Voice recording microphone recommendation

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yliats

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Hi all,
I would really appreciate any recommendation for microphones that might be good for voice recording in my situation:

A budget of 100$-250$ in total (USB mic or XLR mic + interface)
I do prefer USB mics since I am a beginner, but it could be nice to have XLR output as future proof
Recording in an untreated room, so dynamic mic is preferred

Thanks!
 
The new version of the Rode NT1 - THIS ONE - looks like it might fit your requirements. Offers both USB and XLR, and includes an audio interface among several useful other voice recording features.
Not sure why you say 'dynamic preferred' because of your untreated room?
It's the mic pick up pattern and frequency response - rather than the transducer type - that will affect its response to the room acoustics
 
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The new version of the Rode NT1 - THIS ONE - looks like it might fit your requirements. Offers both USB and XLR, and includes an audio interface among several useful other voice recording features.
Not sure why you say 'dynamic preferred' because of your untreated room?
It's the mic pick up pattern - rather than the transducer type - that will affect its response to the room acoustics
Thanks for the reply!

I am a beginner, so I might be wrong here, but this is my current understanding of the situation. I was under the impression that condenser microphones (like the new Rode NT1) are sensitive to a wider range of frequencies. This is great for music recording for example, but might not be great for slightly noisy untreated rooms. Dynamic microphones are less susceptible to this and pick up less noise, while providing more "bassy" voice recordings.

If understand correctly, the pick up pattern defines the directional gain, while the transducer determines the frequency response regardless of angles.

Am I wrong?
Thanks.
 
The new version of the Rode NT1 - THIS ONE - looks like it might fit your requirements. Offers both USB and XLR, and includes an audio interface among several useful other voice recording features.
Not sure why you say 'dynamic preferred' because of your untreated room?
It's the mic pick up pattern - rather than the transducer type - that will affect its response to the room acoustics
This is probably the best bet for their budget. The USB option doesn't sound as good as the XLR into decent interface or recorder but it's definitely way better than the Blue, Apogee, and Samson USB mics.
Hi all,
I would really appreciate any recommendation for microphones that might be good for voice recording in my situation:

A budget of 100$-250$ in total (USB mic or XLR mic + interface)
I do prefer USB mics since I am a beginner, but it could be nice to have XLR output as future proof
Recording in an untreated room, so dynamic mic is preferred

Thanks!
I've found that at the same levels and distance a dynamic picks up just as much of the environment as a condenser mic. The only solution is to treat your space. You might be able to pick up fewer reflections with a supercardioid or hypercardioid, but depending on the room those might sound worse than a cardioid.
This is great for music recording for example, but might not be great for slightly noisy untreated rooms. Dynamic microphones are less susceptible to this and pick up less noise, while providing more "bassy" voice recordings.
The only reason a dynamic seems that way is because they're used super close to the mouth. Give it enough gain and position it far away like a condenser and you're going to find it's just as bad. I've actually found dynamics worse from a distance. The only solution is to treat some of your room, whether that's making fiberglass panels, hanging blankets, or putting up foam, you need something on there. In a pinch even shag carpet or one of those furry area rugs can make a noticeable difference. Reverberation lives all across the audible frequency spectrum.

That "bassy" sound is called proximity efficiency and it has nothing to do with the type of transducer in a microphone, it has to do with polar pattern and proximity to the transducer.

Screenshot_20230317_112025_Drive.jpg
This is the frequency response of of the Beyerdynamic M88 TG. Look how quickly the low end drops off with a couple inches of difference.
 
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I've found that at the same levels and distance a dynamic picks up just as much of the environment as a condenser mic. The only solution is to treat your space. You might be able to pick up fewer reflections with a supercardioid or hypercardioid, but depending on the room those might sound worse than a cardioid. The only reason a dynamic seems that way is because they're used super close to the mouth. Give it enough gain and position it far away like a condenser and you're going to find it's just as bad. I've actually found dynamics worse from a distance.
Good to know, thanks!

I don't mind being close to the mic. Given a fixed short distance in an untreated room, do you think there will be no difference in noise pick up for dynamic and condenser mics? This changes my whole perspective on the subject. In this case, I don't see any reason to go for dynamic mics at all.

In this case the NT1 5th might be the way to go.

BTW, I intend to connect the 3.5mm jack to my D7000 DSLR camera. Will it be able to take advantage of the full capabilities of the NT1 5th (e.g. 32 bits)? Or should I somehow sync the video from the DSLR and the audio from the mic using some PC software?

Thank you very much.
 
Good to know, thanks!

I don't mind being close to the mic. Given a fixed short distance in an untreated room, do you think there will be no difference in noise pick up for dynamic and condenser mics? This changes my whole perspective on the subject. In this case, I don't see any reason to go for dynamic mics at all.

In this case the NT1 5th might be the way to go.

BTW, I intend to connect the 3.5mm jack to my D7000 DSLR camera. Will it be able to take advantage of the full capabilities of the NT1 5th (e.g. 32 bits)? Or should I somehow sync the video from the DSLR and the audio from the mic using some PC software?

Thank you very much.
There's no 3.5mm jack on the 5th gen NT1. If you're planning to use some sort of USB C to 3.5mm adapter I have no idea how that would work going into a camera, or even if the mic will work on plug in power. You might want to consider a Rode VideoMic NTG instead (plugs into a camera and also plugs into a PC via USB to use as a USB mic with a built-in headphone jack to monitor, but the caveat is there's no 32-bit float and only a max SPL of 120 dB). If you're making a YouTube video or the like where you'll be on camera and speaking into the mic, record the NT1 into the computer using it like a USB mic and sync everything in editing.

There are plenty of reasons to use dynamic mics, they're used for live performances because they're rugged, they're cheap (compared to condensers), and the low sensitivity means you have to use it much closer which isolates vocals a bit from instruments on stage, but live performance condenser mics with lower sensitivity and supercardioid patterns also accomplish this "isolation". Dynamics are also solid for close miking electric guitar cabinets or drums. Stuff like the SM57 and SM58 are super common, and even though they're not the best they're far from bad and they're a really familiar sound (plus they're like $100 each so studios have several).

Also don't rely to much on the 32-bit float if you use the 5th gen NT1. Proper mic technique comes first. I don't think I've ever used the 32-bit float on my Zoom F6
 
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If you're making a YouTube video or the like where you'll be on camera and speaking into the mic, record the NT1 into the computer using it like a USB mic and sync everything in editing.
Oh, it turns out that recording video and audio separately and later synchronizing (based on a clap or something) is pretty common. One less issue to deal with.

I am seriously considering going for the NT1 5th. I am not sure I will be treating my space (not at first at least). I will try to mitigate the echo and little noises by playing with the mic configurations.

Thanks!
 
The exception, of course, are the EV 'Variable-D' range of mics (RE15,16,etc.) which, despite being directional, have very little proximity effect.

The reason people often get the impression that condensers 'pick up more room' is that most reproduce greater detail overall, so that unpleasant room effects are simply reproduced with greater resolution, thus making them more noticeable, therefore more annoying. But they do not exist at any higher amplitude relative to direct sound, for a given polar pattern.

FWIW, either supercardioid or hypercardioid will pick up the least off axis sound, depending on what direction the strongest room reflections are coming from (the greatest direct-to-reflected ratio).
 
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FWIW, either supercardioid or hypercardioid will pick up the least off axis sound, depending on what direction the strongest room reflections are coming from.
Depending on the space they might also be better off using a cardioid. Some hypercardioids can sound pretty funky in reverberant spaces even without an interference tube. I can't think of a good hypercardioid in their budget unless they get something like an AT875R or a used AKG Blueline w/ the CK93 capsule. That leaves them about $100 to buy an interface, they might be able to get a UMC404HD for that.
 
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Hypers don't have interference tubes - that's shotguns; not what I'm talking about.

At least in the case of MK-012 and Schoeps, the hypers have flatter off-axis response than most cards.
 

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Hypers don't have interference tubes - that's shotguns; not what I'm talking about.

At least in the case of MK-012 and Schoeps, the hypers have flatter off-axis response than most cards.
In a really bad room I feel like hypercardioids without interference tubes can still sound pretty funky. I don't know if it's the rear lobe picking up reflections, or something to do with the 90° response, but it can make the little bit of reverb that's still there stand out because the audio is so much flatter sounding with the hyper. Maybe it's only some hypercardioids, I haven't personally experienced it yet, but I've heard seen some videos where hypercardioids sound significantly less natural compared to a cardioid.
 
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Yep, it’s the interference tube that gives the shotgun its reach and exaggerated directionality. Longer tube, more vents = tighter pattern.

I do think that a dynamic is best for beginners in an untreated room, simply because you end up beating the signal to noise ratio problem simply by having the mic quite a bit closer to the subject. I like the way a dynamic can be a training tool as well - really hones the distance from mic and positioning. Well they all do, but dynamics are obvious, I find.
 
The room is everything. A £5 Fleabay mic in a treated room sounds better than a Telefunken u47 in a bare room.

Doesnt need to be much treatment though, even just a 600x300 100mm rockwool panel or two make a huge difference, experiment with their positions.

My experience, anyway. YMMV.
 
Yep, it’s the interference tube that gives the shotgun its reach and exaggerated directionality. Longer tube, more vents = tighter pattern.

I do think that a dynamic is best for beginners in an untreated room, simply because you end up beating the signal to noise ratio problem simply by having the mic quite a bit closer to the subject. I like the way a dynamic can be a training tool as well - really hones the distance from mic and positioning. Well they all do, but dynamics are obvious, I find.
I find that some hypercardioids like the AT4053b can sound really funky in very reflective rooms. You get a really good flat on axis sound but I feel it can make the reflections that are left stand out more than if you used a cardioid because it doesn't sound very natural. I don't think this would be that big of an issue for film audio because you're either gonna be getting as close as possible, using a plant mic or lav as well, or doing ADR. But for just simple content creation (like vlogging) in an untreated room it could be problematic depending on how bad the room is.
 
I use that mic at least once weekly, and find it pretty darn forgiving- not too much off-axis funk going on for me. It’s not my Schoeps, but that’s a chunk more expensive anyway. Good one to have that’ll last a long time and be standardly decent on most dialog duty.

I use a “short shotgun” or hyper, when in small spaces like closets, bathrooms (funky gig right!), or when getting killed by early reflections. The tube of the longer shotgun gets me into funky territory when in those spaces.

But for O.P., I’d still stick with an inexpensive dynamic like a 57/58 or Beta versions of those, if just doing voice off the desk.
It’ll always have a place in your arsenal, when you eventually add other gear.

Spend a few bucks on some Roxul Safe’nSound, cloth, 1x3 boards, staple it up into 2’x4’x3” panels.
All at HomeDepot or the like.
Place those like paintings around your room.
25% wall coverage will be a start to better sound.

I’ve made dozens of them over the years and as @Nick Nack said, they work great.

There’s more to it, but searching will reveal a ton of diy info.

Or, build your own from a diy instructable or kit.

But ya, treat the room or just get amazingly high-end mic signals of a lotta early reflections, which smear your amazing mic signals.
:)
 
Id second the idea of getting a few industry work horses first , Shure 57's,58's , beta's , SM-7's ,EV Re-20 and some of the handheld EV vocal mics are superb ,
Scan local online secondhand pages and see if you can find a selection of 'old but good' mics to fit the budget . Get used to using them on different sources ,applying corrective eq etc
A small standalone analog mixer is well worth having for the extra features it gives you , efx send ,monitor out / headphone and main out without any digital lag can be very important to performers .

Theres plenty of cheap condenser mics that plug direct into a mini jack on a camera , its probably worth recording the audio to the camera in any case as it will aid synching later without needing the clapper board every two minutes .
 
A hyper is not a "short shotgun" either . . .
Yes, hyper is a pattern.
A shotgun is a bad name as well, when you consider the pattern of a hyper or super, compared with the cardioid.
More like a rifle.

Short tube on short shotguns, longer tube on longer shotguns.
Both use a form of hyper cardioid pattern.
The namesake refers to the reach.

A hyper/super on its own, like a 4053b, cmc6-41, or mk012 w/hyper will sound more natural, more of the time.
Film usually (in N.America) needs narrowness for narrative, wider for docs.
We add ambience in post, so want to minimize the location bed, favoring dialog on top.

Use everything that’s right for the occasion.
But the op is doing living room V.O. so, minimizing external noise is still #1.
Use a dynamic, forget shotguns or hypers ir any condensor for now.
Add to your mic locker as you go.

These are really nice: advancedaudio.ca check out his dynamics.
I own a few of Dave’s mics and mods and they are special.

Just a pair of pennies,
;)
 
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