As I mentioned, I find the SM57 is a good microphone for non-critical
voice work (i.e. non-broadcast). With some EQing, the sound is warm
and flattering, and highly directional (= no room noise). The Shure
Beta 57A is the 'new and improved' version of the SM57. It has more
of a sturdy grille and a smoother frequency response with an extended
high. I bought one but didn't find it particularly inspiring, especially
compared to the SM57, and after some tests sold it on. Popular now with
some big rock groups as their main vocal mic.
Shure Beta 87A
The Shure Beta 87A (below) is a condenser mic with
a supercardioid pattern and a wide frequency range. I had one and it
does have a nice sound, but I didn't use it as much as other mics and
decided to sell it. The 87C (cardioid) is the one Michael Bublé
uses on every performance. He clearly loves it as he's almost never
seen without it, wherever he performs.
Sennheiser MD431 II
I also have a Sennheiser MD431 II, a
dynamic mic with super cardoid pick-up. Sennheiser used the same mic
casing for a number of different models including the Blackfire BF5032P
(condenser), BF431 (dynamic), BF531, a range which had specific types
of singing in mind (pop, rock, and loud rock which had a moisture resistant
capsule!) and a number of radio microphones (which were the standard
seen on BBC and German TV in the early 1990s). The casing design appears
to have been used before 1982 - so quite retro! This model now seems
to have found an odd niche as a voice-recognition microphone on some
websites, but it isn't available everywhere and it's by no means a cheap
dynamic mic - in the UK it's about £360.
Initial tests I have done have proven its high directionality
leading to excellent feedback rejection and rich tone with little proximity
effect. I have the MZW 4032 windshield for it with the coloured bands
(which is an incredibly tight and takes some time to get on!). It's
the first mic I've had in many years which has an 'on/off' switch on
it! 40 - 16,000Hz.
MD431 II laid bare on my mixer (see next page in this article for info
on the mixer)
MD431 with windsheild. Other coloured foam rings are included.
Beyerdynamic M201
I
purchased a Beyerdynamic
M201.
A dynamic mic,
this seems to
be much used by
BBC radio stations
- mainly BBC Radio
4 (speech based)
as a main studio
microphone and
for panel games
/ round table
discussions and
also in BBC local
radio studios.
Hypercardioid,
small physical
size, metal body,
and rarely seen
for speech without
a windshield (supplied),
it gives a condenser
type sound with
rich tones. Because
it's a dynamic,
you don't need
phantom power
so it's an option
for podcasters.
It gives a very
nice tone and
includes high-ends
that most dynamics
miss. I'm actually
very pleased with
it and I'm surprised
it isn't used
more in speech
recordings. I
use the big windshield
I got for my SM57
on it, which totally
eliminates pops.
40 - 18,000Hz
frequency response.
I use it every
day on an 18"
gooseneck for
my voice recognition
software.
The M201 without and with windshield. This is the windshield you get
with it, not the A81WS I mention.
Sennheiser MD421 II
I
bought a Sennheiser
MD421 II. A dynamic
mic, it is almost
as popular as
SM57s in terms
of popularity
in recording studio
arsenals. My first
impression, cosmetically,
was, "Oh,
it is made of
plastic".
My next impression
was, "Oh,
the frequency
response print
out looks rather
different to that
on the internet".
For a £250
dynamic mic, I
suppose I was
expecting more.
30 - 17,000Hz
frequency response.
I didn't think
it sounded unique
enough to keep,
so sold it to
someone in a band
to use on their
bass drum.
MD421 without and with windshield. It looks like it's got an 'afro'!
Photo two above: MD421 wiith windshield. Photo just above:
MD421 (biggest), M201 (top) and SM57 (right)
Studiospares S1000
For
less than £35, you can now own a good condenser mic with a near
ruler-flat frequency response! Spend another £20 on an elastic
suspension, and you have a really nice mic set-up. It has a larger pick-up
area than the AT2020, so you may need more acoustic treatment in your
room. But for the price, it's pretty faultless. I find it has a very
rich, warm sound to it without capturing too much of the old 'moist
mouth' noises that condensers can sometimes over-do. DO NOT buy Studiospares'
windsheild for this mic. It is a mere 7mm thick and costs £14.38
- YOU WILL BE DISAPPOINTED, trust me. I was, and I sent it back.
You can buy this as a kit in a flightcase, and also another
version, the S1100 (with a flat grille top) which has two switches -
a bass roll-off and an omni switch (effectively converting the mic into
an omnidirectional one).
I'm not sure if this is available in the USA - the way
Studiospares describe it sounds like they specified each component themselves
eg. material for the grille, etc. but it is more than likely made in
Asia and could have similar versions re-branded for other companies.
Rode Podcaster
Aimed
specifically for podcasting, Australian company Rode have invented an
innovative microphone that negates the need for a mixer altogether.
It's called the Rode Podcaster, costs around £149,
and is a dynamic microphone that plugs straight into your PC's USB socket.
It has a built-in headphone amp and volume control, so you just plug
your headphones into the side of the mic itself. Certainly borrowing
some aesthetic design from the EV RE20 but in Apple-style white, it
has a generous 5 metre USB cable. It certainly seems to be the most
convenient way to record podcasts direct to your PC, but does lack flexibility
of control (e.g. tone, compression, limiting) for more critical applications,
and the frequency response is quite poor at the high-end.
Corey Burton
once posted on
his message board,
"I do
not recommend
"plug'n'play"
USB output microphones,
except for the
most rudimentary
news or podcasting
applications,
where fair reproduction
of plain speaking
voices and location
sound "actualities"
is all that's
necessary. For
character voices
and VO work, even
an old Shure SM-57
with a high fidelity
preamp will do
a better job at
capturing a range
of tone and texture,
than the dry,
lackluster, or
sometimes "murky"
qualities I've
heard from even
the better USB
microphones currently
on the market."
(coreyburton.com)
Corey does a
lot of work for
Disney animations
and theme parks,
and whilst he
understandably
uses the best
equipment he possibly
can, his mention
of an SM57 as
a starting off
point is worth
noting. Please
see page
1 for my review
of the SM57.
My prediction in 2005 was that audio equipment manufacturers would
begin to offer 'bundles' of equipment and software in a convenient box
to appeal to podcasters - an ever-increasing market. Behringer had already
announced a bundle that includes a microphone, mixer and headphones.
The mixer plugs straight into the USB port. It's a new market for them,
and in a similar way that blogs went, many will sign up to do podcasts
begin with, then won't be bothered to continue after the initial excitement
(unless you're a geek on a particular topic or an experienced talk radio
presenter, I really don't know what people talk about on them!). At
the end of 2009,
podcasting wasn't such an in-term, with most amateur podcasters fading
away, and edited radio programmes being the mainstay of podcast content.
The
Rode M3 is a new
low cost condenser
mic from Rode.
Looking a lot
like the AKG C1000S,
it uses a PP3
9v battery and
at £75 sounds
like pretty good
value for anyone
wanting a low
cost mic for their
podcast recordings,
although it's
not USB direct.
Rode
also introduced
the Procaster
(picture left)
in 2009, a black
version of the
podcaster body
above, but seemingly
going straight
after the RE20
market. It has
an attractive
price, but again
not USB direct.
Musician's
Friend have
some bargains
on microphones,
mixers and other
recording equipment.
By following the
link you are being
very nice and
supporting this
site.
Microphones, continued...
Frequency Response Graphs
You can see why the C414 is a popular mic.
RE20
45 - 18kHz
AKG C414 in hypercardioid pattern
20 - 20kHz
ATM31a
30 - 20kHz
AT2020
20 - 20kHz
SM7B
50 - 20kHz
SM57
40 - 15kHz
Shure Beta 87A
50 - 20kHz
MK319
20 - 18kHz
Shure SM81
20 - 20kHz
Sennheiser MD431 II
40 - 16kHz
Sennheiser MD421 II
30 - 17kHz
Beyer M201
40 - 18kHz
A selection of reasonably priced condenser microphones
currently on the market...how low will they go?
It's truly amazing to see prices for microphones drop
by literally 80% over the course of 10 years.
The Behringher
T-1 is a
tube mic,
which many
people like
for their
warmth.
At less
than $200
it seems
to be great
value.
Here's another
Behringer
tube mic.
Not sure
why they
have two
such similar
models in
the same
price bracket
though.
The long-establisted
AT 4033
is used
in lots
of radio
studios
in the UK.
The new
SE X1 (dirty
boy!) also
is good.
Microphones
- in conclusion...
From
those I know, most full-time voice-overs in the UK use Neumann U87 /
89s, Rode NT2, AKG C414 TLII, or AT condensers. Then at BBC Radio 4
and BBC local radio they mostly use Beyerdynamic M201s (hypercardioid)
which is a unique choice. There's a huge selection of condensers manufactured
in the Far East whose prices are around that of popular dynamic stage
mics. This has brought accurate sound recording within reach of many
more people than 15 years ago when the cheapest good condenser would
have cost four-figures (£). I've used Neumann U87s (pictured left),
M149s (which cost more than my car) in voice-over booths, and really
didn't find them hugely different in clarity to my AT2020 to warrant
spending such a large amount more on them to initially purchase - my
ears aren't as trained as recording and sound engineers (there must
be a reason why people have 'favourite' mics they prefer over others).
My current favourite microphones are the AT2020 and the SM81, but if
you're starting out or just doing podcasts, an SM57 is an excellent
buy.
* prices of equipment correct at time of publication.
For price in US dollars ($) simply double price you see in £.
AKG
C414
EV
RE20
Shure
SM57
Shure
SM7B
AT
ATM31a
AT
AT2020
Shure
SM81
Beyer
M201
Price
£480
£450
£70
£425
£110
£70
£350
£140
Quality
10
6
7
6
8
9
9
9
Suitability
8
7
7
6
8
9
8
9
Build
8
10
10
8
8
10
10
9
Sound
9
6
8
7
8
9
9
9
Value
7
6
9
5
8
10
8
9
Overall
8
6
8
6
8
9
8
9
AKG C414 - Quality all-rounder. Multiple polar patterns probably not
useful for voice work. Acoustic room recommended.
RE20 - Works better on certain voices. Expensive for what it is.
SM57 - Excellent value - with suitable windshield, ideal for non-critical
broadcast voice work.
SM7B - Expensive - gives very similar tone to SM57 which costs much less.
ATM31a - Very nice condenser, ideal for location recording.
AT2020 - Superb value side-address condenser.
MK319 - Well built, but picks up too much, discontinued.
SM87A - More for studio vocals or stage work than voice work really. Michel
Buble's mic of choice.
SM81 - Not cheap, but more rugged than large diaphragm condensers.
M201 - Superb dynamic with the quality of a condenser.
For
less than £35, you can now own a good condenser mic with a near
ruler-flat frequency response! Spend another £20 on an elastic
suspension, and you have a really nice mic set-up. It has a larger pick-up
area than the AT2020, so you may need more acoustic treatment in your
room. But for the price, it's pretty faultless. I find it has a very
rich, warm sound to it without capturing too much of the old 'moist
mouth' noises that condensers can sometimes over-do. DO NOT buy Studiospares'
windsheild for this mic. It is a mere 7mm thick and costs £14.38
- YOU WILL BE DISAPPOINTED, trust me. I was, and I sent it back. 
Aimed
specifically for podcasting, Australian company Rode have invented an
innovative microphone that negates the need for a mixer altogether.
It's called the Rode Podcaster, costs around £149,
and is a dynamic microphone that plugs straight into your PC's USB socket.
It has a built-in headphone amp and volume control, so you just plug
your headphones into the side of the mic itself. Certainly borrowing
some aesthetic design from the EV RE20 but in Apple-style white, it
has a generous 5 metre USB cable. It certainly seems to be the most
convenient way to record podcasts direct to your PC, but does lack flexibility
of control (e.g. tone, compression, limiting) for more critical applications,
and the frequency response is quite poor at the high-end.
2009,
podcasting wasn't such an in-term, with most amateur podcasters fading
away, and edited radio programmes being the mainstay of podcast content.
Microphones
- in conclusion...