UPDATED! Building A Home Studio: MICROPHONES
So, you’re building your first home studio and thinking, “What kind of microphone do I buy?” There are so many options and features to consider, it can be incredibly overwhelming! Let’s cover features first, and recommendations after. If you just want the recommendations, then scroll down!
WHY YOU SHOULD USE XLR:
XLR microphones are for professional studio recording. USB mics are for Zooming with Grandma. We do not recommend USB for professional voice over work. Both send a signal to your recording device or computer, but XLR is the way to go to sound like a pro.
With XLR microphones, you’ll need an audio interface to convert your voice from analog to digital. USB mics have the converter built in. Now, you might think that because both necessary components are in the USB microphone, that’s better. Wrong. 2-in-1 shampoo and conditioner is a complete farce and so is this, because USB doesn’t do as great of a job as XLR in reducing unwanted signal noise. When it comes to producing professional audio, even those small noises can completely ruin otherwise great performances. This is by far the biggest advantage of choosing XLR over USB. The professional world heavily favors XLR mics because they are quieter, more sensitive and plugging them into an audio interface with multiple XLR ports allows you to record multiple microphones at once, much more easily than USB. That’s a very useful feature. Also, an XLR mic with an audio interface can record onto more devices than a computer.
CONDESNER VS DYNAMIC:
These are two different ways a microphone is physically built that yield very different results for “best use” cases. Dynamic microphones are sturdier and capable of withstanding much higher sound pressure levels. They are better suited for musical instruments in loud environments like performing on stage with a live audience. Condenser microphones are much more sensitive and accurate, so they are best for recording your voice in a studio environment. That’s exactly what we are looking for when voice acting!
POLAR PATTERNS:
A microphone’s pattern determines the directions in which it picks up sound. What polar pattern you choose depends what you want to use the mic for, just like choosing condenser vs dynamic. The best and most commonly used polar patterns for studio recording are the cardioid and the increasingly more common lobar or shotgun pattern.
FREQUENCY RESPONSE:
All microphones sound a little different. Each has a particular audio signature, favoring certain frequencies. Some microphones are better suited for lower pitched voices, while others are better suited for higher voices. If you have a big, bassy voice, you’ll want to get something like a Sennheiser MHK416 or an AKG 414 which deemphasize the low frequencies and showcase the highs frequencies, creating a “brighter” sound. If you have a higher-pitched voice, the Neumann TLM 102 or 103 will showcase the lower frequencies, giving you a more “full-bodied” sound. When choosing a microphone, keep in mind how you think it will respond to your specific vocal print!
SWITCHES:
Some microphones have a high-pass filter (bass roll-off switch) which further reduces the bass picked up by a microphone. Another type of switch might be a -10dB or -20dB pad, which reduces the microphone’s gain sensitivity (volume), allowing you to safely get louder without overmodulation (distortion). These are nice to have, but not mandatory when making your decision.
PROXIMITY:
Every microphone has a sweet spot. That is, how close you are to the mic when speaking into it. Some microphones sound best when you are 2 inches away, some 6 inches away. With shotgun mics, you might be 8-10 inches away. The farther away you get from the sweet spot, the more you lose low frequencies, creating a thin, “tinny” sound. If you move too close, the lows and midrange frequencies overpower the highs, creating a “muddy” or muffled sound. This is called proximity effect. Your mission: find the sweet spot on your mic.
RECOMMENDATIONS:
Now armed with all that information, the standard microphone you will be looking for is an XLR condenser microphone that uses a cardioid variant pattern. Here are our microphone recommendations, at varying price points:
In the affordable range, there are the Aston Origin($209) and Spirit($349), Shure SM7b($399), Blue Bluebird($299) and Baby Bottle($399), Rode NT1($269) and NT2-A($399)
In the higher range, the AKG C414 XLS($1279), Sennheiser MKH 416($999), Neumann TLM102($729) and Neumann TLM 103($1195)
In the highest range, the Neumann U47($4395) and U87($3295), Blue Bottle($3999), Telefunken ELA M 251E($10995)
ACCESSORIES:
Some other things you’ll want to consider to improve the sound and stability of your system.
SHOCK MOUNTS Mostly used for XLR microphones. A microphone shock mount holds the mic securely in place, unaffected by movement and vibration, which cause noise. Try to get one made by the same company as the mic. If not, any aftermarket one that fits, will work. They run $35 to over $100, depending on quality and manufacturer.
POP FILTERS Certain consonants, like P, K, G, T and B can make an audible impact on the mic diaphragm. We call these plosives. A pop filter defeats annoying plosives. Like shock mounts, some are custom-made for the microphone. Others are just clip-ons and they work too. Generally, metal popper stoppers are more effective than nylon ones.
MIC CABLES For XLR microphones, you’ll need an analog cable to connect your mic to your audio interface. Mogami is a quality, affordable brand. On the high-end, Audio Quest, Better Cables and others. For USB mics, this is not an issue. Use a good quality USB connector.
ANTI-STATIC PADS Human beings generate static electricity. You can walk across the living room carpet or pet the cat and gather static, then touch your mic or audio interface and release it, potentially damaging your system. Antistatic pads go under your chair or sit on your desktop under your keyboard and mouse. Or both.
Have fun choosing the microphone that is right for you!
Next in the Building A Home Studio Series: Audio Interfaces
