the USB condenser route is that you don’t need external power and it does so itself. We recommend one USB mic below but the others are the traditional hookup.

The Best Condenser Microphones for Under $200 Budgets

Audio-Technica AT2020

Up first to recommend is a microphone we use pretty consistently in our home studio. It’s simply reliable and we feel has great audio quality for the price. A super trustworthy brand here and this particular model also ranks up top due to it’s lengthy high-rated reviews after being available for many years now.

This is a low-mass diaphragm condenser microphone with a cardioid polar pattern (most condensers are this, which is ideal for vocal recording in studios since it rejects the sides and rear and keeps what’s in front the focus). A pretty high SPL in case you want to record some louder instruments and tend to belt out when you sing. It’s threaded stand mount pivots and attaches easily to your stand for a snug fit in your studio. Reliable, proven by other musicians and great audio quality — the Audio-Technica AT2020 is one of the best condenser microphones for under $200 in the market and will be for a long time.

AKG P420

AKG is another one of our favorite microphone brands out there and this particular large-diaphragm condenser microphone under $200 is usually seen with at least 4 out of 5 stars for good reason.

You’re getting a choice for three pickup patterns in case you’re using this for other applications as opposed to just recording vocals. The AKG P420 has a nice and even flat response with a great frequency response, and you’re also getting a little bass roll-off if you need to cut your lows (we do this every single vocal track), as well as a 20 dB pad for extra thickness.

Avantone Pro CK-6

When we think Avantone, we think classic, vintage, and warm. This particular condenser mic under 200 bucks brings us a large capsule cardioid FET condenser build, which is a bit different than the others. Many argue the FET internal organs give it a warmer and different sound than others. This is of course subjective but as experienced ears can attest to the slight difference.

You have the option to use their highpass filter and 10 dB pad as well. These can never hurt, but what you’ll be going this route for is the different build — the circuitry brings forth sonic characteristics some just can’t ignore. Grab this if you want to focus on the actual sound of your recordings — the user reviews of the Avantone Pro CK-6 don’t lie, either.

Rode M2

Halfway through our guide, if you’ve made it this far we’ll assume you’re looking for something a bit different as compared to our three previous picks. The M2 is a nice one by probably our favorite mic brand ever. It’s a supercardioid condenser with a nice frequency response, but is designated towards live performances as opposed to studios or other streaming applications.

It has a super flat response even without any EQ work done. Works well with guitars as well. A few other nifty features you’ll get alongside this is a locking on/off switch, a stand mount as well as zipper pouch included in the package for travel. The best condenser microphone under $200 here with the Rode M2 if you need a live solution.

Samson C01

Here’s a super cheap model in case you wanted to focus on affordability. Usually seen for half of our aim here at under $200, the C01 is effective despite the cheaper price-tag.

You have your typical cardioid pickup pattern for studio use, and the diaphragm is a big 19mm with a nice mesh grill and gold-plated XLR connector. A flat frequency response here and surprisingly clear sound despite being so cheap. The Samson C01 a great for one for those just starting out or who need a quick and simple solution for a condenser mic addition to their repertoire.

Samson G-Track Pro

Let’s end the guide with a condenser microphone that has USB connectivity, with one of our favorite USB mics out right now. It’s quickly becoming a go-to recommendation for us due to one main factor — sound quality. Not a lot of USB mics in this price-range give us 24-bit audio resolution so this one stands out (at least for one).

You also have an instrument input in case you want to record something aside from your voice. It has a nifty desktop stand to fit snug in your existing setup, and some headphone monitoring capabilities to track your levels. We love this USB mic and although typically we always want to recommend XLR connected condensers for serious users, this will go a long way in case you’re into that USB port. The Samson G-Track Pro is definitely the best condenser microphone under $200 if this is what direction you need.

Dynamic microphones are so versatile, flexible and powerful that we couldn’t imagine having a live performance or even studio without a few of these laying around at our fingertips. Nothing beats their ability to be used, used and used again, especially when it comes to live performance or even recording instruments. We’re in the midst of writing some guides that focus on specific microphone types within certain budgets, so today we’re going to find you some cheap yet powerful dynamic microphones under just $100.

1. Audix i5
2. Shure SM57
3. Sennheiser e 835
4. sE Electronics V7
5. AKG D5
6. Shure SM58

What is a Dynamic Microphone?

Before we get into some picks, let’s overview just for a few paragraphs when it comes to the world of dynamic microphones. Dynamic microphones are very rugged in construction and go well with being on the road, are perfect for focusing on projecting only what’s directly in front of it (it’s called off-axis rejection for being able to rid all other noise, such as the crowd or the band you’re with), and having a great frequency response to cover a broad range of the spectrum. Dynamic mics also have the ability to handle high ‘Sound Pressure Level’, such as loud vocals, drums (especially snares), and guitar amps (the ‘louder’ the instrument, the higher the SPL). They can also work well in recording applications for instruments.

The differences between dynamic and condenser microphones are pretty clear — and to make it easier for us to understand, dynamic mics are best for live vocals and instruments due to their abilities we previously explained. Condenser mics on the other hand are best for recording vocals and some instruments because of it’s extreme sensitivity to picking up what’s around it (sometimes when we record it can pickup the birds outside of our window!). Think softer uses, such as acoustic guitar or vocals.

The Best Dynamic Microphones for Under $100

Audix i5

The i5 has a great reputation around the net and all types of 5/5 star ratings for a good reason. It was definitely hard picking a number one dynamic under $100. This one is many musicians go-to dynamic microphone for live instruments, but works well with vocals too. It’s just a very safe bet that you can’t wrong with.

We’ve seen it used with guitar amps, drums (a lot prefer this for their snares in particular, but we’ve seen this recording hi hats and kicks in the studio as well), and even horns, flutes, etc. This is definitely the best dynamic microphone under $100 if you’ll be in that area.

It handles high SPL like most dynamic mics, has a nice color to the feel and sound, and perfect pattern to get rid of the off-axis noise and reject that feedback. If you dig into the reviews on what people really say in general about dynamic mics (especially in this price-range), you’ll be hearing many comparisons of this Audix i5 vs. the Shure SM57 (that we list next). That’s all going to depend on some more subjective terms such as your preference for sound when it comes to recording. Otherwise, if you want an easy pick, you won’t go wrong here.

Shure SM57

Here’s another one of the most popular dynamic microphones out there, with a reputation that isn’t going anywhere for quite some time. We know many musicians, mixers, engineers, you name it who have at least a few of these in their toolbox. Well-known for it’s effectiveness in performing drums, guitars and vocals, as well as recording guitars, pianos, you name it honestly. This thing is extremely versatile. It’s called the ‘industry standard’ for a reason.

Here’s some of the down low we’ve heard and experienced ourselves when it comes to the SM57 vs. i5 debate (these are just a few points, in the end, they’re both amazing dynamic mics):

• Both are very effective at a wide array of instruments, especially louder, harsh instruments (most preferably live, although recording can work if you’re in a low-budget home studio)
• The SM57 has been known to go well for top-ends in drums, especially snares since it does well at capturing the body
• SM57 has been said to go well with tweed amps since it can add some subtle harmonic distortion on high-ends
• The i5 is good for upper-mid ranges (keeps it clean)
• i5 can work as a good kick microphone if you don’t have a proper one yet
• If we really had to learn you towards a direction, we’d say the i5 for instruments and SM57 for vocals

All in all, since our budget is for dynamic microphones under $100, buying both an i5 and a Shure SM57 might be a good idea although we understand that’s doubling our intended budget. Why not have options? We really can’t pick the best dynamic microphone for under $100 especially when it comes to this very subjective debate, but these two are definitely the ‘this or that’ of this category.

Sennheiser e 835

Let’s talk strictly vocals! If these SM57 vs. i5 debate gave you a headache like us when it comes to the best dynamic microphone under $100, let’s go in some more clear-cut picks that may give you a better feel for what you need. The e 835 has been around for quite some time as well and is very well known for it’s ability to project voices of all different styles with a clean and precise feel. We know many musicians and performers who buy a bunch of these just to have.

Like all dynamic mics it has a great ability for feedback rejection and low handling noise. This one also has a very rugged construction if you’ll be taking it on the road and want some stability when it comes to the actual make of your dynamic. If we had to absolutely recommend a dynamic microphone under $100 for vocals that isn’t the SM57 however, the Sennheiser e 835 would be our pick. It’s tough, sounds great when it comes to vocals, is simple and effective.

sE Electronics V7

Here’s a great dynamic microphone under $100 worth noting that’s highly rated based on it’s value and neutral response when it comes to any type of voice you’re looking to capture. It also has some great handling noise, warm and crisp sound, feedback and noise rejection, etc — everything you want in a dynamic mic.

Many claim this one over any of the Shure’s people recommend is way better when it comes to any type of voice projection especially because of it’s ability to cut through mixes with much EQ. The off-axis rejection is also known to be more superior than a lot of other dynamic mics.

This is going to be personal preference honestly and will be like comparing Coke to Pepsi, but you’d be surprised at how detailed these debates get. We recommend the sE Electronics V7 for those wanting to steer away the more popular picks and grab a mic that really focuses on being clean and crisp that can take away that little annoying ambiance, not only just for singing but for spoken word, comedy, and other types of speech applications.

AKG D5

As we near the end of this guide, we’re realizing just how many dynamic mics in this price range are just straight up famous. The D5 is a favorite among many due to it’s great SPL at handling up to 147dB, and a variable-thickness diaphragm paired up with a rugged construction to stand as a long-term investment.

This dynamic mic as well as a very crisp sound and although that is a subjective term, really backs up a lot of the reviews claiming this can handle all types of voices and instruments. Most who do praise the D5 is important are those who perform vocals especially when it comes to picking up nuances of all of your words (sometimes people want to actually hear those lyrics). It also boasts a nice mid range and a full bass pickup without getting very ‘boomy’. The AKG D5 is just another great option as the best dynamic microphone for $100 or less.

Shure SM58

Last but not least, we have Shure’s other famous ‘SM’ model, and we’re not sure if we’d feel right at least mentioning this at the bottom of the guide. We want to at least give you this last option if you’ve made it this far. This particular mic is probably the most famous ever to be honest, and if we weren’t such microphone snobs probably would have mentioned it first in here just due to it’s popularity. We digress however and it’s popular for one reason.

It’s versatility. This can be used for any and everything. We’ve used this on stage for vocals, instruments, and have recorded instruments with this in our studio (as well as vocals, although it’s not recommend honestly, we still prefer you use a condenser microphone). We’ve also seen this used for speeches (literally the president has used to it), comedy shows, ceremonies in church, podcasts, you name it honestly. The Shure SM58 is just a staple point in anything when it comes to sound, and is our last pick as the best dynamic microphone for an under $100 budget.

If you want your recordings to take the next step when it comes to overall sound quality and feel, you should definitely consider having a vocal booth or at least something that closely resembles one. A vocal booth is a huge part of a recording studio, and usually entails a portioned off, isolated and enclosed area from the rest of the studio in terms of sound transmission. It may provide a worthwhile reduction in the amount of unwanted room reverberation that is captured, extra annoying frequencies that may be picked up by our sensitive condenser mics, or grab ambient noise from even outside of the studio at times.

Vocal booths are used to provide a space to record solo instruments, vocalists or voice over, without the recording being compromised by other elements like sound, echo coming from the room. Vocal booths can range from $500 to $5,000 depending on the materials used and how large of a space you want to create.

1. How big of a booth?
2. Materials used
   1. The walls and floor
   2. Which soundproofing materials?
3. How to eliminate unwanted sound
   1. Cancellation
   2. Reflection
   3. Absorption
   4. Dissipation
4. Placement issues
   1. Door placement
   2. Window placement
   3. Lighting
   4. Electrical
   5. Ventilation
5. Conclusion

Creating a Vocal Booth

How big should a vocal booth be? Determining the size of the booth.

Vocal booths are generally smaller rooms designed to accommodate one or two people. Knowing the size of the vocal booth first and foremost is going to be critical. When building one, the dimension of the room combined with the quality of the acoustical materials used will control the reflection of sound. A typical vocal booth generally produces waves between 150 Hz to 350 Hz.

Most vocal booth sizes range from 3’ x 4’ to 4’ x 6’, but you don’t need to be strict here — the bigger the better depending on your needs, while going as small as possible can help reduce room for error. These sized rooms are great for vocals, amps and acoustic guitars. A six by nine feet vocal booth would be fine for recording a drum kit. The recommended ceiling height would be eight feet. So the questions for you will include: is this going to be just for yourself in a home studio? Perhaps an additional singer? An entire band?

Do the numbers first. Map out the room’s square footage and get organized. Write it all down or create an excel sheet of every inch that needs to be covered. We’re not number people ourselves and it may seem tedious, but just buying a bunch of sound proofing on Amazon and slapping it to a few parts of your wall isn’t going to be too effective. Take some time to get it correct.

Materials used and what to consider while constructing a vocal booth

The materials used to build vocal booths all provide sound isolation from the outside and sound absorption from the inside.

Wall and floor construction of a vocal booth:

Ideally, you would want to build a vocal booth within a room where the walls are separated from the studio. The same goes to the floor. Typically, professional studios have floating floors which refer to the installation method where the floors do not need to be nailed or glued to the sub floor. A lot of home studios don’t worry about the floor and that can be fine if you’d like, but we’re talking about 25% of the entire vocal booth here. We’d try to cover your floor if you can. You can always get away with leaving it be at first and perhaps upgrading later if you want.

Wall and ceiling construction can be made with various degrees of isolation. Standard wall construction with one layer of gypsum board on each side of the wall would be the minimum. You can increase the isolation by applying a second layer of gypsum board to increase the mass. Moving on, the walls can either be made with staggered stud, or double walls.

A normal wall will have 2×4 lumber used for framing separated by 16 inches. The 2x4s will be attached to the bottom and top plates which are 4 inches wide. In a staggered wall, the top and bottom plates are 6 inches wide. The 2×4 studs are placed alternatively on each side of the plate. The gap between two staggered studs is 12 inches. With a staggered stud, you would achieve an STC (Sound Transmission Class — a way to measure the effectiveness of all of this subjective matter) of 48.

To give you an idea, at STC 45, loud speech will not be audible and at STC 50, loud music at a mid and high frequencies will be faintly heard. By adding more drywall and damping compound, which is a sound deadener, a higher STC can be achieved (about an STC of 62, which is very good). With a staggered wall, you would only lose 10 inches of space on each wall.

A double stud wall is two standard wall frames joined together. Instead of nailing them together, they have a small gap between each wall frame to have as much decoupling as possible. In this case, we have two frames of 2×4 studs with a gap in between. The overall thickness of each wall, given a two inch gap, would be 10”. With a double stud wall, we get an STC of 60 which is great and most sounds will not be audible. A double stud wall would take 4’ reduction in length and 4’ reduction in width. If you have enough space to spare, a double stud wall would be ideal.

Soundproofing materials for the walls or absorptive panels:

When choosing soundproofing materials for the walls of a vocal booth, choose a minimum of 2” thick of high quality acoustical foam material that works in the vocal range. In addition, as sound naturally gathers in corners as the walls and ceiling combine, building a highly effective broadband absorber and placing it at all the tri-corners of the room would be a wise decision as just a cherry on top to really seal the deal.

Ways to Eliminate Unwanted Sound

To be able to explore ways to eliminate unwanted sound, we should first talk about types of frequencies.

High frequency noise like chirping birds, ringing telephones, barking dogs, is made of low energy sound waves. These are easily eliminated.

Low frequency noise like traffic, heavy footsteps, is made of high energy sound waves and more effort is required to reduce it.

The followings are ways to eliminate unwanted sound:

Cancellation:

Sound waves are cancelled when they meet an ‘inverse phase’ of that same wave shape, which is called destructive interference. This noise cancellation system works when a sound wave is emitted with the same amplitude, but with inverted phase, also known as anti-phase, to the original sound. The waves combine to form a new wave in a process called interference and cancel each other out (which is called destructive interference).

Reflection:

Some materials that have hard, smooth or rigid surfaces like stone, metal and hardwood have high sonic reflectivity. When the sound waves hit those materials, it bounces right off. This is especially useful for high frequency sounds.

Absorption:

Some porous materials like Styrofoam will absorb different frequencies instead of reflecting it. These will especially absorb high frequency sounds and won’t hurt adding here and there in your wall layering.

Dissipation:

Different materials reflect and/or absorb different frequencies.  That is why building a wall with many layers of materials with different properties is a good way of disrupting a broad spectrum of noise.

Possible placement issues

After deciding the size of the room and wall construction, you should consider some of the issues that you might face as you develop the design.

Placing a door:

As vocal booths are small in size, they are best accessed via a door swinging outward. Reason behind it is that if the doors are accessed swinging inward, then you will have difficulty getting in and out because there is not enough space. When you install the door, use an industrial strength weather strip to seal all air spaces around the door; the sides, the top and the bottom.

Source: SoundOnSound

Placing a window:

Windows are bad. Most of the time, especially if it’s looking out into the outside window. It’s always recommended to have zero windows in a studio. In regards to the actual booth however, many like having visibility of their recording source. The main reason a vocal booth will need a window is so that the musicians, producer or orchestra leader will have a visual contact of each other. So if you plan to build an indoor window in the booth itself, you should position it at an angle so that the person inside the vocal booth can see the others. Moreover, the window must not let any sound through.

The window material should be made of laminated glass of at least half an inch thick. This will reduce the vibrations on the glass itself. You would want to install two pieces of them with their frames and with two inches of space between each of the individual glass pieces. Glue the place where the window meets the frame with an acoustic glue and use an acoustical sealant around the inside and outside edges of the glass-frame contact area.

Lighting:

As you already know, light is a source of heat. As the vocal booth is small, it tends to get warm quickly. So, using a low energy lighting would be the best solution. In placing lighting, you should avoid using dimmers as they often generate electromagnetic fields that can introduce hum and buzz into the recording.

Electrical:

If you’re doing this from scratch and are literally mapping out outlets, this is a whole different ball game. When placing electrical outlets, make sure they are easily accessed. Plan ahead and have an idea of where your equipment is going to be placed so that you can install the outlets high enough to make connecting amps and effects for example, efficient. Also, make sure all outlets are sealed to stop air going through.

Ventilation:

Again, as the vocal room is small in size, they tend to get warm very quickly and keeping fresh air in the room is essential. We can’t tell you how many times we’ve had crazy sweats after a session. We’ve also had a few of our friends literally break headphones due to sweat!

An ideal way of introducing air flow would be by building air intake down low at floor level and outflow mazes exiting high up at the ceiling using natural convention to help the system. An example of this would be two or three low speed fans with a larger outflow port rather than a powerful fan that will spin at a higher speed.

Where to build a vocal booth:

To improve the overall effectiveness and reduce the cost of building a vocal booth, it is recommended if possible to build it in a basement where the walls are made of concrete.  If that is not a possibility, then choosing an isolated room where the walls are dense, away from laundry appliances, water pumps, etc., would be a wise decision. We can’t always have the perfect setup of course, especially if you’re making a home studio, but if you have some options, go as isolated as you can.

Concluding How to Make a Vocal Booth

Size, materials used for the walls, and soundproofing are all important in the production of a desired sound. Plan,. plan, plan!

Determining the size of a room depends on what you are accomplishing.  To determine the size of a vocal booth, you should first decide what you’re going to use the vocal booth for; whether it is for vocals, instruments, drum or band. You should also decide what equipment and musical instruments you are going to use inside the vocal booth. You may be limited to the space you already have as well, which is fine. Even just a few slabs of soundproofing can go a long way, but if you’re taking a lot of time and resources to get this done, we recommend doing it as best as you can.

The quality of the materials used also plays an important part in the quality of sound production. Thicker walls with higher quality soundproofing materials ensure a better sound quality. The higher the quality of the materials, the better the sound quality of your recordings.

A common question we receive sometimes from our readers is asking to help spell out the differences between small-diaphragm and large-diaphragm condenser microphones. We’ll give you an annoying but honest answer — it depends! To be a bit more objective for you, it all comes down to a few minor details. One would think that the thickness or the diaphragm size of a microphone is only a design but behold, size does matter! In fact, the diaphragm is the most critical component in any microphone for determining the produced sound. It has a significant purpose with a technical explanation to it, but we’ll try to keep it simple.

1. Large-diaphragm condensers
2. Small-diaphragm condensers
3. Pros and cons of each
4. Important terms to understand
5. In conclusion

Difference Between Large and Small Condensers

Here are a few key points to give you a straight-away answer before we get into some big details:

• Both of these can overlap when it comes to using each one, it will just depend on what type of sound you’re after.
• Large diaphragm mics are better at picking up a wide variety of the frequency spectrum but are preferred for low-ends as compared to small diaphragm.
• Small diaphragm mics help pick up the brightness of instruments and voices. They can help provide some ‘shimmer’ to your tracks.
• Small diaphragm mics are better for recording sources that have a higher Sound Pressure Level (SPL), or in Layman’s terms, are just louder in general (think snares or guitar amps).
• Sometimes we record the same source with both our large-diaphragm and small-diaphragm in order to capture a more fuller sound. We combine both recorded tracks (and maybe EQ them a little bit) and layer them on top of each other and find that this sounds great for a lot of instruments, such as acoustic guitar.

Large Diaphragm Condenser Microphones

This type of condenser microphone, also known as large capsule microphone, is one inch or more in diameter. When many attempt to imagine what a microphone looks like, this is what they’ll picture in their mind. Large diaphragm condensers are definitely more popular in the consumer market due to their versatility in being able to record pretty much anything. Most microphone bundles come with a large-diaphragm. And nowadays, many of us are becoming more attuned to the home recording studios (thankfully so, we’re getting better gear and more power to recording in our homes instead of needing to rent out actually studios).

Because of the larger surface, it will respond well to lower frequencies, producing a fuller sound. Large diaphragm microphones are used (most commonly) on vocals, piano, drums, bass amps, and acoustic guitars.

Small Diaphragm Condenser Microphones

The small diaphragm condenser microphone is half an inch or less in diameter. But many small diaphragm condenser microphones for audio recording use slightly larger capsules. Small diaphragm microphones, including pencil microphones, do not respond to lower frequencies as well as large diaphragm microphones do. Because these types of microphones have less mass to the diaphragm, they work well with higher frequencies.

They can be practically used on almost anything, but will work better on cymbals, acoustic guitars, hi-hats and rides, small percussion instruments or any instrument where a lot of detail needs to be captured and you want to hear the brightness of the sound.

Is Large or Small Diaphragm Best For Me?

Although the difference in size is not significant, but it has a wide range of effects on the microphone’s performance. If we can give you some advice — don’t be afraid to have both at your disposal! Here are the pros of each of the small and the large diaphragm condenser microphones:

Pros of small diaphragm condenser microphones

These types of microphones have uncolored and neutral sound, consistent pickup patterns and wider frequency range. Small diaphragm condenser microphones are usually preferred by sound engineers to record choirs, acoustic guitars, pianos or string ensemble.

Pros of large diaphragm condenser microphones

These types of microphones are good when you want a big and warm sound as it can make you sound nicer. These are generally used for vocals, voice-overs and some instruments. Large diaphragm condenser microphones have high sensitivity and warm sound around the low frequencies.

Condenser Microphone Terms

The following are some of the important microphone specs that you should be considering when you are going to buy a condenser microphone and don’t know which one is good for you; a small diaphragm condenser microphone? Or a large diaphragm condenser microphone?

Sensitivity and noise level:

Given the same input, a large diaphragm condenser microphone is more sensitive, hence giving a louder output signal and has lower self-noise levels than a small microphone condenser microphone. Self-noise is due to the active components of a microphone adding noise to the signal as they process and boost the levels of the microphone signal. Moreover, it tends to generate a higher output voltage.

On the other hand, the small diaphragm condenser microphone can be more rigid which can prevent other types of distortion and greater sensitivity because it takes less sound pressure to set it in motion because of its low mass.

Frequency response:

Large diaphragm condenser microphones generally have deeper low frequency response with slight boosts in the upper range followed by slight roll-offs in their very top end. Since the diaphragm of a large diaphragm condenser microphone have a higher mass, its frequency is lower. Small diaphragm condenser microphones generally have very flat frequency responses that extend beyond the audible range.

The smaller mass of a small diaphragm condenser microphone helps it respond better to extreme high frequencies. An example of it would be cymbals. An exception to the “formula” would be an omnidirectional condenser microphone. Those kind of microphones, in any size, have a good low frequency response; it responds well to very low frequencies, no matter what the size of the diaphragm is.

Proximity Effect:

As you may already know, the proximity effect in audio is an increase in bass or low frequency response when a sound source is close to a directional or cardioid microphone. A small diaphragm condenser microphone tends to roll off more at low frequencies than a large diaphragm condenser microphone. The proximity effect emphasizes the mid lows in a small diaphragm condenser microphone, but emphasizes the deep lows in a large diaphragm condenser microphone.

Transient response:

In definition, a transient response is the ability of a speaker or microphone to start and stop exactly when the sound going into should start and stop. A small diaphragm condenser microphone responds quickly to transient sounds than a large diaphragm condenser microphone. Although some Large diaphragm condenser microphones react slowly to transients due to their size, but it is typically not noticeable.

Sound pressure level handling:

Sound pressure level is the pressure within a sound wave that determines the loudness of the sound source. So, usually, very loud instruments have a very high sound pressure level. A small diaphragm condenser microphone can handle higher sound pressure levels because of its build. To accommodate the larger diameter, large diaphragm condenser microphones are probably going to have a thicker diaphragm which will make them more durable in high sound pressure levels.

Off-Axis coloration:

An off-axis coloration is a distortion or change in the frequency response of the reproduced audio signal. Most small diaphragm microphones have less off-axis coloration than a large diaphragm condenser microphones. This is due to the reduced mass of the smaller diaphragm which allows it to follow any air movement it is subjected to more closely.

Address type:

A microphone’s address type tells us where the on-axis angle is or where the microphone is pointing, so that we can capture the sound in the best way possible. Large diaphragm condenser microphones are all side address. Whereas small diaphragm condenser microphones are usually top address, like the pencil microphones and can also be side-address.

Appearance:

Psychologically speaking, people think that a larger microphone condenser microphone in a singer’s hand at a performance is more appealing than a small diaphragm condenser microphone. Singers feel special when their microphone looks large and important.

In Conclusion

So what is the difference between large and small diaphragm condenser microphones? Simply put, they are great recording tools for your intended sound. You should choose the right microphone for the right job. The more experienced you become with each, the better you’ll be able to interchange them when it comes to your work.

When choosing the right microphone diaphragm size, you should know where you are going to record it. The room you are going to record will relate to the type of sound you will get. That room might be good for a type of sound, but not so good for another. Another important question you should ask yourself when buying one is what are you going to record with that microphone? Where? How? Who?

Large diaphragm condenser microphones make the sound appear bigger, more engaging and beautiful. Use a large diaphragm condenser microphone to put vocals and other lead instruments. Choose a large diaphragm condenser microphone when the application requires the following:

• Low noise and high sensitivity
• Deep low frequency response
• Good sounding proximity effect on singers

Some examples of these situations would be deep sounding drums, quiet or distant instruments or vocals, studio vocals, mic’ing a drum kit overhead, when the overhead microphone is the main pickup.

On the other hand, small diaphragm condenser microphones give you neutral, uncolored and very detailed sound. Use it to capture sound just like it is. Choose a small diaphragm condenser microphone when the application requires the following:

• Extended high frequency response
• Excellent transient response
• Increased directivity
• Flatter frequency response
• Lower handling noise
• Low off axis coloration
• Very consistent pickup pattern (which is very important) (Some examples of these would be orchestral stereo mic’ing, acoustic instruments, cymbals, percussion)

As we’ve said previously, it really depends on what you’re going to do with the microphone. For example, if you are going to record an acoustic guitar track by itself or with a lead vocal, it is recommendable to use the wide diaphragm microphone; reason being is that you want to get a full, rich sound. Whereas if you want to record a guitar track with a full rock band, it is recommendable to use a pencil condenser microphone because you want the brightness of the guitar to cut through the rest of the band. Yet in another example, if you’re going to use an acoustic guitar as a lead sound, it is recommended that you use a wide diaphragm microphone to get a fuller sound on the individual notes of the solo. Perhaps use both and experiment when you mix?

If you are on a budget, go with a wide diaphragm microphone, but if money is not an issue, then buy the microphone that works best for wherever the instrument will sit in the mix. Or both!

It is important to use the right microphone for the right application. So the best thing to do is to experiment and find the right sound for the project you’re going to work on. We hope this article of the difference between large and small diaphragm condenser microphones has helped you instead of confused you more!

For under $100, condenser microphones in this range are going to give us some extreme affordability yet decent quality if you’re looking to record some vocals, stream, podcast, and more. Thankfully this is probably the most popular type of microphone in the world, so there was a decent bunch we were able to collect for you to compare while you shop. Let’s get into the best condenser microphones for an under $100 budget.

Our Condenser Mics Under $100 Picks

1. Audio-Technica AT2020
2. AKG P120
3. sE Electronics X1 A
4. Rode NT-USB Mini
5. Samson C01
6. Behringer C-1

Finding the Right Under $100 Condenser Microphone

It won’t be too big of a task when it comes to comparing and contrasting here with this budget. It’s gotten us down to the nitty-gritty of condenser mics, and your decision will come down to a few factors. This is probably the lowest we’ll ever go for a mic guide, although our condenser mics under $200 may interest you if you like taking a bigger step up. Other than budget, there are a few ‘types’ of condenser mics we want you to keep in mind.

Large-diaphragm condenser microphones are the most common, and these are the typical image you may associate with microphones. Most in our list consist of this. There are however some USB microphones under $100 there that may interest you (considering they’re still technically condenser mics due to their internal build and sensitivity for recording). Lastly, small-diaphragm condensers do exist but are more rare and geared towards those recording instruments in the studio.

Lastly, we always like to at least bring up the fact that you may need some more gear when buying a condenser microphone. Note that they don’t just work all by themselves. They need phantom power in order to get going and can’t just hook up straight into your computer. Be wary if you didn’t plan on this. You can perhaps buy a microphone package that includes some more equipment you may need to save money, otherwise you’ll need to buy at least a cheaper audio interface or microphone preamp to make these power up.

Some do come with a less fancy phantom power source in the box, but not many. You can buy an easier option with just a straight up phantom power box, but you won’t get certain controls, like headphone monitoring, gain, and other tweaking abilities many prefer. Oh and before we forget, USB microphones don’t need phantom power, so perhaps that will attract you to that route.

The Best Condenser Microphone Under $100

Audio-Technica AT2020

Up first as the best condenser microphone under $100, we have this one ourselves at-hand in our studio right now. It’s such a powerful and clear mic at the price it wasn’t really a hard decision to put it first. We’re big Audio-Technica fans in general but when it comes to balance of sensitivity, quality, and affordability, you can’t beat the AT2020. Regarding specs with this condenser, we have a low-mass diaphragm for a solid frequency and transient response. It can handle some pretty high sound pressure level and the overall construction is quite rugged and stable.

The cardioid polar pattern is standard for condensers of this kind, reducing pickup from the rear and sides and focusing on what’s in front of it. Lastly, it has a pivoting threaded stand mount for attaching to your mic stand and shock mount, but keep in mind none of those come in the package. Phantom power doesn’t either, so factor that in your budget. Otherwise, the Audio-Technica AT2020 is our favorite pick as the best condenser microphone under $100 in the market right now. Note they also have the AT2020-USB but that’s a bit more expensive.

AKG P120

Here’s a very popular condenser microphone you’ll see listed quite high in retail stores due to it’s popularity. The P120 is known for it’s for it’s super clear audio quality and overall stability. We’ve heard a lot of podcasters use this one as well as home recording studios. Very clean and punchy sound.

It’s a medium-diaphragm condenser microphone with the standard cardioid polar pattern, a standard 20 Hz to 20 kHz frequency response, 20 dB pad for extra gain, and a bass roll-off if you want to cut some lows while you’re recording or streaming. The diaphragm isn’t necessarily as “big” as large-diaphragm’s but it won’t be too big of a concern since it’s still a viable option for vocals and speech. If it lands in the middle of being large or small, it’s going to balance both lows and highs quite well. The AKG P120 is another great option as the best under $100 condenser microphone. There are some bundles out there that include extra gear with this mic so look into those.

sE Electronics X1 A

The X1 A is a great condenser microphone under $100 with a large diaphragm, cardioid pickup pattern, a 100 Hz highpass filter and a little -20 dB pad for some dynamic range extension on top of it. It sounds great and accurate in mixes, and the balanced frequency response brings forth an even distribution for recordings (although we always recommend cutting some of that low-end for vocals).

Just another very stable condenser mic under $100 here in case the other large-diaphragm options we recommended weren’t sticking out to you. It’s a durable mic with a great reputation. Great for higher Sound Pressure Level since the sE Electronics X1 A can handle about 150 dB (we’ve seen it uses on guitar cabinets, drums, etc.).

Rode NT-USB Mini

Next we’ll get into a nice USB condenser mic for under $100 by one of our favorite brands in Rode. They have their original Rode NT-USB that came into the market a few years ago and caught our eyes, and since then has made it’s place in the (very competitive now) USB mic game. We were excited they announced the Mini version since the main USB mic is well above our price-tag here.

This condenser has a typical cardioid polar pattern but also includes an integrated pop filter, magnetic base, and a USB cable in the box. Just plug-n-play this one with your computer and you’re good to go, with no need for an interface – another big plus if you’re going to be strict on that $100 or less range. With on-board headphone monitoring and great recording quality at 24-bit / 48 kHz, you’ll be good to go with the Rode NT-USB Mini right out of the box.

Samson C01

Next up as we near the end of our guide, we have Samson’s C01 that’s been around for a while with user reviews to back up it’s effectiveness despite the pretty cheap price. A lot of user reviews around the net praise it for being used as overheads for miking drums, quintets, vocals in bedrooms, and more. Versatility is a big theme for the C01 and it has a warm and clean sound when recording.

Regarding specs, we have a flat frequency response, an LED indicator for phantom power indication, a gold plated XLR connector, large 19mm diaphragm and of course, our beloved cardioid pickup pattern. The Samson C01 is praised by most who grab one of these and is definitely a choice as the best condenser microphone under $100.

Behringer C-1

Coming in last here we have one of the cheapest condensers we’ll be able to recommend as it’s seen around the net for nearly half of our intended budget price here today. It’s a medium-diaphragm condenser microphone with a transformerless FET input and cardioid pickup pattern, but most importantly it comes with it’s own phantom power source, swivel stand mount and carrying case.

A huge bang for your buck here especially when it comes to not needing to buy some external power. A good mic for studio recordings (most vocals but it can take some instruments as well, especially acoustic guitar or even piano). You can also use this live if you want. Overall the Behringer C-1 is just a great package here for under $100.

Today we have one of our favorite mics in the spotlight at a very affordable price (the lowest you can go here). Dynamic microphones are usually used on instruments with a lot of low-mid energy. They are best for recording vocals. They are also used for podcasting, singing, recording multiple people in the same room, voice-overs and live performances.

Microphones come in different shapes and sizes with different price ranges. People might question whether a cheap dynamic microphone is worth the money or not. In reality, you should know that a very cheap ones are not too much better than a toy or a gimmick. One should be honest with oneself about what a dynamic microphone under $50 can and cannot do. If you do want to take a slight step up, you can read our guide on dynamic microphones under $100. Otherwise, we still are getting quite a lot of power and flexibility here with this list today.

One good case for the usage of dynamic microphones under $50 is the fact that these are especially good for those who are just getting into music recording or performing and don’t want to spend a lot of money just to shape their skills. Even within the $50 budget, you will be surprised by the quality that some of these microphones have. Many also buy a lot of these in bulk for different types of environments or applications, like recording large bands or choirs, for schools, venues, etc.

Yes, they have limitations like some have a simple diaphragm capsule setting, but there is nothing wrong with this setup. These kinds of limitations will not stop the microphone from performing like the ones with a price in the higher range in regards to efficiency.

The Best Dynamic Microphones for $50 or Less

Shure PGA48

Up first, we have one of our favorite budget-friendly dynamic microphones under $50 in the entire market. The Shure PGA48 is a professional quality microphone with a highly durable design and construction. It has a good sound and is used for spoken word and karaoke performance. The Shure PGA48 has a cardioid polar pattern that picks up audio from the source while rejecting unwanted noise. It has a tailored microphone cartridge design for clarity in the standard frequency range of speech.

It has an on and off switch for discrete control of microphone operation, it has swivel adapter, stand adapter for mounting to a microphone stand, a zipper pouch and it comes with XLR or QTR cable for flexibility in gear choice. Just some great efficiency and overall power here for a really cheap price.

Sennheiser XS 1

The Sennheiser XS 1 has a rich, full professional live sound quality with a slight emphasis on the top end to help vocals cut through a loud mix. It is used for solo vocal performances, choir making and speech. The Sennheiser XS 1 has a handy silent mute switch that can be used to mute the microphone without distracting pops or clicks.

It can also be locked to the on position to prevent accidental muting. Its cardioid pick-up pattern provides additional isolation from unwanted sound and great feedback rejection. The capsule of the Sennheiser XS 1 is shock-mounted to minimize handling noise and it’s reputation definitely brings it into the dynamic mic under $50 consideration.

Shure SM48

The Shure SM48 is a cardioid dynamic vocal microphone, very good for performance. Its cardioid pickup pattern helps keep outside sound sources out and fight off annoying feedback. This dynamic microphone is best if used for lead vocals, backup vocals and spoken words.

It has a frequency response for vocals with brightened mid-range and bass roll off, cardioid pickup pattern that rejects off axis sound, has good gain before feedback, built in pop filter that reduces explosive breath sounds and wind noise and shock-mounted cartridge for ruggedness and reduced handling noise. Look in to the Shure SM48 for yet another beautiful pick in this guide.

Behringer XM1800S

This dynamic microphone comes in a set of three high quality vocal and instrument dynamic microphones. The Behringer XM1800S has high signal output that makes your voice cut through, an ultra-low distortion for super clean sound.

Like most other dynamic mics, we also have an off-axis rejection eliminating feedback problems, presence lift in critical mid-range that gives the user maximum voice projection, and integrated pop filters. The rugged construction copes with the user’s toughest live assignments, and it also comes with a microphone stand adapter and an on and off switch. Yet another pick as the best dynamic microphone under $50 here by Behringer.

Samson R21

Like the Behringer XM1800S, the Samson R21 comes in a set of three high quality, low impedance dynamic microphones for vocals. This dynamic microphone is good for live performance, recording and for touring musicians thanks to its rugged road proof design.

It has a warm natural sound, a tight cardioid pickup pattern for maximum gain before feedback, dual stage heavy duty windscreen, gold plated XLR connectors assuring positive connectivity, high output dynamic element and heavy gauge mesh and an anti-dent ring that protects from the rigors of heavy use. It withstands high sound pressure levels in case you want to record or perform some louder instruments as well, like drums.

Condenser microphones are the bread and butter of recording not only vocals but many instruments in the world for musicians of all types. We’ve continued our journey through reviewing more mics than we can count now, and as we pin-point some specific price-specific guides, we came across a common question: what’s the best condenser microphone under $500? We have a great budget-range here to give you some nice power and flexibility when it comes to recording and even streaming vocals and instruments.

The Power of Condenser Microphones

Condenser microphones are commonly found in studios, but with the ever-rising trend of streaming and pocasting, they’re found in many different environments now. They have a louder output but are much more sensitive to loud sounds as opposed to other types of microphones, such as dynamic mics. They capture a large frequency range and have a good transient response; the ability to reproduce the speed of an instrument or voice.

Normally, professional condenser microphones are very expensive, as we do have guides on condenser microphones under $200 or condenser mics under $100 that are a lot more budget-friendly. Today however, $500 hits a mark where we get into some pretty professional models. Let’s jump right in.

The Best Condenser Microphones for Under $500

AKG C214

People call this condenser, “A true legend and the microphone of choice for many professional producers”. This condenser microphone under $500 tends to be very flexible and has a reputation for it’s quality and longevity. Vocals sound very smooth and warm for both gender voices, and it’s also great for capturing some strings or keys in case you need to.

Aside from sound quality, this one has some high-end features in terms of numbers. It has a 1” diaphragm, vintage look and most of all, has a top-class performance. The AKG C214 has a very complex system that helps reduce mechanical noise. Its frequency response ranges between 20 Hz – 20 kHz and its polar pattern is cardioid which is standard for any mic in here. This condenser mic also has a switchable 20 dB attenuation pad and low-cut filter that can be used in sound fields as high as 156 dB SPL. Just an extremely solid and reliable condenser microphone under $500 to start our list off.

Avantone Pro CV-12

This condenser microphone is designed to capture vocals and instruments with enhanced detail, low noise and low distortion and with the warmth and character of the 50’s and 60’s. Tube microphones are a bit of a different spin — they have an actual ‘tube’ in the internal skeleton that processes audio, giving it a different feel and “sound”, albeit subjective to the ear that’s listening.

The Avantone Pro CV-12 is a multi-pattern large-diaphragm tube mic. A rotary switch on the external power supply provides nine selectable pickup patterns: Omni, Cardioid, Figure-8 and Six intermediate patterns — great for those who will be using this aside from just recording tracks, or perhaps want to podcast and stream with multiple people. It also has a low frequency roll off, an 80 Hz HPF filter for minimizing low frequency noise and a pad attenuation switch of -10 dB for minimizing distortion. A beautiful condenser microphone under $500 if you want that old-school tube feel and sound to your recordings.

Lauten LA-220

Another high-quality condenser mic with very good features under $500 is the Lauten LA-220. This professional and versatile microphone has a huge bass response that can be used for up-close vocals and acoustic instruments.

The Lauten LA-220 has a 1-inch pressure gradient true-condenser capsule with cardioid polar pattern and ultra-low noise JFET amplifier. It has a pair of switchable 120 Hz highpass and 12 kHz lowpass filters which is useful to tame any harsh high-end voice as well as rumbling bass from the room and a transformer balanced output.

Shure SM81

The Sure SM81 is a high-quality unidirectional condenser microphone used for broadcasting, studio recording and sound reinforcement. This condenser mic has a wide frequency response, low noise characteristics and high output clipping level, low RF susceptibility, flat response curve for accurate sound reproduction and a cardioid polar pattern with maximum rejection.

Its uniform cardioid pickup pattern offers a very good isolation with minimum off-axis coloration and its ultra-smooth response curve ensures accurate sonic reproduction of the sound in front of it. It can be used in wide range of temperatures and humidity conditions. We stuck this one in here because it’s a small-diaphragm condenser microphone, meaning it’s size actually helps with better sound-pressure level and capturing the higher frequencies a lot brighter than normal large-diaphragm.

Warm Audio WA-14

Another favorite pick of ours to be the best condenser microphone for just under $500 is the Warm Audio WA-14. This large diaphragm, versatile condenser microphone has three selectable polar patterns including omnidirectional, cardioid and figure 8. It has two switches in the front, one of those allow you to switch between polar patterns and the other one is a pre-attenuation switch for lowering the input level. This mic has a clean smooth sound that doesn’t sound too bright or hyped.

The Warm Audio WA-14 is engineered with LK-12-B-60V Lens Kondensator all-brass CK 12 style capsule with its smooth and rich high-end sound. It has custom CineMag USA transformer, its frequency range is between 20 Hz – 20 kHz and the self-noise is 115 dB. An all-around solid mic here that’s proven itself for many years.

Aston Origin

The Origin is very popular among mic snobs, and it is a high-performance, large diaphragm condenser microphone with a cardioid polar pattern. This mic delivers a natural and detailed sound across a wide variety of sources; hence it is versatile. There are two switches on the mic: a 10 dB pad to prevent distortion and an 80 Hz low-cut filter to cut out that mud.

The Aston Origin captures treble detail without even a trace of harshness. It has shock-resistant, wave-form mesh head with built-in pop filter. The last pick as the best condenser microphone under $500, but certainly not the least!

We’re glad you’re today, because a dynamic microphone for under $500 is bringing us immense power in both our recording and/or performance game. Dynamic mics are a special type of microphone — they’re known for their power and flexibility, and can capture just about anything you throw in front of them. Having at least a few dynamic mics in your toolbox is a staple-point for many musicians and broadcasters alike.

The Best Dynamic Microphones for Under $500

Electro-Voice RE20

The RE20 is easily one of our favorite picks to rank as the best dynamic microphone under $500 on the market. It’s reputation can speak for itself if you search for it on any retail site — for most importantly it’s quality but durability and flexibility, too. This broadcast studio voice-over microphone has been used by professionals for years, thanks to the fact that it is smooth across a wide range of frequencies and can handle a high SPL.

With a bass tilt down switch, correcting the spectrum balance of a recording has never been easier. This feature facilitates long reach situations, giving great effect for acoustic and electric bass, and even kick drums. Its versatility makes the Electro-Voice RE 20 the perfect mic for broadcast or studio purposes. By singing or speaking right near the grille screen, performers won’t worry about ‘p-pops’ or sibilance. There is also a reduced transfer of external vibration sources. Lastly, it also includes several features a dynamic mic user needs, including a stand mount and carry case as its included accessories. Overall just a tank of a dynamic microphone here.

Sennheiser MD 421-II

If the RE-20 didn’t stand out to you and you are looking for another the best dynamic mic for $500 or less, or perhaps really all time, the Sennheiser MD 421 II should definitely feature on your shortlist. Sennheiser’s MD 421 has been an industry favorite for multiple decades, and its latest model has even more features that will delight users. Guitar and drum recording is a breeze with this mic as it has a large-diaphragm dynamic element that can process high-pressure sound levels, and vocals are also beautiful here with this one.

The five-position bass roll-off switch makes this microphone ideal for just about any instrument and vocal performances or broadcasts alike in case you want to cut off that low-end pre-mixing. With clear feedback rejection to enhance the quality of any recording, the Sennheiser MD 421 II offers warm, clear sound reproduction. Your purchase also includes a free microphone clamp for a 3/8’’ thread in the box. You might want to add the case to your shopping cart when buying the MD 421 II to keep your mic safe during travel as it doesn’t come with one.

Beyerdynamic M 88 TG

This dynamic is ideal for any vocals, bass drum, bass amp, and studio recordings. The quick as lightning transient response allows the M 88 TG to reproduce the kick drum’s complex sound pattern, provided an external pop shield is used.

The microphone’s frequency response spans between 30 – 20,000 Hz, and its dynamic transducer makes it a perfect accessory for any recording artist. Several podcasters find the Beyerdynamic M 88 TG offers them the outstanding sound quality that sets them apart from the competition with professional-sounding recordings. It’s widely regarded as ahead of its time, making it a sure-fire nominee for the best dynamic microphone under $500.

Shure KSM8

The KSM8 dualdyne cardioid handheld dynamic vocal microphone comes in sleek-looking finish and has dual dynamic diaphragms and reverse airflow that all but eliminate any proximity effect from vocal performance. This is what you’re paying for — extra security in regards to rejection of ambient noise for a better overall recording or performing signal. The KSM8 has a frequency response of 40 Hz – 16 kHz, giving the user wide-ranging usage options.

Weighing just 0.75 lbs., the Shure KSM8 is easy to handle and transport. The design is durable and rugged, meaning that it takes a lot to damage this piece of hardware. The internal windscreen and the mic’s capsule design reduce explosive pops during use, making it ideal for vocal performances while also offering impressive performance when used with instruments. With five-star ratings from pretty much anyone who uses this thing, this dynamic microphone is just legendary.

Telefunken M80

Coming from a brand that many equate with sound excellence, the Telefunken M80 is no exception, making it the best dynamic microphone under $500 for thousands of users, amateurs, and professionals alike. Its super cardioid polar pattern and frequency range of 40 Hz to 18 kHz make the M80 a versatile, high-performance product that deserves a spot in any studio. Accessories included are a storage pouch and mic clip, although the 10-meter cable is sold separately.

Its durable design makes the Telefunken M80 perfect for the rigors of touring. The built-in Elektroakustik T80 transformer, together with the mic’s capsule assembly, offers results that users are raving about. A very warm and clear sound here. Great for really any thing you put in front if it — vocals, drums, guitar amps, etc. Additionally, the head and capsule assembly ensure the reduction of proximity effect and the appearance of upper mid-range feedback all but eliminated.

Shure SM57B

With close to thousands reviews and a near-perfect five-star rating, it is easy to see why many people see the Shure SM57B as the best dynamic mic for $500 or less to cap off our guide strong. This one is just classic. This microphone is designed to capture high-quality, smooth vocals that listeners will enjoy as it preserves the authenticity of the recording. Your purchase includes a detachable windscreen and a switch cover plate.

With its air suspension shock isolation and a pop filter, mechanical noise and breathiness will no longer be a problem. We’ve seen this used in way too many podcast setups. Getting more advanced with it’s build, the electromagnetic shielding ensures that hum from computer monitors and studio equipment never interferes with your recording. The microphone is durably constructed so that its cartridge is well-protected from any external forces. The Shure SM57B features a dynamic cartridge with a wide frequency response for crisp and clean sound reproduction to finish our guide with a classic.

What would the music industry be without dynamic microphones? This type of mic is simply needed in any type of recording or performance environment, and we know many musicians and performers alike who have multiple sets of quite a few of these mics in this article. We’ve surveyed quite a lot of different pathways when it comes to a microphone for vocals, but today we wanted to strictly focus on one of our favorites — dynamic microphones.

The Best Dynamic Microphone for Vocals

Shure KSM8

During your search for the best dynamic microphone for vocals or honestly just for a microphone that can do it all, this mic should definitely make your shortlist. The KSM8 dualdyne cardioid dynamic vocal microphone features two diaphragms made from ultra-thin materials. One is active and the other passive. Reverse airflow technology eliminates breathy sounds in a recording. Excellent proximity effect control allows for an increased distance between performer and microphone.

With neutral mid- and high-frequency reproduction from the enhanced proximity effect controls ensures a natural sound few other dynamic vocal microphones offer. In terms of build, the KSM8 was made for the demanding nature of performances as its hardened carbon steel grille provides protection against water damage, dents, or wind. Handling noises are eliminated by the Shure Pumping Pneumatic Shock Mount features. The Shure KSM8’s neodymium magnet is suspended in aerospace SoftMag material, increasing its magnetic field for excellent output levels. Just an overall amazing dynamic mic for vocals here.

Sennheiser MD 421-II

What makes the Sennheiser MD 421-II a contender in the category of the best vocal dynamic microphone is that it is a modern, improved take on the world-famous MD 421, which has been on the market for more than 30 years and acclaimed by thousands. With those credentials, it is little wonder that many artists insist on this microphone for performances both in and out of the studio. This sturdy dynamic vocal microphone has a five-position bass roll-off switch, making it ideal for instrumentals and vocals alike.

It is especially effective for group vocals and radio broadcasting. Most importantly, this one reproduces crystal clear sounds and prevents feedback from ruining a performance. Weighing just 385g, Sennheiser’s MD 421-II is compact and easy to transport. If you’re a numbers person, the microphone has a frequency response of 30-17,000 Hz, and both its nominal and minimum terminating impedance measure 200 ohms.

Telefunken M80

The Telefunken M80 supercardioid dynamic handheld vocal microphone is ideal for live performances. Its thin membrane allows the mic to capture every note in your performance in the minutest of detail. The balanced response that the streamlined capsule design is only one aspect that makes the M80 an option for users looking for the best vocal dynamic microphone on the market. The M80 offers a level of consistency only a few other microphones can, meaning that it reproduces sound accurately, regardless of which mixing board it is plugged into.

With a custom-made wound transformer, the Telefunken M80 automatically matches any impedance, meaning you will never need to worry about inconsistent sound if you want to automate it. The microphone frequency is 50 Hz to 18,000 kHz, making it ideal for recording instruments, vocals, and multiple voices at once.

AKG D5

Whether the user needs a microphone for a lead singer or backing vocalists, the D5 offers versatility and is a veritable workhorse that delivers on the user’s expectations. This professional dynamic supercardioid vocal microphone has a bandwidth of 70-20,000 Hz, and electrical impedance of 600 ohms.

When used for a live performance, we won’t fear mechanical noises will interrupt the music as the microphone’s dual shock mount eliminates most risk of this occurring. Instead, the audience can hear a super clear sound reproduction without any feedback or background noise ruining it. The AKG D5 is regarded by many as the best dynamic microphone for vocals, with outstanding ratings and selling in the mid-level price range. We can’t count how many times this has been raved about, especially in the dynamic microphone for vocals talk.

Sennheiser E835

Here’s another legend. With a Sennheiser e835 in their hand, a lead artist can rest assured that they are holding what many users rate as the best vocal dynamic microphone, which clearly reproduces sound regardless of where they are. The e835 is perfect for home recording, semi-pro studios, and live performances.

Because it features minimal proximity effect capability, the sound’s consistency remains clear even if the singer moves a bit farther away from the mic during a performance. Its rugged construction makes the e835 a worthy part of a live performer’s equipment as it can withstand the rigors concerts and tours present. The e835 is lightweight and delivers a frequency response of 40-16,000 Hz with a minimum terminating impedance of 1,000 ohms. Lastly, the Sennheiser e835 comes with a clip and travel pouch to boot.

Shure SM7B

Users have found this effective for instrument recording, but especially for vocal recordings such as singing and podcasting. Look at any photo of a podcast setup and you’re most likely going to see this backwards mounted mic in the setup. This alone should reassure the user that this could well be the best dynamic microphone for vocals and a worthy investment. The SM7B’s wide-range frequency response means that sound clarity and authenticity are retained regardless of background noise that causes unnecessary distortion.

With air suspension shock isolation and a pop-filter, mechanical sounds and breaths are eliminated in both singing and speaking. Advanced electromagnetic shielding means that humming from equipment will never interfere with the quality of a recording again. The Shure SM7B has received rave reviews online with tons of stars based on its sound quality, ease of use, durability, connectivity, and other features.

Wireless microphones for under $100 may seem like a rarity, but surprisingly enough there are quite a few solid options in this price-point even though this category can get very, very expensive if you look around the market. Typically most wireless mics with this budget-range will only include wireless handheld mics and a few wireless lavalier microphones, so most picks below will cover those bases for you. We’ve seen these used in quite a few different environments and applications, such as karaoke, speeches, live music and more.

The Best Wireless Microphones Under $100

Behringer ULM300USB

The ULM300-USB kicks off our list well, and this one is a cardioid dynamic wireless USB microphone with a built-in transmitter and an auto pairing USB receiver. We have it first because it’s the only of it’s kind in this price-point right now, the others needing an actual receiver unit and not being compatible with a computer unless you use some other gear. This one has a super easy module which is essentially a USB stick. On the mic itself, It has volume control buttons, an on and off switch, and mute function. This microphone’s wireless broadcast range is 200 feet, it uses a license-free 2.4 GHz frequency band which doesn’t allow any cellphone towers or TV stations to interfere and can be used anywhere in the world.

It has an extended battery life of 24 hours and is suitable for broadcasters, vocalists, podcasters or announcers. The Behringer ULM300USB has a high-quality capsule with a very good sound reproduction. We see it hover around $100 or so but the price fluctuates quite a bit around the net, so double check a few sources before buying. But if you can gather up a few extra bucks this is a great option as the best wireless microphone under $100.

GTD Audio U-35H

This wireless mic (comes with two handheld units) uses SMT advanced technology, short for Surface Mounted Technology, which ensures its reliability and quality. This microphone has a two-channel receiver, volume controls on each channel and an LCD display that shows RF and AF levels, as well as channel frequency.

Its wireless broadcast range is 300 feet, works at carrier frequency of UHF 520 – 580 MHz, it has sensitivity of 107 dbm, an impedance of 600 Ohms and a frequency response of 45 Hz to 18 kHz. Its battery life is 9 hours. Ultimately, the GTD Audio U-35H is a professional, high quality and reliable UHF wireless microphone under $100 with a lot of user reviews to back it up.

Fifine Wireless Microphone System

The Fifine Wireless Microphone System comes with a clip-on mic and lavalier mic, a receiver, an adapter for camera and an adapter for smartphone. It is a cardioid condenser UHF microphone ensuring noise reduction, it is powerful, battery powered which lasts for four hours, lightweight and the transmitter has an LCD that shows battery life and current frequency channel.

Regarding more specs, the Fifine Wireless Microphone most notably has a broadcast range between 45 and 60 feet, frequency response of 50 Hz – 16 kHz and has 20 frequency channels that can be used to find the best suited channel when experiencing interference. It works at a carrier frequency range of UHF 565 and 584 MHz and is ideal for presentations or vlogs. Its inborn high sensitivity ensures clarity.

Fifine UHF Handheld

The Fifine UHF is a dual channel dynamic cardioid wireless microphone good for karaoke, public speaking or at home. It comes with two microphones, one wireless receiver, three audio cables for connection flexibility, an additional input for extra wireless microphone (can be purchased separately) and a power cord.

This microphone has independent volume controls, adjustable echo effect feature, a strong and reliable signal with consistent performance and operates at a range of 80 feet. Its carrier frequency range is between UHF520 and 578 MHz, frequency response is between 50Hz and 18kHz and sensitivity is -50.60 ±1dB. Look into the Fifine UHF Handheld for another option as the best wireless microphone for under $100 if you need two handhelds and the previous picks weren’t grabbing your attention.

Pyle Channel Microphone System-VHF

Pyle Channel is another super reliable wireless microphone for less than $100. This is a dual channel professional performance quality dynamic microphone VHF system which comes with dual independent channel receiver ensuring low distortion, two lavalier microphones and two headset microphones with two bodypack transmitters, individual volume controls.

The receiver and the microphone each have a power on and off switch and the receiver has dual independent antenna. This wireless microphone has a clear sound and stable signal with a frequency range of 174 Hz to 216 MHz. It has a sensitivity of 95dB and a high signal to noise ratio performance. The Pyle Channel Mic is just very reliable and flexible, by a brand very known in the lower-budget microphone game.

GTD Audio V-28H

The last recommendation as the best wireless microphone under $100 here is the GTD Audio V-28H. This is a two channel VHF microphone system with SMT technology ensuring quality and reliability. It includes two handheld microphones with a two-channel receiver, each channel has its individual volume control; it also comes with a power adapter. It operates at a range of 300 feet and at a carrier frequency of VHF 210 – 270 MHz.

It has a battery life of 9 hours, its sensitivity is 107 dBm, an impedance of 600 Ohms and a frequency response of 45Hz to 18kHz. Its ideal for broadcast, performance, karaoke, etc. GTD dominates low-cost wireless solutions.

Concluding the Best Wireless Mic Under $100

Wireless microphones are very convenient to use because they don’t have cables or wires. They work on UHF or VHF signals and use battery to work. They work like regular microphones that have cables but have the potential of having problems like maintaining the frequency signal and keeping it stable and some systems need the transmitter to be in close proximity or in sight of the receiver.

So, it is hard to find the best wireless microphones, yet alone under $100 but these options we’ve gathered are quite reliable if you’re limited with some cash to spend. In this article, we have gathered some of the best wireless microphones and all that for under $100 that we hope helped your search. Let us know in the comments if we missed any models you’ve used before and recommend.

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