Great microphones for vocals

[Robert****]

What microphone(s) do you recommend for vocals for studio recording?

I bought an Über-cheap MXL 990 condenser mic a while back, and it's about as cheap as you can get... but it's not horrible.

I have used it for voice overs for video instructional material, and I am quite happy with the result. I haven't used it for any singing though so far. For a starter mic for someone on a tight budget getting into vocal recording, I would recommend it.

Now, how about them more professional mics, those with experience, what do you recommend?

[t_ross33]

Shure SM58 is the workhorse of the industry, and reasonably priced too.

[Robert****]

One of the best bang for the buck microphones for studio vocals may be the Shure SM7B. It's not very expensive, but a lot of professionals use it in the studio, I've been told. Around $350.

The Audio-Technica AT4047 Condenser Microphone gets great reviews too. Around $700 though.

[Monkus]

Under $300 vocal mics, I recommend these:

Shure SM58
http://www.music123.com/Shure-SM58-M...26419.Music123

M-Audio Nova
http://www.music123.com/M-Audio-Nova...27050.Music123

MXL V67G
http://www.music123.com/MXL-V67G-CON...49175.Music123

Rode NT-1a
http://www.music123.com/Rode-Microph...74748.Music123

Under $500
Electrovoice Re20
http://www.music123.com/Electro-Voic...26405.Music123

Uberexpensive, but sweeeet!
Neumann U87
http://www.music123.com/Neumann-U87-...26900.Music123

Bluebottle
http://www.music123.com/Blue-The-Bot...82903.Music123

When buying a condenser mic, make sure your preamp has +48V phantom power. Dynamic mics need gain, sometimes 50-60 db. Most mixers get you most of that.

[guitarhack]

One of the best bang for the buck microphones for studio vocals may be the Shure SM7B. It's not very expensive, but a lot of professionals use it in the studio, I've been told. Around $350.

The Audio-Technica AT4047 Condenser Microphone gets great reviews too. Around $700 though.

We use a SM7B in our production studio in our radio station and get very good results with it for voiceover work. Very true voice reproduction.

[wingsdad]

Shure SM58 is the workhorse of the industry, and reasonably priced too.

Absolutely, for stage, or in 'live' a studio setting, one without isolating the vocalist from the instruments. Tight pickup pattern dynamic, limited distance range, and its 'proximity' effect works a little magic on a thin voice.

But, Robert, your new studio room's quiet, deadened environment allows you the chance to do isolated vocals, and that calls for a good Large Diaphragm Condenser (LDC).

Monkus pointed out a number of 'classics', i'e. the Neumann, but at around $170USD street, I stand by this one....may be tough to find as they're not a 'big box store' item, more small indy dealers or online, like here....:

ADK A-51

I have 2 ADK LCD's; one A-51 like that, and one like this, but an older version, a modified A-51 that has the same switching upgrades:

S-51

I also have a pair of their SC-1 Small Diaphragm condensers for instrument apps. 1 I got with my A51 in this package, the other, I worked a package deal with the A51S (now called the S51 that I linked to):

A51-SC1 Twin pak

I didn't buy them at this online dealer site I linked to; my local indy store stocks them...

Whatever you decide, bear in mind that just as with guitars & amps, it may not be so much the mic as the quality of the preamp and auido interface you run it through, and how deftly you operate that gear. A $350 mic can sound crappier than a $150 mic, given a chance.

EDIT:
Oh, yeah...with an LDC, you'll need one of these...this is just one brand...
Pop Filter

In a pinch, or as an ultra-economy measure, or to draw a few laguhs, you can rig one out of a loop of wire coat hanger and a swatch of nylon stocking that may have gotten snagged and discarded.

Finally, this may be of some help as a reference tool:
Studio Mic Buying Guide

PS: I run my mics through Samson C-Valve Tube PreAmps and a Samson C-Com compressor, eq'd thru a Yamaha and/or Peavey board.

[vroomery]

I have used the Rode NT-1A many times with many different applications (vocal, acoustic and electric guitar) and it is an amazing sounding mic; so natural and warm. You definitely won't be disappointed. There are some other fine suggestions there as well. Neumann is never a bad choice either. They usually run a pretty penny though.

[syo***]

I concur with the Rode NT-1A. This and the Shure KSM27 are my personal favorites for versatile, somewhat inexpensive mics. The Rode being a particularly good value.

[Carlström]

Röde NT1-A is what i use aswell. great mic for a reasonable price.


i rather strongly disagree with SM-58 as a good studio mic for vocals, live for it is real good for sure but in studio it always leaves a muffled sound.

[hubberjub***]

I concur with the Rode NT-1A. This and the Shure KSM27 are my personal favorites for versatile, somewhat inexpensive mics. The Rode being a particularly good value.

The KSM27 was a great mic when it was $299 brand new. Shure is discontinuing it and I just picked one up two weeks ago for about $150 at GC. If you can find it, there isn't a better deal out there. Cascade also makes great mics at a reasonable price.

[hubberjub***]

Röde NT1-A is what i use aswell. great mic for a reasonable price.


i rather strongly disagree with SM-58 as a good studio mic for vocals, live for it is real good for sure but in studio it always leaves a muffled sound.

I've read that Michael Jackson's Thriller used an SM58 for almost all the lead vocals. It wouldn't be my first choice for a studio mic though.

[Carlström]

I've read that Michael Jackson's Thriller used an SM58 for almost all the lead vocals. It wouldn't be my first choice for a studio mic though.

well i certainly wouldn't have guessed that.

ok let me rephrase then....
my personal experience with SM58 as a studio vocal mic is not good, the recordings done with it has required alot of post processing to make it ok but they never reached good for me. the röde has worked like a charm for me tho.

if anyone want to hear results of the röde they can go to my music page www.dreamwire.se and check out satellite crash or the stuff under my own name.

[Spudman***]

The Shure SM7B http://www.shure.com/ProAudio/Produc...o_SM7B_content
is a great mic to have. Many home studio guys really love them. It's a favorite. This is if you are looking to build a quality set of mics.

A CAD GXL 3000 is a great budget condenser. http://www.ccisolutions.com/StoreFro...gin=GoogleBase

[MichaelE]

I agree with the others on the SM7. The AT4050 is another nice reasonably priced mic. The Sennheiser MD-441/U is also a very good dynamic for studio vocals. The AKG C414 is a studio staple.

Leave the SM58 with the road gear. It sucks as a studio mic regardless of Michael Jackson.

[Monkus]

Robert did you pull the trigger on any of the suggestions yet? Whats the basis of the decision?

[Robert****]

No, I was just interested in talking about the topic. Don't plan to buy anything soon.

[wingsdad]

WARNING: here comes a rant from an old fart that learned recording in NYC & Boston studios in the mid--to-late 70's using 1/4" - 1/2" tape, analog gear, and when using 8 tracks as a base was common and the availability of 16-tracks was pure luxury. When vocals and instruments were actually 'double-tracked' by the performer recording a second take overdub rather than by digitally copying and morphing the single take.

Of course it's best as stage mic, and I don't disagree with those who think that the SM58 isn't the ideal studio mic. But I do strongly disagree with those who posit that it's useless.

I will reiterate that it can serve a studio purpose -- specifically, when recording a 'live' performance of vocalist(s) with instrument(s). Without the vocalist behind an isolation screen or in a booth. When using an LDC will pick up the sound of a flea farting 10' away from the mic let alone the ambient bleed from the drum kit or guitar or bass amp (even if they're behind a baffle) and get mixed into the vocal track, impossible to be removed. And then, it's excellentif operated (engineered) intelligently. It requires proper PRE-processing -- as in setting pre-gain and eq levels appropriate for the vocalist's voice timbre and a bit of soft compression to contain/control the 58's proximity effect.

I don't doubt one bit that MJ used it for Thriller. He was being produced and engineered by people at that time who came up through an age of recording before all of the techno-gizmo toys, who understood every nuance of a piece of equipment's characteristics, and how to 'trick'.

Post-processing? As in 'polish a turd'?

Crap in, crap out.

Get it right going in, and the mixing process is far simpler. Not freakin' rocket science.

In today's age of computer-based recording systems, of 'ProTools' mania, that's a crutch for the lame-brained...OK...that's a bit harsh...let's just say inadequately educated or experienced, or one who relies on what the meters say rather than what their ears hear. Anything from pitch correction to synthesizing a voice from male-to-female or vice-versa.

There. I'm done. Shoot me.

[Monkus]

I had typed up a response and deleted it thinking that I might be misunderstood. The essence is that I recorded a vocalist not too long ago and the only thing he was comfortable with was a 58. Because he used it on stage. Turned out to be the best take. I think it was because it felt familiar. The guy did not know what to do with his hands in front of any LDC I set up. Mics have personalities too. I do this as a hobby and still find that different mics bring out different responses in performers. YMMV. Do the best you can with what you have.

Thank you Wingsdad...

[wingsdad]

....The essence is that I recorded a vocalist not too long ago and the only thing he was comfortable with was a 58. Because he used it on stage. Turned out to be the best take. I think it was because it felt familiar. The guy did not know what to do with his hands in front of any LDC I set up. Mics have personalities too. I do this as a hobby and still find that different mics bring out different responses in performers. YMMV. Do the best you can with what you have....

Well said, Monkus. Besides a 'personality', MJ probably used the 58 because he was most comfortable with it, with the technique of using it, likely from having used it on stage. He knew readily how to work his voice with it, how much sound pressure it could take or pick up depending on distance. Mic technique is to a vocalist what picking technique is to a guitar player.