I would like to elaborate on the discussion about mics I regret purchasing because there seems to be pushback about my decision to not name the company. 1) they are a small company that was entering an area they were new to, and it was a complete miss in my book. My review still exists of it and nothing was changed. If anyone is researching that mic they will still find my review. So my job as a reviewer was done, and the coverage remains in tact for anyone doing research. I did not see a single positive review of this thing, and it seems to have been rejected completely. 2) The message I received was very emotional and I interpreted it as manipulative and that made me extremely uncomfortable. 3) because of that response from someone at the company I am uncomfortable covering any more of their equipment because I would have that interaction in my head the entire time and I fear it would lead to me altering how I cover the gear. 4) my decision to not disclose the company is because I do not want to cause them any harm. I don’t want there to be a witch hunt or boycott. I like what they are trying to do and I wish them success in the future. Also, If you like how their gear sounds, great. If not, great. Always get multiple opinions and listen to samples before making any purchases and watch coverage with a critical eye. 5) now to the regret, because I did not express myself well. This company makes a lot of gear that is well loved and I would have liked to try it out and explore what they offer. But because I started with this microphone, did my job, and saw the response from someone at the company, I do not feel comfortable covering their gear. That means I’m not able to experience that gear that is interesting, and that’s what I regret. Just wish I could have tried more of their gear before I felt the need to avoid them. My decision to leave the company and mic unnamed remains. But I have also learned a very important lesson. Unless I am willing to discuss something completely and disclose every aspect, I need to keep my mouth shut because it causes unnecessary speculation and drama and doubt. I’ll do better in the future and avoid this type of situation by only discuss the equipment. I’ll continue to cover only gear that I’m able to be unbiased about and leave all the behind the scenes business crap in the garbage where it belongs.
I appreciate the explanation, though my concerns remain (1) it is possible they are able to successfully guilt / manipulate other creators who review their products, and if they remain unnamed and creators like yourself don't do objective reviews (as you said, you swore them off), it is possible consumers become misinformed over time. (2) As a consumer, I don't want to support a brand who treats reviewers like this. To me, this is just as important a factor as the equipment is. I understand not wanting to hurt them, but really they are hurting themselves by conducting themselves this way.
While I don't have the reach that you do...I did get contacted by a company (big one) after I reviewed (bought with my own money) one of their new products. It was a terrible product from a company I otherwise think does great stuff. They were not manipulative, but still the whole thing felt bad to me. I know that their efforts to produce a quality product came from an honest place. I also know that some people look to me to make assessments and this helps them spend less money. I totally get not wanted to deal with all this conflict. I wouldn't want to either. You already put of the not favorable review. Your "obligation" to us is complete. You are being respectful to them. It's all good. Separately, I have been consuming all the content you make for a few years now. You are a regular part of my commuting life and am thrilled when I get to have you talking in my ears as I go to work. I hope you have a good Sunday, Monday, Tuesday....
Hey Bandrew, just wanna say, I love that you bring this series over to your main channel. I like hearing you answer questions in BSP but this should help people make an even more informed decision about microphones and voice production in general since this is what this channel is all about.
Before I got my first microphone, I asked myself _what_ I want to record and started to watch a lot of different YT videos which ranked from moderately helpful to terrible ( one guy was comparing two mics on how bad they pick up keyboard noises. The problem was : one mic was attached to a microphone stand not attached to the table while the other one was attached to a cheap mic arm attached to the table) In the end I found this channel and got me the SE V7 and used it for everything I usually do. Did not regret it. Added an Audio Technica 2035 recently to my 'collection'. I know both are not expensive, but I think I for my current use, they are really good.
@@ParadNorthProd no, he's done several warm audio reviews. I'd love to see him review more of their mics. He's done a number of one-off reviews. It could be a smaller company or a big one. Sony? Maybe Audix?
Thank you for answering my question Bandrew, I really liked your answer. The LCT 1040 is a great choice. I was expecting you to choose a dynamic microphone, but the extra detail you get with the LCT 1040 is essential to capturing the necessary high-end information for post-processing, which you would most likely need if you're using one microphone for everything. Also, you butchered my name really badly twice but I was thoroughly entertained by it.
My favourite mic for many uses is my Rode Videomic NTG, as much for its USB ease of use as its transparency- you can use it for dialogue, voiceover, vocals, zoom calls. Its only that "on mic" dynamic sound which it can't quite get. My favourite ultra-cheap mic remains the Behringer XM8500, its a bit lacking in top end compared to an SM58, but for $20 or so its incredible if you need 5 or 6 mics for a podcast.
4:00 - ReaFIR VST (from the free reaper plugin pack) can do this Also I think at 4:00 to 4:26 you may have removed the white noise in post by accident? As you toggle the OBS noise suppression on and off, you have zero (or close to) white noise, but then the white noise suddenly kicks in while you have the Noise Suppression plugin turned on, then gets obviously worse when you toggle it off.
For me the „one“ microphone would be the M201TG. Brilliant for spoken word, great for singing and also recording acoustic guitar. Not really cheap nowadays, but still worth the price.
I definitely think preamp noise is the bigger issue for dynamic mics. I don't think they usually have that much self noise, but if you're using an SM7b and you have to crank the gain AND you're using a cheap interface with noisy preamps... yeah, it's going to seem noisy. So I imagine the reason people don't talk about it is because it's not the mic, it's the preamp.
@nickglover If your preamp sucks enough that you have actual noise problems with dynamic mics then you probably need a better micpreamp or you are possibly doing something wrong with your gainstaging. Most interfaces now have micpreamps built in that are good enough to crank and be just fine for most applications with dynamic mics. Just watch Bandrew regularly using even the very low output SM7b with the Focusrite at or near 100% or Julian Krauss has good content on this kind of thing as well. If you have something like a Zoom handheld recorder the preamps in them are lousy enough that a Cloudlifter will actually give a significant improvement to dynamic mics otherwise just get a condenser with good output and low self noise. Cloudlifters with any decent micpreamp offer very little actual noise improvement just more gain. One place dynamic mics don't really cut it is on recording audio books, many people who offer work on those expect super low noise levels which far surpass what is perfectly acceptable for even a professional podcast. In this case you would really need a quality condenser with very low self noise, a good micpreamp, and a really properly treated recording environment.
I switched from a Focusrite 2i2 to a Neve 511 to a AEA RPQ500 and man does this make a difference! The AEA allowed me to get rid of FET cloud lifters with dynamic mics and sounds so much better than even the Neve.
@Bandrew, I had a similar progression with microphones, preamps, and converters. One thing I would love to see on your channel is a final recording done on a really, very very high quality converter, only so that the final look at the mic offers something that truly shows off the details like fidelity, image, depth, transient speed, and how much harmonic content is in the signal. Just an idea to add to your already amazingly well done tests. After I had already invested in the microphones that were my end goal with some fantastic class A tube and transformer-based pres, I felt amazing with the recordings I was getting. A friend brought over his mastering converter from Dangerous audio and we recorded through it a little. It was like I was hearing a different mic/preamp. Insane. But that information was really really helpful, and I actually realized that the industry standard stuff held up the best, along with a few lesser known brands.
@guillaume The SM57 is not quite as versatile as a good condenser mic but can cover a lot of ground for $99. As it's good enough to be on the lectern of U.S. Presidents for over half a century there is no excuse not to get a quality professional sound from it for spoken word, vocals, an electric guitar or a snare drum. More open sounding, better high frequency response, and less 5-6k presence boost or more output would be some of the reasons to look for something besides the 57. The SM57 is a great mic in spite of it's haters. A nice micpreamp with very low input impedance like 300 ohms (Neve style or a tube preamp with 1k ohms or less) is great for getting the 57 even a bit nicer sounding, you just have to watch out for the proximity boost and sometimes add a bit of top end to open it up.
I've got access to both KMS 104's, both Beta 87's, and recently Shure put out this new Nexadyne 8C. I've been using the Beta 87C for my at home audio purposes and the Nexadyne is just a touch more expensive. Same price point really; I would love to see these two mics compared on your channel and hear your thoughts about how they compare. Thanks for how you're still here after all these years, and I think I mentioned this before but I loved seeing the progression and growth of your skills and your channel! Keep it all up.
Totally agree about the AEA KU5A. What's funny though is that I didn't like it much at first...took me a while to tame the very pronounced low-mids (200hz-300hz or so), but once I gently dipped that region...wow. It's articulate and soft at the same time. REALLY unique sounding mic, and quite lovely.
It's amazing how many streams you can tune into that don't use the noise suppression filter in obs. It's so easy and gets rid of so much noise that your audience won't have to deal with. I streamed Adventure of Link despite never having streamed before (or since) because I got so upset at someone having their entire neighborhood being picked up to show how easy it is.
Lack of noise suppression? Many streamers/youtubers struggle to understand they have clipping that hurts my ears like knife. Its presence so obvious, how they dont feel that?
@doctor I agree, noise is about the last issue most people with lousy sound have. Clipping, being too far off mic, too much proximity boost, pops, and generally crappy unclear unpleasant sound are all more prevalent and more obnoxious than a bit of hiss.
I’d love to hear your thoughts on the Sony C-80. Sony based this on their C-800G, and used the same materials for the capsule for $480. Have you tried it?
I enjoy the tone of the sm7b on an electric guitar amp on a live stage. The lack of feedback is a huge benefit with the SM7b on a live stage. I also enjoy the tone of the sm7b on my voice when making spoken word recordings. Handling noise rejection is excellent. The sm7b sounds okay on a bass cab and a drum snare as well as a high hat. For my use case, the sm7b would be my one mic if I had to get rid of my collection. It's definitely the one I keep reaching for.
I'm a newbie to voiceover. I'm on a budget and have tried and returned/resold many microphones. Since I'm not recording in a well treated environment I decided to go with a dynamic mic due to its better background noise rejection. I finally settled on the Presonus Revelator Dynamic USB microphone. With its onboard DSP and Universal Control application that allows me to preset effects I have been able to get some really good sound.
I learned ages ago that a great mic won't make a poor source sound good. But a so so mic can capture a great source and allow it to sound credible. Get the performance solid first and the rest will follow with or without an expensive mike.
No it’s non of those companies. It’s a smaller business and although I interpreted the message as manipulative, I still don’t want to cause any unnecessary difficulty for them. I like what they’re trying to accomplish, I just did not find it appropriate to get a message which was talking about how I literally made them cry with my review. People seem to use their other mics and love them, and that’s great. Also, the product that I reviewed did not seem to do very well in the market. I wish them the best and would love to see them succeed, but I will not ever cover them or use their gear again because of the message I received.
maybe a weird pick, but for a one mic for everything, I think I would go for a small diaphragm condenser, or some kind of short shotgun mic. Specifically from my locker, the Audio Technica AT875R. Which is a kind of a mix between a shotgun and a SDC. The reason for not just picking a shotgun like the 416 is because they do not behave as well with untreated spaces and room reflections the way a sdc will. SDC mics are for sure very crisp and sharp, but all of the sonic information is there when you need it, and it can be EQ'd pre or post recording. I think for a singing or VO application they work really well. Over a Large Diaphragm the short shotgun can be used in more distant recording, since I do mostly video and Vo type of recording. So you have the option of an on camera or off camera mic setup. Also portability, the Lewitt is such a cool mic but it takes a hand truck and lots of setup to get it into a different space. An SDC/Short shotgun can easily be powered by any moderately powered handheld recorder from Tascam or Zoom, and easily in any home setup. Only downside is it will not work super well for handheld and live applications. It could maybe work in a pinch, but I feel like it's fair to throw in an SM57 with really any powered mic pick and you'd be set to record just about anything in any situation. Heck the sm57 by itself may be objectively the best choice overall for a single mic for everything.
I remember watching your review for Manley and I was almost ready to purchase this mic but went to Telefunken TF51 after your review also the sound was sooo sweet! I got mine TF51 and it was really a great mic, but I sent it back cuz it came with a scratch on the body, so after I decided to give Manley at least a try and since then (1 year now) I'm the Manley user. Such a great mic! I paired it with API Preamp and oh man, this is the sound I'm in love with!
Hi Bandrew, great, and informative video as always and good to hear some of your personal reflections and it makes me realise what a tightrope you tread. On the subject of dream mics, I noticed that someone is selling a Blue Bottle as used by Blink 182. I would have bought it for you but they wanted $150,000 for it, and I’m a bit short this week. Keep on doing what you do, but the way you’re going you might need a bigger place. Cheers from the UK
My pick for mic will be also 1040, but am also consider stereo pair of Souyz 013 Tube. Because sometimes you need need stereo, and they good enough for all others applications.
My pick would deffo be the Ohma World Condenser. I got to try it out over the course of the week with two of it's screen sets and that thing blew me away. I hope to hear your review of it sometime!
I have an r92 from AEA that I got for a song. Maybe $600 on reverb because I really needed a ribbon for guitar cabs and vocals. I really like it. The front is tuned different from the back. Needs a metric shit ton of gain. Also has the xlr hardwired into the mic. Not sure if I like that or not. I know a lot of older ribbon mics are like that but always scares me. Another ribbon you can get for a lot less than one expects, the Royer R10. Sounds bonkers on acoustic and guitar cabs. More airy and open with the full body properties of a ribbon. Sounds great on vocals but not as nice as the r92. That Neumann M49 V though, yeah. I'd love to see them release more of their heritage mics instead of just all the TLM things. I love the TLM mics. I stream through a 102, one of my favorites is the TLM 67, but should Neumann bring back the u47 and 184? The vintage 87? You betcha.
Great vid as always!! Tho I'm desperate to know what company you were talking about that you didn't want to name :( I feel like naming it would be beneficial for everybody since I don't wanna buy from a company that treats people poorly either.
If I could only use one microphone for everything, it would be the Shure Beta 57A. Works great on everything, has a hotter output than the SM57, sounds great in pretty much any environment or room. Also, because it's an iteration of the SM57, you can use the enormous amount of information about recording with the SM57 and basically copy & paste it to the Beta 57A.
@milesian There is an EV RE520 which is a handheld stage type condenser that I think came out just a few years back. I haven't used one but considering the price tag it's probably somewhat similar to the old AKG C535 or a Shure Beta 87. Not bad choices for an all-rounder-do-almost-everything mic. The biggest downside to these mics is they are a bit pricey considering their high self noise but in many situations it will be good enough especially for loud closeup vocals, electric guitar cab, or drums.
This may not get read or answered because I'm not on discord or a premium subscriber, but I've always wondered: why don't you try out equipment from the used gear market? No, it's not free stuff from the manufacturers :/ that's always ideal. But buying (or even borrowing) used gear allows you to get quality equipment at a steep discount. You can often times return it afterwards or not take such a huge financial hit because you paid substantially less than the retail price. There are tons of credible sellers of quality gear out there. Many might even be fans of yours and subscribe to your channels! Gobbless your work
I do rarely cover out of production gear. I don’t know typically cover used gear because I do not know how the gear was treated or if it’s representative of a new or fully functioning mic. Therefore, I tend to focus on new gear. It ensures that I am demoing and recording using a fully functioning device that hasn’t been mistreated by the prior owner.
Hi podcastage, I am a singer and really like your reviews! I was wondering if you would consider doing some reviews on the digital reference offerings from guitar center, and musicians friend? And also is there a way you can add a feedback rejection test to your reviews of handheld dynamic mics? Anyway, thank you for you content!
I'd also love to hear you weigh in on Jim Lill's masterpiece on why mics sound the way they do. I think he's a genius and an incredible force in the current music making community, and his videos have been eye and ear opening like nothing else I've come across.
I'm gonna take a shot here since this seems like the place I might finally be able to get an answer. I've been trying to figure out what the silver mic is that they use on the PBD podcast. Been trying to figure it out for months. No one on their videos will reply.
love this channel! got a question. what would you recommend to be the best mic for acoustic guitar, particularly for fingerstyle - ive been recommended with km184, cc8, oc818, would love to hear your thoughts on it😊
Can you please point a couple of mics at a price range which would do a very good job at recording speech from two meters away? The recording quality must be good enough for video conferences calls and clear enough so that it can be used for word processing dictation.
Here's my question: Could you review some Extinct Audio ribbon microphones please? No, seriously, the BoRBon for $473 sounds super interesting and both the active BM9 and the rugged Black Ops do things you wouldn't normally expect from a ribbon.
What would be the best microphone for gaming / podcast, where you talk a lot, in about 50$ budget, or more expensive if its not too much more but far better quality for the $.
If you are doing OBS with a video game especially, the video game audio would probably be louder than the white noise. The next kind of mics I want are ribbons, maybe 1-2 to try out. Of course, that means I need money
For me? The Lauten Atlantis FC-387. It's vintage, it's true and it's modern, all in one. And the sound is IMO, slightly nicer than Neumann. At least, for me.
Lauten is amazing. But I still haven't found a company that makes better capsules than Neumann. Even if I prefer the tone of a non-neumann a LOT, I always come back to them because the articulation, fidelity, and healthy signal, even off of a regular old u87, takes processing SO well. You can EQ any part of the signal and it just works. However, Lauten, Mojave, and Soyuz are absolutely killing it with bang for buck and quality that is off the charts. A really young mic company from a very good friend of mine, United Studio Tech, is making u47 FET and u87 clones at an insane pricepoint that blows Warm audio out of the water. They both hang with Lauten, Mojave, and Soyuz, which is quite baffling. Definitely check them out.
well an interesting trend that's started as of about 2 or so years ago is a fair few studios are using Lauten over the Neumanns they have it's ... interesting to watch and hear about. Obviously time will tell but this is one of the first times I've seen where a new comer is actually being picked up and used over the old dogs.@@BeauStephenson
The Shure SM58 has been an industry standard, and it has been a frequent recommendation for those looking for a good, affordable, versatile, potentially endpoint microphone. But lately I've seen videos pivoting to the Shure SM57 as the better option and a better investment. Any thoughts on why this is (is it just a TH-cam trend for people grinding out hot-take audiophile content?) and which of the two microphones would you recommend? Thank you!
@MilesTFB The 57 and the 58 are very very similar mics. I'm guessing but I would think the 57 might be preferred by some because the ball end of the 58 looks a bit too common and like something the average person expects to see a band on stage use. The actual functional differences between the 57 and 58 are slight but if you want to get into the details a bit the 58 is more durable if it takes a fall and is more resistant to pops compared to a raw un-pop-filtered 57. The ball end grill on the 58 does affect the sound a little in a negative way if you are getting super critical about things. I would prefer a 57 with a very high quality foam pop filter like the Shure A81WS or the WindTech Ultra series which run about $30 but are well worth the investment. The Shure A2WS (the foam filter that is officially intended for the 57) looks sleeker but doesn't prevent pops very well if you work the mic very close, I would only use it if the person using it was going to be at least six inches from the mic. Other cheapie pop filters also kind of lousy if you work the mic very close and are a p-popper.
Bandrew, I like the sound of a mic in close proximity. My voice sounds so much better closer to the mic. However, how do I manage or reduce the proximity effect in post? Whenever I try to increase the HPF, I find the low-end to be too lacking and makes my voice sounds "boring". Do you have any tips or tricks around this that doesn't require moving the mic away?
I'm curious what your hearing is like; mine is less than stellar, which is extremely frustrating as a musician and an engineer. For sure some of the time when you're shooting out microphones or critiquing a particular aspect of a given model, I can hear what you're saying. Other times, I wouldn't begin to pick those things out. I guess I'm assuming you have very, very intact hearing that lends deeper appreciation to really good mics.
I’ve heard that the noise suppression feature in Audacity, a free software, is better than the noise suppression in Rx. Have you ever used Audacity? And if so, can you speak to this any?
Any budget mic suggestion pls for podcast/voice-over stuff... I was thinking of Samson Go Mic but I would love to your recommendations as well... I have an untreated room so the acoustic are quite bad 😞
Hey Bandrew question for you: I am looking to start doing reviews myself (different channel so no shameless plug here), and the first thing i am looking at is a Cad CX2 interface. how would you suggest I test for Preamp noise? Is it as simple as cranking the gain with no mic attached? or do you do that when you have a resistor XLR like I've seen you use before? Thanks!
I'm thinking about getting a solution for recording videos with sound. For now, video would be captured with a mobile phone, because I think audio is more important. And it cost less that way. So for audio I don't know what to do. There are so many options today: audio interface with XLR mic; USB mic; audio recorder with built in mic... I don't know what to do. I use Linux by the way. I have virtual Windows 11 though. Audio recorder seems a simpler solution than the interface with XLR mic, but it's the most expensive solution. I'm looking for something that sounds good but doesn't cost much. Because I don't have any devices now. Just have to start with all of these things. With USB mic I don't need the interface but I still have to use the computer to record. Audio from the mobile phone is 32 bit, 48 kHz. So the solution for recording has to be 48 kHz as well. 32 bit depth is I think always a good thing but I think 24 bit is fine too. Oh yeah, and to make it a bit more complicated I would need to use the mics for vocals as well. No instruments though. What would you do? These are some of the things I'm thinking about at the moment: Behringer C-2 pair of mics; Zoom ZDM-1; ATR 2100X-USB; Rode NT-USB Mini; Lewitt LCT 240 PRO; Rode PodMic; ATR 2500X-USB; Zoom M2; Zoom UAC-232; Tascam Portacapture X6; Zoom M4. Actually Zoom M4 is out of budget, and Tascam X6 is on the border.
I have found a DSLR with a Zoom H4N Pro can do good things. Simply record to the DSLR with a TRS out or a Rode video mic and synchronize the audio with the video in post with the good mic recording from the Zoom or similar device. I moved to a Zoom H6 but it's the same process. Relatively inexpensive. That's not to say that quality video and audio production doesn't have a minimum barrier to entry. It really does.
i did some work at a small studio that had 3x original vintage U87's and... imo I did not like them. and they had relatively high self-noise vs new stuff made today
What’s the best usb mic for a traveling singing musician who would like to capture some track performances on the go? I have the sure SM7B and several audio interfaces, but it would just be great if I didn’t have to bring an audio interface and could just use USB-C to plug into my Mac and get vocals when I visit a songwriter friend. There are so many on the market but honestly, if you were just going to bring one in your backpack or something, to capture some sounds when visiting a musician friend which one would you go with?
Apogee hype mic is amazing! Check it out. It has its own compressors and interface built into it with settings. Plus it comes with all kinds of cables and goodies
Hi! Just wondering, if you would make videos about more categories of mics, maybe something like gun mic and wireless mics. Subscribed long time ago, now I barely watch any of your videos now since i am not really interested in those podcast mics now.
Flint & Tinder 10 Year Hoodie. It's comfy and well made, but they charge a premium because it's made in the US and they'll repair it for free for 10 years.
What would be a good mic for anti-peaking and clear screaming? I play horror games and the Razer Seiren peaks a lot with my level of screaming. It would sound a lot nicer if I had a better microphone.
@friedp Exactly, the way it's recorded is WAY more important than the particular mic if you are recording something like screaming. As long as you are recording at 24 bit you can set your peaks to even -20dbfs and be just fine boosting it after the fact to get the final level where you need it. The other thing to be aware of it to not clip the analog input of your micpre or the micpre built into your interface. Either using a pad (on the mic, on the micpre, or an in line one) or simply using a mic with low output like a dynamic will help with this.
Right click on the sound on the task bar. click sound, go to the recording tab, then double click your mic and adjust the levels until you don't peak anymore.
I don’t think it’s the mic, it’s likely your gain settings. I made a video on Podcastage 2 about this: th-cam.com/video/FXphHY4AqAA/w-d-xo.htmlsi=o22uAcPTSWIfDwRz I’ll probably answer this question in the next q&a to address this because it’s still so common.
My desert isle mic: Townsend (now UA) Sphere. The versatility is pretty much unmatched. The Manley is a QC nightmare. I had a client that got one years ago and had issues with it within the first week. The mic he got as a replacement was also flawed. Like you, the company gave him a hard time with the issues. Essentially trying to blame him for plugging the mic in which caused the damage??? like what are you supposed to do with the mic, just look at it?! I'm not a fan of Manley and I will never purchase ANY of their products (or plugins). Terrible culture over there.
The sphere. Interesting pick! Do you find yourself using modeling mics in day to day studio use even when you have other mics available? Or are you selecting the modeling mic on principle due to the different options it offers? That's really too bad that my experience wasn't isolated because I know people love their mics. Who am I kidding though...it's couldn't afford another one of their mics even if I wanted to buy it. Ha.
@@Podcastage first, being able to record m/s or l/r stereo with a single mic is VERY useful at times. The modeling is nice and all, but the axis correction and polar pattern manipulation after the fact is more the selling point for me. If youre recording a live band, being able to adjust the pattern can help tremendously with mitigating bleed. Or dealing with a singer or guitar player that likes to shift position after ive set the mic and told them “dont move around please”. The modeling is just akin to an eq curve for the most part (though harmonics are a thing too). Just lessens what you have to do in post to get a finished product. And yeah, manleys qc has gone down hill over the years. It is a shame since their hardware seems pretty decent though equally over priced. (Which is why i build most of the gear in my studio… its all over priced). And i am obligated to say: “lol, says the man with a neumann u67 reissue!”
The holy grail of mic should be a mic with all the polar patterns, and most true to flat frequency response, phase, THD, with 3 capsule/operation (interchangable?) : Dynamic, Ribbon, Condenser so youll also have all the transient response possible. Else It's only subjective based on the taste of the character of it, which isn't bad either.
That's essentially what a UA Sphere L22 mic is. It's such a great system. I use it through matched preamps and get amazing performance out of it. Processing the audio via the plugin is a trip.
A $3,500 mic for the one choice? Wouldn’t the main reason someone want a do-it-all mic be to save money? At that price you could own almost all your faves in a bundle!!! Love your stuff. Forgive annoying comment.
If I were looking for a single do-it-all mic, the main reason would be to have one tool that does everything well, no matter what you throw at it. Versatility, time-saving, space-saving, and convenience would be reasons to consider an all-in-one solution. If it saves money, that's a bonus, but versatility is actually something a manufacturer might charge a premium for, and that many people may find worth paying for. One of the reasons people opt for something like a U87, because it's so versatile.
@andrewhertzberg. The original question was what would Bandrew chose if he had to pick just one mic to use for everything. The question didn't have a price range attached to it or involve what might be good for someone else or the average person who happens to be in need of a mic. Sounds like you wanted a different question to be asked maybe more like: What is the one most versatile mic under $500 that would cover most people's needs... which would be a very different question. Unless you are only planning to record just one thing a single mic may just not be the best way to go anyway even with a somewhat limited budget. For many people starting out who are recording more than just one thing a couple of different mics might make more sense and I would certainly agree that $3500 is plenty to cover a rather nice little versatile mic locker these days... but again that's yet another answer to a whole different question.
There are so many TH-cam channels that I can't listen to because the AC/fan noise is so annoying... I've even offered to show them how to remove the hum! It drives me nuts!!!
I would like to elaborate on the discussion about mics I regret purchasing because there seems to be pushback about my decision to not name the company.
1) they are a small company that was entering an area they were new to, and it was a complete miss in my book. My review still exists of it and nothing was changed. If anyone is researching that mic they will still find my review. So my job as a reviewer was done, and the coverage remains in tact for anyone doing research. I did not see a single positive review of this thing, and it seems to have been rejected completely.
2) The message I received was very emotional and I interpreted it as manipulative and that made me extremely uncomfortable.
3) because of that response from someone at the company I am uncomfortable covering any more of their equipment because I would have that interaction in my head the entire time and I fear it would lead to me altering how I cover the gear.
4) my decision to not disclose the company is because I do not want to cause them any harm. I don’t want there to be a witch hunt or boycott. I like what they are trying to do and I wish them success in the future. Also, If you like how their gear sounds, great. If not, great. Always get multiple opinions and listen to samples before making any purchases and watch coverage with a critical eye.
5) now to the regret, because I did not express myself well. This company makes a lot of gear that is well loved and I would have liked to try it out and explore what they offer. But because I started with this microphone, did my job, and saw the response from someone at the company, I do not feel comfortable covering their gear. That means I’m not able to experience that gear that is interesting, and that’s what I regret. Just wish I could have tried more of their gear before I felt the need to avoid them.
My decision to leave the company and mic unnamed remains. But I have also learned a very important lesson. Unless I am willing to discuss something completely and disclose every aspect, I need to keep my mouth shut because it causes unnecessary speculation and drama and doubt. I’ll do better in the future and avoid this type of situation by only discuss the equipment. I’ll continue to cover only gear that I’m able to be unbiased about and leave all the behind the scenes business crap in the garbage where it belongs.
I appreciate the explanation, though my concerns remain (1) it is possible they are able to successfully guilt / manipulate other creators who review their products, and if they remain unnamed and creators like yourself don't do objective reviews (as you said, you swore them off), it is possible consumers become misinformed over time. (2) As a consumer, I don't want to support a brand who treats reviewers like this. To me, this is just as important a factor as the equipment is. I understand not wanting to hurt them, but really they are hurting themselves by conducting themselves this way.
Would you ring a red mic in the key of A if we guessed it correctly?
While I don't have the reach that you do...I did get contacted by a company (big one) after I reviewed (bought with my own money) one of their new products. It was a terrible product from a company I otherwise think does great stuff. They were not manipulative, but still the whole thing felt bad to me. I know that their efforts to produce a quality product came from an honest place. I also know that some people look to me to make assessments and this helps them spend less money. I totally get not wanted to deal with all this conflict. I wouldn't want to either. You already put of the not favorable review. Your "obligation" to us is complete. You are being respectful to them. It's all good.
Separately, I have been consuming all the content you make for a few years now. You are a regular part of my commuting life and am thrilled when I get to have you talking in my ears as I go to work. I hope you have a good Sunday, Monday, Tuesday....
Hey Bandrew, just wanna say, I love that you bring this series over to your main channel. I like hearing you answer questions in BSP but this should help people make an even more informed decision about microphones and voice production in general since this is what this channel is all about.
oh God now I'm scared of accidentally buying their products and getting stuck with a horrible equipment lol 😅
“Why does Bandrew have so much gear???”
He has that much gear so you don’t have to. Thank you for your sacrifice sir.
I LOVE your vids man thank you, I’va learned sooo much!
Bought a mic two years ago, still return to this channel. Keep up the good stuff!
Sometimes spectral denoise leaves modulation artifacts so using a simple noise removal plug in (I use Wave NS1) even at 0% is enough to knock it out.
Have you ever used the noise suppression feature in Audacity? If so, can you speak to how it compares to the ns1 or Rx’s noise suppression?
Before I got my first microphone, I asked myself _what_ I want to record and started to watch a lot of different YT videos which ranked from moderately helpful to terrible ( one guy was comparing two mics on how bad they pick up keyboard noises. The problem was : one mic was attached to a microphone stand not attached to the table while the other one was attached to a cheap mic arm attached to the table) In the end I found this channel and got me the SE V7 and used it for everything I usually do. Did not regret it. Added an Audio Technica 2035 recently to my 'collection'. I know both are not expensive, but I think I for my current use, they are really good.
I can almost hear the sound of viewers searching through Bandrew's catalogue for the only mic review from a single company.
We gotta figure this out. It's killing me.
Warm Audio?
@@ParadNorthProd Hmmmm… the last WA review was not too harsh. Any other ideas? May be Behringer?
@@frubo_ssgThere's NO way Behringer doesn't already know how crap everything they've ever built is. For that reason, I doubt it's them.
@@ParadNorthProd no, he's done several warm audio reviews. I'd love to see him review more of their mics.
He's done a number of one-off reviews. It could be a smaller company or a big one.
Sony? Maybe Audix?
Thank you for answering my question Bandrew, I really liked your answer. The LCT 1040 is a great choice. I was expecting you to choose a dynamic microphone, but the extra detail you get with the LCT 1040 is essential to capturing the necessary high-end information for post-processing, which you would most likely need if you're using one microphone for everything. Also, you butchered my name really badly twice but I was thoroughly entertained by it.
Polish, right? Yah-noosh? ... It was a butchering
@@gordonedgar9120 Yes, that's right.
My favourite mic for many uses is my Rode Videomic NTG, as much for its USB ease of use as its transparency- you can use it for dialogue, voiceover, vocals, zoom calls. Its only that "on mic" dynamic sound which it can't quite get. My favourite ultra-cheap mic remains the Behringer XM8500, its a bit lacking in top end compared to an SM58, but for $20 or so its incredible if you need 5 or 6 mics for a podcast.
Feels like I haven't been on here in forever! still love all what you do! keep it going!
4:00 - ReaFIR VST (from the free reaper plugin pack) can do this
Also I think at 4:00 to 4:26 you may have removed the white noise in post by accident? As you toggle the OBS noise suppression on and off, you have zero (or close to) white noise, but then the white noise suddenly kicks in while you have the Noise Suppression plugin turned on, then gets obviously worse when you toggle it off.
For me the „one“ microphone would be the M201TG. Brilliant for spoken word, great for singing and also recording acoustic guitar. Not really cheap nowadays, but still worth the price.
Danke!
Thank you so much Rainer, your support truly means so much to me. I appreciate ya!
I definitely think preamp noise is the bigger issue for dynamic mics. I don't think they usually have that much self noise, but if you're using an SM7b and you have to crank the gain AND you're using a cheap interface with noisy preamps... yeah, it's going to seem noisy. So I imagine the reason people don't talk about it is because it's not the mic, it's the preamp.
@nickglover If your preamp sucks enough that you have actual noise problems with dynamic mics then you probably need a better micpreamp or you are possibly doing something wrong with your gainstaging.
Most interfaces now have micpreamps built in that are good enough to crank and be just fine for most applications with dynamic mics. Just watch Bandrew regularly using even the very low output SM7b with the Focusrite at or near 100% or Julian Krauss has good content on this kind of thing as well.
If you have something like a Zoom handheld recorder the preamps in them are lousy enough that a Cloudlifter will actually give a significant improvement to dynamic mics otherwise just get a condenser with good output and low self noise. Cloudlifters with any decent micpreamp offer very little actual noise improvement just more gain.
One place dynamic mics don't really cut it is on recording audio books, many people who offer work on those expect super low noise levels which far surpass what is perfectly acceptable for even a professional podcast. In this case you would really need a quality condenser with very low self noise, a good micpreamp, and a really properly treated recording environment.
I switched from a Focusrite 2i2 to a Neve 511 to a AEA RPQ500 and man does this make a difference! The AEA allowed me to get rid of FET cloud lifters with dynamic mics and sounds so much better than even the Neve.
@Bandrew, I had a similar progression with microphones, preamps, and converters. One thing I would love to see on your channel is a final recording done on a really, very very high quality converter, only so that the final look at the mic offers something that truly shows off the details like fidelity, image, depth, transient speed, and how much harmonic content is in the signal. Just an idea to add to your already amazingly well done tests. After I had already invested in the microphones that were my end goal with some fantastic class A tube and transformer-based pres, I felt amazing with the recordings I was getting. A friend brought over his mastering converter from Dangerous audio and we recorded through it a little. It was like I was hearing a different mic/preamp. Insane. But that information was really really helpful, and I actually realized that the industry standard stuff held up the best, along with a few lesser known brands.
My holy grail mic would be the Austrian Audio OC818, for sure.
Recently I got Sony C-80, I tested it on vocal and acoustic guitar. It just did a fantastic job. It's my top 1 budget mic for sure.
Yeah that thing packs so much punch for such a low price. Really surprised me.
That's not a budget microphone in malaysia and it cost a lot.
One mic, one heart, let s get together and feeel aaall right... Sayin' seriously, sm57, what else❤
@guillaume The SM57 is not quite as versatile as a good condenser mic but can cover a lot of ground for $99. As it's good enough to be on the lectern of U.S. Presidents for over half a century there is no excuse not to get a quality professional sound from it for spoken word, vocals, an electric guitar or a snare drum. More open sounding, better high frequency response, and less 5-6k presence boost or more output would be some of the reasons to look for something besides the 57. The SM57 is a great mic in spite of it's haters. A nice micpreamp with very low input impedance like 300 ohms (Neve style or a tube preamp with 1k ohms or less) is great for getting the 57 even a bit nicer sounding, you just have to watch out for the proximity boost and sometimes add a bit of top end to open it up.
@@7171jay thanks, really cool✌️👍
Going from the lav mic to a large diaphragm condenser mic sounds like how the sun shining on your skin after a long day indoors feels
I've got access to both KMS 104's, both Beta 87's, and recently Shure put out this new Nexadyne 8C. I've been using the Beta 87C for my at home audio purposes and the Nexadyne is just a touch more expensive. Same price point really; I would love to see these two mics compared on your channel and hear your thoughts about how they compare.
Thanks for how you're still here after all these years, and I think I mentioned this before but I loved seeing the progression and growth of your skills and your channel! Keep it all up.
Totally agree about the AEA KU5A. What's funny though is that I didn't like it much at first...took me a while to tame the very pronounced low-mids (200hz-300hz or so), but once I gently dipped that region...wow. It's articulate and soft at the same time. REALLY unique sounding mic, and quite lovely.
As someone who does normally listens via average headphones and in the car I find mouth noises get to me before background noise.
As a pokemon fan, you had me with the thumbnail. Awesome content as always Bandrew!
We gotta figure out how to get Bandrew a Neumann sponsorship
It's amazing how many streams you can tune into that don't use the noise suppression filter in obs. It's so easy and gets rid of so much noise that your audience won't have to deal with. I streamed Adventure of Link despite never having streamed before (or since) because I got so upset at someone having their entire neighborhood being picked up to show how easy it is.
Lack of noise suppression? Many streamers/youtubers struggle to understand they have clipping that hurts my ears like knife. Its presence so obvious, how they dont feel that?
@doctor I agree, noise is about the last issue most people with lousy sound have. Clipping, being too far off mic, too much proximity boost, pops, and generally crappy unclear unpleasant sound are all more prevalent and more obnoxious than a bit of hiss.
Does anyone know which company he's referring to in regards to the negative review?
I’d love to hear your thoughts on the Sony C-80. Sony based this on their C-800G, and used the same materials for the capsule for $480. Have you tried it?
1040 sounds absolutely incredible.
Thank you for answering ❤ appreciate the wisdom and the helpful advice 🙏
I enjoy the tone of the sm7b on an electric guitar amp on a live stage. The lack of feedback is a huge benefit with the SM7b on a live stage. I also enjoy the tone of the sm7b on my voice when making spoken word recordings. Handling noise rejection is excellent.
The sm7b sounds okay on a bass cab and a drum snare as well as a high hat.
For my use case, the sm7b would be my one mic if I had to get rid of my collection. It's definitely the one I keep reaching for.
I'm a newbie to voiceover. I'm on a budget and have tried and returned/resold many microphones. Since I'm not recording in a well treated environment I decided to go with a dynamic mic due to its better background noise rejection. I finally settled on the Presonus Revelator Dynamic USB microphone. With its onboard DSP and Universal Control application that allows me to preset effects I have been able to get some really good sound.
I learned ages ago that a great mic won't make a poor source sound good. But a so so mic can capture a great source and allow it to sound credible. Get the performance solid first and the rest will follow with or without an expensive mike.
no, now I need to know the nameless company 😆👀
I agree, me too :D
this would be a public service. what does the company rhyme with?
@@AZisk I have the gut feeling it rhymes with Behringer or Logitech XD
No it’s non of those companies. It’s a smaller business and although I interpreted the message as manipulative, I still don’t want to cause any unnecessary difficulty for them. I like what they’re trying to accomplish, I just did not find it appropriate to get a message which was talking about how I literally made them cry with my review.
People seem to use their other mics and love them, and that’s great. Also, the product that I reviewed did not seem to do very well in the market. I wish them the best and would love to see them succeed, but I will not ever cover them or use their gear again because of the message I received.
@@AZiskx1000000000
maybe a weird pick, but for a one mic for everything, I think I would go for a small diaphragm condenser, or some kind of short shotgun mic. Specifically from my locker, the Audio Technica AT875R. Which is a kind of a mix between a shotgun and a SDC. The reason for not just picking a shotgun like the 416 is because they do not behave as well with untreated spaces and room reflections the way a sdc will.
SDC mics are for sure very crisp and sharp, but all of the sonic information is there when you need it, and it can be EQ'd pre or post recording. I think for a singing or VO application they work really well. Over a Large Diaphragm the short shotgun can be used in more distant recording, since I do mostly video and Vo type of recording. So you have the option of an on camera or off camera mic setup. Also portability, the Lewitt is such a cool mic but it takes a hand truck and lots of setup to get it into a different space. An SDC/Short shotgun can easily be powered by any moderately powered handheld recorder from Tascam or Zoom, and easily in any home setup.
Only downside is it will not work super well for handheld and live applications. It could maybe work in a pinch, but I feel like it's fair to throw in an SM57 with really any powered mic pick and you'd be set to record just about anything in any situation. Heck the sm57 by itself may be objectively the best choice overall for a single mic for everything.
Check his review on SM81.
Good video. I can see why you would go with the lewitt, deathly a versatile mic
Please try the baifei li mics❤
careful with OBS noise suppression as they might also add a gate, which without your control could destroy your actual signal
I remember watching your review for Manley and I was almost ready to purchase this mic but went to Telefunken TF51 after your review also the sound was sooo sweet! I got mine TF51 and it was really a great mic, but I sent it back cuz it came with a scratch on the body, so after I decided to give Manley at least a try and since then (1 year now) I'm the Manley user. Such a great mic! I paired it with API Preamp and oh man, this is the sound I'm in love with!
Hi Bandrew, great, and informative video as always and good to hear some of your personal reflections and it makes me realise what a tightrope you tread. On the subject of dream mics, I noticed that someone is selling a Blue Bottle as used by Blink 182. I would have bought it for you but they wanted $150,000 for it, and I’m a bit short this week. Keep on doing what you do, but the way you’re going you might need a bigger place. Cheers from the UK
My pick for mic will be also 1040, but am also consider stereo pair of Souyz 013 Tube. Because sometimes you need need stereo, and they good enough for all others applications.
MKH 416 because you could at least use it at a distance for dialogue and use it up close for voiceovers and stuff
It's a shockingly great vocal mic, too. People don't believe me until I show them several tracks with it. haha.
My pick would deffo be the Ohma World Condenser. I got to try it out over the course of the week with two of it's screen sets and that thing blew me away. I hope to hear your review of it sometime!
I have an r92 from AEA that I got for a song. Maybe $600 on reverb because I really needed a ribbon for guitar cabs and vocals. I really like it. The front is tuned different from the back. Needs a metric shit ton of gain. Also has the xlr hardwired into the mic. Not sure if I like that or not. I know a lot of older ribbon mics are like that but always scares me. Another ribbon you can get for a lot less than one expects, the Royer R10. Sounds bonkers on acoustic and guitar cabs. More airy and open with the full body properties of a ribbon. Sounds great on vocals but not as nice as the r92.
That Neumann M49 V though, yeah. I'd love to see them release more of their heritage mics instead of just all the TLM things. I love the TLM mics. I stream through a 102, one of my favorites is the TLM 67, but should Neumann bring back the u47 and 184? The vintage 87? You betcha.
Great vid as always!! Tho I'm desperate to know what company you were talking about that you didn't want to name :(
I feel like naming it would be beneficial for everybody since I don't wanna buy from a company that treats people poorly either.
Or a company whose good reviews might only have been the result of reviewers caving in to brand pressure.
@@PawFromTheBroons Yeah, I'm pretty curious too. I get that he doesn't want to create drama or whatever. But I still want to know, lol.
If I had to choose one mic it would the Stellar X2 Vintage or Earthworks icon pro.
Nice choices. You sounds great on both.
I friggin love your stuff.
If I could only use one microphone for everything, it would be the Shure Beta 57A. Works great on everything, has a hotter output than the SM57, sounds great in pretty much any environment or room. Also, because it's an iteration of the SM57, you can use the enormous amount of information about recording with the SM57 and basically copy & paste it to the Beta 57A.
Mine is the sE Electronics T2. I can't afford anything better, but it's really, really good, so I will never need anything better than this :P
I have been just using an Electro-Voice RE520 for my pretty minimal needs and it always makes me glad. just a solid good sounding mic
Is that a typo? I'm familiar with the RE320, which is the dynamic mic I've settled on using for my podcasts and videos.
@milesian There is an EV RE520 which is a handheld stage type condenser that I think came out just a few years back. I haven't used one but considering the price tag it's probably somewhat similar to the old AKG C535 or a Shure Beta 87. Not bad choices for an all-rounder-do-almost-everything mic. The biggest downside to these mics is they are a bit pricey considering their high self noise but in many situations it will be good enough especially for loud closeup vocals, electric guitar cab, or drums.
I am currently using the Sennheiser MK1 for all purposes, but also own the SE 7 sdc for something else
ONE MIC FOR EVERYTHING - BUDGET SERIES:
Lewitt LCT 441 Flex
This may not get read or answered because I'm not on discord or a premium subscriber, but I've always wondered: why don't you try out equipment from the used gear market? No, it's not free stuff from the manufacturers :/ that's always ideal. But buying (or even borrowing) used gear allows you to get quality equipment at a steep discount. You can often times return it afterwards or not take such a huge financial hit because you paid substantially less than the retail price. There are tons of credible sellers of quality gear out there. Many might even be fans of yours and subscribe to your channels!
Gobbless your work
I do rarely cover out of production gear. I don’t know typically cover used gear because I do not know how the gear was treated or if it’s representative of a new or fully functioning mic. Therefore, I tend to focus on new gear. It ensures that I am demoing and recording using a fully functioning device that hasn’t been mistreated by the prior owner.
Low-gist , I completely agree with you
Hi podcastage, I am a singer and really like your reviews! I was wondering if you would consider doing some reviews on the digital reference offerings from guitar center, and musicians friend? And also is there a way you can add a feedback rejection test to your reviews of handheld dynamic mics? Anyway, thank you for you content!
Will there come a day when I watch you test a Microtech Gefell M940?
Keep it up!
I'd also love to hear you weigh in on Jim Lill's masterpiece on why mics sound the way they do. I think he's a genius and an incredible force in the current music making community, and his videos have been eye and ear opening like nothing else I've come across.
I'm gonna take a shot here since this seems like the place I might finally be able to get an answer. I've been trying to figure out what the silver mic is that they use on the PBD podcast. Been trying to figure it out for months. No one on their videos will reply.
Rode broadcaster.
love this channel! got a question. what would you recommend to be the best mic for acoustic guitar, particularly for fingerstyle - ive been recommended with km184, cc8, oc818, would love to hear your thoughts on it😊
Can you please point a couple of mics at a price range which would do a very good job at recording speech from two meters away? The recording quality must be good enough for video conferences calls and clear enough so that it can be used for word processing dictation.
Here's my question: Could you review some Extinct Audio ribbon microphones please? No, seriously, the BoRBon for $473 sounds super interesting and both the active BM9 and the rugged Black Ops do things you wouldn't normally expect from a ribbon.
A guy would need to hit the lottery to afford that Lewitt 1040 microphone.
What would be the best microphone for gaming / podcast, where you talk a lot, in about 50$ budget, or more expensive if its not too much more but far better quality for the $.
If you are doing OBS with a video game especially, the video game audio would probably be louder than the white noise.
The next kind of mics I want are ribbons, maybe 1-2 to try out. Of course, that means I need money
What are your top 3 usb microphones?
I love your videos! Thanks
For me? The Lauten Atlantis FC-387. It's vintage, it's true and it's modern, all in one. And the sound is IMO, slightly nicer than Neumann. At least, for me.
Lauten is amazing. But I still haven't found a company that makes better capsules than Neumann. Even if I prefer the tone of a non-neumann a LOT, I always come back to them because the articulation, fidelity, and healthy signal, even off of a regular old u87, takes processing SO well. You can EQ any part of the signal and it just works. However, Lauten, Mojave, and Soyuz are absolutely killing it with bang for buck and quality that is off the charts. A really young mic company from a very good friend of mine, United Studio Tech, is making u47 FET and u87 clones at an insane pricepoint that blows Warm audio out of the water. They both hang with Lauten, Mojave, and Soyuz, which is quite baffling. Definitely check them out.
well an interesting trend that's started as of about 2 or so years ago is a fair few studios are using Lauten over the Neumanns they have it's ... interesting to watch and hear about. Obviously time will tell but this is one of the first times I've seen where a new comer is actually being picked up and used over the old dogs.@@BeauStephenson
How about a review on the new Vanguard mics. Movie trailer VO Scott Rummell (Mission Impossible, etc) uses it.
The Shure SM58 has been an industry standard, and it has been a frequent recommendation for those looking for a good, affordable, versatile, potentially endpoint microphone. But lately I've seen videos pivoting to the Shure SM57 as the better option and a better investment. Any thoughts on why this is (is it just a TH-cam trend for people grinding out hot-take audiophile content?) and which of the two microphones would you recommend? Thank you!
@MilesTFB The 57 and the 58 are very very similar mics. I'm guessing but I would think the 57 might be preferred by some because the ball end of the 58 looks a bit too common and like something the average person expects to see a band on stage use.
The actual functional differences between the 57 and 58 are slight but if you want to get into the details a bit the 58 is more durable if it takes a fall and is more resistant to pops compared to a raw un-pop-filtered 57. The ball end grill on the 58 does affect the sound a little in a negative way if you are getting super critical about things. I would prefer a 57 with a very high quality foam pop filter like the Shure A81WS or the WindTech Ultra series which run about $30 but are well worth the investment. The Shure A2WS (the foam filter that is officially intended for the 57) looks sleeker but doesn't prevent pops very well if you work the mic very close, I would only use it if the person using it was going to be at least six inches from the mic. Other cheapie pop filters also kind of lousy if you work the mic very close and are a p-popper.
The mic I regret buying the most was a Tascam TM-80.
i have a usb Marantz and 2 rode podmics
Bandrew, I like the sound of a mic in close proximity. My voice sounds so much better closer to the mic. However, how do I manage or reduce the proximity effect in post? Whenever I try to increase the HPF, I find the low-end to be too lacking and makes my voice sounds "boring". Do you have any tips or tricks around this that doesn't require moving the mic away?
So you're thourough and passionate about microphones, where would you send us to get similar value in watching people cover headphones and speakers?
I'm curious what your hearing is like; mine is less than stellar, which is extremely frustrating as a musician and an engineer. For sure some of the time when you're shooting out microphones or critiquing a particular aspect of a given model, I can hear what you're saying. Other times, I wouldn't begin to pick those things out. I guess I'm assuming you have very, very intact hearing that lends deeper appreciation to really good mics.
I’ve heard that the noise suppression feature in Audacity, a free software, is better than the noise suppression in Rx. Have you ever used Audacity? And if so, can you speak to this any?
Question: Would you tell us a story with your hands and arms motionless? I'm wondering if you can.
Any budget mic suggestion pls for podcast/voice-over stuff... I was thinking of Samson Go Mic but I would love to your recommendations as well... I have an untreated room so the acoustic are quite bad 😞
Hey Bandrew question for you: I am looking to start doing reviews myself (different channel so no shameless plug here), and the first thing i am looking at is a Cad CX2 interface. how would you suggest I test for Preamp noise? Is it as simple as cranking the gain with no mic attached? or do you do that when you have a resistor XLR like I've seen you use before?
Thanks!
How about the ls-208 for the good all rounder?
AEA mics ARE INSANE for Brass and saxes
C414 yo!!!
I'm thinking about getting a solution for recording videos with sound. For now, video would be captured with a mobile phone, because I think audio is more important. And it cost less that way. So for audio I don't know what to do. There are so many options today: audio interface with XLR mic; USB mic; audio recorder with built in mic... I don't know what to do. I use Linux by the way. I have virtual Windows 11 though. Audio recorder seems a simpler solution than the interface with XLR mic, but it's the most expensive solution. I'm looking for something that sounds good but doesn't cost much. Because I don't have any devices now. Just have to start with all of these things. With USB mic I don't need the interface but I still have to use the computer to record. Audio from the mobile phone is 32 bit, 48 kHz. So the solution for recording has to be 48 kHz as well. 32 bit depth is I think always a good thing but I think 24 bit is fine too. Oh yeah, and to make it a bit more complicated I would need to use the mics for vocals as well. No instruments though. What would you do? These are some of the things I'm thinking about at the moment: Behringer C-2 pair of mics; Zoom ZDM-1; ATR 2100X-USB; Rode NT-USB Mini; Lewitt LCT 240 PRO; Rode PodMic; ATR 2500X-USB; Zoom M2; Zoom UAC-232; Tascam Portacapture X6; Zoom M4. Actually Zoom M4 is out of budget, and Tascam X6 is on the border.
I have found a DSLR with a Zoom H4N Pro can do good things. Simply record to the DSLR with a TRS out or a Rode video mic and synchronize the audio with the video in post with the good mic recording from the Zoom or similar device. I moved to a Zoom H6 but it's the same process. Relatively inexpensive. That's not to say that quality video and audio production doesn't have a minimum barrier to entry. It really does.
You mentioned a blue microphone. Is that the Blue Yeti or is it something else?
Shure sm7b yell test when?
i did some work at a small studio that had 3x original vintage U87's and... imo I did not like them. and they had relatively high self-noise vs new stuff made today
What’s the best usb mic for a traveling singing musician who would like to capture some track performances on the go?
I have the sure SM7B and several audio interfaces, but it would just be great if I didn’t have to bring an audio interface and could just use USB-C to plug into my Mac and get vocals when I visit a songwriter friend.
There are so many on the market but honestly, if you were just going to bring one in your backpack or something, to capture some sounds when visiting a musician friend which one would you go with?
Apogee hype mic is amazing!
Check it out. It has its own compressors and interface built into it with settings. Plus it comes with all kinds of cables and goodies
Could you possiibly review the new Chandler microphone type L pleaaaaasssse ? It would be so nice :D
Hi! Just wondering, if you would make videos about more categories of mics, maybe something like gun mic and wireless mics.
Subscribed long time ago, now I barely watch any of your videos now since i am not really interested in those podcast mics now.
Re: Lewitt 1040... $3500 mic. Same price class as a Manley or u87.
I would choose plesu P- 280.
I'll just use the Samson Q2U since its what I got
What hoodie are you wearing in this? Looks comfy.
Flint & Tinder 10 Year Hoodie. It's comfy and well made, but they charge a premium because it's made in the US and they'll repair it for free for 10 years.
What would be a good mic for anti-peaking and clear screaming? I play horror games and the Razer Seiren peaks a lot with my level of screaming. It would sound a lot nicer if I had a better microphone.
It all comes down how you record it. You want the peaks to hit around -10 to -6 db, if you are clipping then turn your gain down
@friedp Exactly, the way it's recorded is WAY more important than the particular mic if you are recording something like screaming. As long as you are recording at 24 bit you can set your peaks to even -20dbfs and be just fine boosting it after the fact to get the final level where you need it. The other thing to be aware of it to not clip the analog input of your micpre or the micpre built into your interface. Either using a pad (on the mic, on the micpre, or an in line one) or simply using a mic with low output like a dynamic will help with this.
Right click on the sound on the task bar. click sound, go to the recording tab, then double click your mic and adjust the levels until you don't peak anymore.
I don’t think it’s the mic, it’s likely your gain settings. I made a video on Podcastage 2 about this: th-cam.com/video/FXphHY4AqAA/w-d-xo.htmlsi=o22uAcPTSWIfDwRz
I’ll probably answer this question in the next q&a to address this because it’s still so common.
Sm58 for everything
My desert isle mic: Townsend (now UA) Sphere. The versatility is pretty much unmatched.
The Manley is a QC nightmare. I had a client that got one years ago and had issues with it within the first week. The mic he got as a replacement was also flawed. Like you, the company gave him a hard time with the issues. Essentially trying to blame him for plugging the mic in which caused the damage??? like what are you supposed to do with the mic, just look at it?! I'm not a fan of Manley and I will never purchase ANY of their products (or plugins). Terrible culture over there.
The sphere. Interesting pick! Do you find yourself using modeling mics in day to day studio use even when you have other mics available? Or are you selecting the modeling mic on principle due to the different options it offers?
That's really too bad that my experience wasn't isolated because I know people love their mics. Who am I kidding though...it's couldn't afford another one of their mics even if I wanted to buy it. Ha.
@@Podcastage first, being able to record m/s or l/r stereo with a single mic is VERY useful at times. The modeling is nice and all, but the axis correction and polar pattern manipulation after the fact is more the selling point for me. If youre recording a live band, being able to adjust the pattern can help tremendously with mitigating bleed. Or dealing with a singer or guitar player that likes to shift position after ive set the mic and told them “dont move around please”. The modeling is just akin to an eq curve for the most part (though harmonics are a thing too). Just lessens what you have to do in post to get a finished product.
And yeah, manleys qc has gone down hill over the years. It is a shame since their hardware seems pretty decent though equally over priced. (Which is why i build most of the gear in my studio… its all over priced).
And i am obligated to say: “lol, says the man with a neumann u67 reissue!”
The holy grail of mic should be a mic with all the polar patterns, and most true to flat frequency response, phase, THD, with 3 capsule/operation (interchangable?) : Dynamic, Ribbon, Condenser so youll also have all the transient response possible. Else It's only subjective based on the taste of the character of it, which isn't bad either.
That's essentially what a UA Sphere L22 mic is. It's such a great system. I use it through matched preamps and get amazing performance out of it. Processing the audio via the plugin is a trip.
@@BeauStephenson It is ! But virtually only. Also you can't get a signal chain on the way in if you want to use it in that way.
DO Maono PD200X
Thumbnail: “Who’s that Pokémic?”
When my sister asked me why I needed more than one mic, I asked her whether she only used a trowel when gardening. 😉😉
... or just one kitchen knife... or just one pan. ;)
A $3,500 mic for the one choice? Wouldn’t the main reason someone want a do-it-all mic be to save money? At that price you could own almost all your faves in a bundle!!!
Love your stuff. Forgive annoying comment.
If I were looking for a single do-it-all mic, the main reason would be to have one tool that does everything well, no matter what you throw at it. Versatility, time-saving, space-saving, and convenience would be reasons to consider an all-in-one solution. If it saves money, that's a bonus, but versatility is actually something a manufacturer might charge a premium for, and that many people may find worth paying for. One of the reasons people opt for something like a U87, because it's so versatile.
@andrewhertzberg. The original question was what would Bandrew chose if he had to pick just one mic to use for everything. The question didn't have a price range attached to it or involve what might be good for someone else or the average person who happens to be in need of a mic.
Sounds like you wanted a different question to be asked maybe more like: What is the one most versatile mic under $500 that would cover most people's needs... which would be a very different question.
Unless you are only planning to record just one thing a single mic may just not be the best way to go anyway even with a somewhat limited budget. For many people starting out who are recording more than just one thing a couple of different mics might make more sense and I would certainly agree that $3500 is plenty to cover a rather nice little versatile mic locker these days... but again that's yet another answer to a whole different question.
There are so many TH-cam channels that I can't listen to because the AC/fan noise is so annoying... I've even offered to show them how to remove the hum! It drives me nuts!!!