Here's part 2 where we cover voice over microphones: th-cam.com/video/YyjzH_x3_dI/w-d-xo.html And here's another where we cover pro-level lavalier microphones: th-cam.com/video/tXb7Ov-S6dc/w-d-xo.html
I have a Yamaha MG12XU mixer. I’m interested in the SM7B, the Electro Voice RE20, the Earthworks icon pro/sr314 (or maybe another mic all together that works best for this mixer). I read that you don’t need a cloudlifter with the SM7B with the MG12XU. Do you have any advice or recommendations? I have a more deeper voice.
@@juju8470 I haven't used the Yamaha mixers so I'm not sure. I would try it first and only buy a cloud lifter or equivalent if the Yamaha doesn't supply enough gain on its own. Best wishes!
I have no idea how you talk for so long without needing multiple takes that're cut together. Coherent, useful, well produced content is a rarity these days with the number of channels shilling products; you're quite a breath of fresh air, good sir.
Saying this as a person that spent many years in a recording studio, with some of the best producers in the world. The secret for me, to all sound is that you work from the source out. This applies to all instruments. A singer or a voiceover artist learns how to control their voice - anything that happens in front of the mic, should be dealt with in order. YOu apply a pop screen if there is a problem with pops, you get closer or further from the mic for best sound. then the sound goes to the mixer - everything you can do to get great sound before EQ ( i.e. gain etc. ) should be done. EQ is the last resort. I worked with an engineer on a kick drum sound one for about 4 hours on a record, it was sounding great to us and we were really happy, then the producer ( household name ) walked in and listened to it. Went out into the room and moved the mic about a foot. Came back in to the control room and flattened everything and set the gain - pulled up the fader and BOOM - the best kick drum sound I have ever heard. Lesson learned. Source out. I have applied that principle with sound and now video production. Fix it in the mix is never a good choice. Audio or video.
The SM58 is always impressive to me. Not necessarily perfect, but so very usable in so many situations. I also love how inexpensive the windscreens are for it, and they REALLY cut down on the plosives. It doesn’t have the visual appeal of some of the cooler looking mics (especially with the windscreen), but gosh I love it.
The SM57 is a little more versatile in appearance due to not having the built in screen, so they make several different style of windscreens to attach for it which can make it look “cool”. It’s small size will always look a bit goofy being handheld, but it looks fantastic on a podium/fixed stand, it’s literally the “presidential” microphone.
@@jcap8391 They are objectively the same microphone. As in identical. The only difference is the 58 comes with a tuned windscreen and the 57 does not. In EVERY other aspect they are identical.
Absolutely loved the video Curtis. It's always great hearing your opinion and take on microphone selection and everything about it. Keep up the amazing work!
@roberto When you have mics with a low output gain then you need a preamp to push them up, in addition to your audio-interface. The FetHead can push up around 25db. Something like the TritonAudio FeatHead which is the most affordable option you get: www.tritonaudio.com/fethead
Well he does have that cover on it and the cover is kind of thick which could be muffling it. I haven't tested with it on mine because I don't really need it so idk but that's my theory as to why it may sound "muffled".
This is exactly why i returned my sm7b. I know the comparison is crazy but i have a u87 and a cu29 and wanted a dynamic for quick practice or recording on the go without alot of treatment since it's a dynamic. I just couldn't get over the boxy ness of it, after using my other condensers for so long. For podcasting i think all of these mics will be fine tho.
My favorite was Electrovoice RE-20 with your voice, sounded clean and balanced. The SM7B was similar quality but I feel it has an unnecessary amount of low end, sounding almost muffled compared to RE-20. But I guess in isolation they both sound great just different.
Thank you, Curtis! I've been a 'thorn in the side' to some local radio stations because I've told them that their DJs have such low voices that the mic is emphasizing the lowness and it gets drowned out when driving on any road.
Also, I would LOVE it if you, Bandrew, Kevin, Gerald, and the prolific Mike Delgaudio were to collaborate on the specific point of addressing voice ranges and how to find a mic to correct for such variations.
Ah wow, now im finally seeing regular mics that I see all the time in real life.. that I've come to accept as "the standard". This whole audio recording thing is no joke when it comes to mic quality. Thank you for the amount of time and research it took to make this awsome demonstration. I feel a little more like a professional now 😂
I used the sm58 as my first mic and still do. Many big streamers have complimented my mic and wondered what I used because they are gamers and not audiophiles so they didn’t know how to properly setup/use their sm7b. This is an extremely accurate review. It’s not the prettiest mic but it’s reliable and can take abuse in other use cases. Plosives are also annoying but I don’t like the windscreen look, so my workaround is speaking at an angle. Maybe I’ll upgrade eventually, but I have a slight sentimental attachment now 😅
We are currently on Rode Procaster and Zoom L12. Five different (male) voices all sound pretty great without any EQ, and then we tweak it a little in post to get warmer sound and an even loud mix.
I've used an RE-20 since 1980 for video narrations. I had used a SHURE SM-7 and a Sennheiser MD-421U before that for radio announcing, and of the three, the RE-20 colored my voice least. It has a FLAT response unless you switch in the high pass/low cut filter. The Variable-D feature means it has less proximity effect than other cardioid dynamic mics. It sounds good on my voice between two feet and around 4 inches. I've used it on kick drums, male voices (my favorite), female voices, choral ensembles, and for sound effect recordings. It's generally natural-sounding, but it has one problem: the foam surrounding the capsule deteriorates over the years, and requires replacement about once a decade! When the mic starts shedding, it's time for a visit to EV for reconditioning. Last time I checked, it was $250 to have it reconditioned. Mine needs it soon... It's the RE-27 that has the Neodymium magnet for higher output...
Thanks for the review of the SM58. You really nailed it.... There are a lot of plosives and also sibilance in it mostly because you have to speak so close into small diaphragm dynamic mics.
The neodymium magnets, which were starting to roll out in the early 90's, became a game changer for dynamic microphones. In addition to the RE-20 you mentioned, the RE-50 became a useable mic since it's signal was no longer deep in the noise floor. Plus, if someone is contemplating an SM-58 for Live sound, spend the extra $50 and get the Beta version with the neodymium magnet. Actually, I prefer the Beta 57 on voice in live situations.
Thanks Curtis.....your videos have been very helpful to me recently and this one has answered a couple of question I've been wrestling with. Appreciate the effort these videos require.
Curtis another super helpful segment. Observation from a lifetime broadcaster the RE20 seems to be the all-time favorite of radio broadcasters FM and AM. They seem to work the best across a wide range of voices, both men and women. More forgiving on plosives. Built like a tank.
I'm in the process of recording a series of audio books, and have an acoustically well treated recording space in which to record it. Even so, the SM7B without the foam windscreen proved to be the best choice. Even though I have some more expensive condensers in my cupboard, I kept coming back to the detailed yet warm and intimate sound of the SM7B. Also, I think a lot of people don't realise how clear the SM7B can sound without the foam windscreen (I use a mesh one instead) ... it really opens up, but still manages to avoid sounding excessively sibilant.
@@AmadoWildlifeVideos Its a male voice, but soft and gentle rather than deep. Very average really. A little sibilant too which I have to fix in post even with the SM7b. I don't like my voice, but people tell me my recordings are pleasant.
Curtis, I have thanked you on many videos in the past, and I am going to do it again. You are always thorough, articulate, and well researched. This is no exception. Thank you for creating yet another well rounded video here. I am in the market to replace my Yeti Pro with a dynamic microphone for the tall ceilings in my house where I record, and this video is now a key piece of research for me.
Hi I bougth sm57 and Im impresed because I have echoee room. But I have question I plug in to zoom h4n pro plus DM1 dynamite and the questin is what is the perfect volume level for this set up? Regards from Poland Jarek
If you like eating the mic I recommend trying the bcd1, a lot of people give it crap but I got one in grey for around 80 dollars and it is very nice, the proximity effect is deep and there is some sparkle in the highs, doesn't require much gain either
@@curtisjudd its the successor to the MXL bcc-1 which was a 150 dollar end address condensor microphone (which seems more interesting than the bcd1, wish they still made it), its hard to find much about the bcc1
I just got a Samson Q2U, in a "Recording and Podcasting Pack". It comes with the foam windscreen, small tripod mic stand with clip and both usb and xlr cables. Great value and it sounds great, imho. It's the recommended budget microphone by many game streamers and podcasters. I am waiting for the new Samson Q9U broadcast mic to be released.
Great discussion. RE20 doesn't have a special magnet -- its main features are its proximity effect suppression, off-axis tonal coloration consistency, and ambient noise rejection which is why it is ubiquitous in live radio broadcast where the announcer/voice talent is doing all sorts of tasks while talking, potentially moving around on its axis, possibly varying distance some (which a compressor will mitigate some). I believe you may have meant the RE27N/D closely related microphone when you mentioned the special magnet. The RE27N/D uses a neodymium (the N/D in the model name refers to neodymium) alloy magnet which has a much stronger and denser magnetic field compared to the probable alnico (or similar) alloy magnet in the RE20. There are some other internal differences between the RE20 and RE27N/D, but the main one and the one responsible for most of the sound difference between them is the magnet/coil design. The RE27N//D is brighter with more articulation detail without becoming harsh. I wouldn't call it a condenser sound although it has more of the differentiating properties a good vocal condenser has when compared to a dynamic mic than the RE20 has. I own both and use them both for live video conferences and meetings -- I like both of them. I also have a Shure SM7B and a Heil PR-40 which I sometimes use -- both of which are also very good. I agree no one mic is dead perfect for everything and certainly not for everyone. Thanks! Love the info!!!
Excellent video as usual. I definitely feel like I sound too muddy and dark on my SM7B and have considered switching to another microphone. My use cases are podcasting, streaming and voiceover. I’ve considered the RE20 or RE27.
Thanks Stevie! I assume you've already tried the high pass and presence boost. With both of those engaged, it sounds somewhat similar to the RE20. *somewhat.
Thank you for the test. I'll be saving my money and getting the 58 because: I was clicking between the 58 and the 57B and to my ears the 58 is clearer. Also when you were doing the plosives test, I didn't hear any plosives with the 58. But when you said plosives at 17:35 with the RE-20 with all the special doohickey stuff to keep plosives from happening, you can clearly hear the plosives. It could be that you were pretty close to the mic, though.
👍 Keep in mind that the SM58 is quite prone to plosives. You may want to also add a foam cover to the 58 to help prevent plosives. We just got lucky in this sample.
I think my voice sounds similar to yours. So, as I'm looking to upgrade I'm listening to what sounds good on you. I record my VO in a sound treated room with a Senn e835, pop filter, fethead, and into a Zoom H5. I use desser plugin in FCPX to cut down the sibilance along with EQ and Compressor. And that seems to be pretty good although sounds a bit too "processed". I'd like to use more of just what the mic records so I think the SM7B would work better for me. I await Part 2 of this. Great work!!
@@curtisjudd If you get a chance to listen a bit to my last video let me know what you think of the VO. Am I right in thinking it's a bit too "processed"?
Dude as a starter in the XLR audio game I agree with using dynamic mics. The AT2020 is a good mic if you put it in its comfort zone. However, it's still sensitive since it's a condenser. I setup my fiancee with an SM58 and Behringer 302USB mixer. It's very directional which is important. When she was playing with friends, they could hear me eat in the next room. Now they cannot. Obviously when she streams I won't be clanging dishes in the background. I do agree it has flaws with plosives but good mic technique could take care of that and the pricing is nice. Plus for a higher female voice like hers, the mic suits her in my opinion. Plus, on a note of vanity, she was able to customize it on Colorware.
I love your videos! You make so much sense, you're generous in sharing what you know, the audio sets the bar really high for other youtubers, and the videography is technically perfect in a lot of ways (lighting, b-roll, etc).
@Curtis, I think you will love the Lauten Audio LS-208 or Earthworks Ethos (I prefer the the Icon Pro but from all you videos you seem to prefer darker tilt mic)
I've got the SM7B and the RE-20. Currently using the RE-20. We might switch back to the 7B. I think we have the same issue you have. Sibilance is a problem on the RE-20. I think you sound much better on the SM-7B. We need to do some testing. Thanks for the video.
Great video! The RE20 sounded really crisp on your voice. The RE320 is more budget friendly and also sounds awesome. Sennheiser E845 is also magical at its price point (and a great alternative to the SM58).
Hello Curtis, I also have a huge problem with sibilance. After recording an online course with a condenser mic, an audio editor advised me to switch to a dynamic mic instead. I was going to get SAMSON Q2U but someone, possibly Bandrew Scott?, said it may pick up more sibilance than Shure SM58, which I'm also considering. Which one would be better for me (for online courses and youtube videos)? Or perhaps something else in this price range? And I guess it's better to use Q2U with an interface rather than with USB? I'll appreciate any advice! Thank you! Magdalena
Interestingly, neither of those two mics seem to be easier on sibilance in my experience. And I also find the Electrovoice RE20 and it's less expensive variants to also be quite sensitive to sibilant voices. The editor hasn't had any luck applying a de-esser? You might also try positioning the microphone a little higher above your mouth which will reduce the sibilant effect - with the capsule around nose height instead of in-line with your mouth. There are several voice over artists who use that technique.
@@curtisjudd I've tried 3 editors (I've asked for de-essing). Two of them has done a great job with overall sound but not with the sibilance. The third one said he would pass on the project as there were too many problems with the audio; he advised switching to a dynamic mic. I'll try the technique you advised. Thank you very much for your reply!
@@healthvalley386 Do you have any samples online I could hear? I’m curious what other problems exist because sibilance on its own usually isn’t too difficult to address.
The SM-7B and RE-20 are $400 mics. If you're on a budget there is the Shure SM-48 at $40, one tenth the price. The SM-48 uses a Unidyne III capsule like the SM-57, SM-58 and SM-7B. The SM-48 is transformerless and thus sounds a bit crisper than the others.
Thanks much for this. I'm on the edge of buying a new mic for voiceover on YT videos. I can't wait to see your Part 2 on condenser units for comparison. I am especially looking at USB mics, as they eliminate a lot of claptrap and cables for input to Audacity on my PC and for headphone monitoring. I find headphone monitoring very helpful as it keeps *me* in a position to sound best. So far, I've been sniffing around the Rode NT-USB and the NT Mini USB. After watching to this, I'm also looking at the AT2005USB. Looking forward to Part 2, after which I'll probably click on *buy*
Thank you for acknowledging the interaction of vocal properties and microphones. I am female and have a high-pitched voice. It's difficult to find microphone reviews with female voices, so I'll likely go with one of the popular mics in the end.
Thanks iunderscoream. In my microphone reviews where we look at a single microphone, I have started including samples of my wife and daughter speaking into the mics so I hope you find that helpful as well. Everyone's voice is different, of course, but hopefully that provides a little more value.
A good review. We are using Q2U + F8n, speaking English and Chinese. Very satisfied with the performance up to now, indeed, they pick up p sound, but for now, we don't perceive it as an issue, since we use the sponge hat.
Good video, as usual with you :) A few comments on the video and the format (I personally know these answers, but for a larger audience I thought I mentioned them): - You don't really talk about live usually needing a hotter signal at the end of the chain. On podcast or TH-cam you can adjust in post; for live presentation sure the audience can boost up the audio a little bit but there's a usual need for a louder sound. - You don't demonstrate noise rejection, apart from the usual advice of "dynamic good in untreated room". Like specifically for the mics you suggest, how their noise rejection compare one to another. That may be important or not for podcast depending on the format, but for streaming that's a critical point, it may well be the most important point. - You don't talk at all about interfaces, I'm not sure if it's by design or not. From a beginner point of view, especially for hard to drive dynamic mics and hot signal for live presentation, giving at least three names of interfaces (like cheap, decent, very good) that can drive those might help. - That's an easy thing to find, but similar to the last point, you don't mention FetHead or preamp like the DBX 286s. For those last two points, maybe in a part 3 video? And maybe a bigger mention of room treatment, even with dynamics? I think you did a short video on that in the past, at least mention it and link to it? Maybe with a short (a few seconds) demonstration of same voice, same hardware, treated vs untreated room?
Thanks Lirae. All good points. Addressing all of the above would make for a great mini course in recording and live sound reinforcement. Have to keep things to a reasonable length but will surely address them all eventually.
Hey Curtis, This may sound like a silly question but I was wondering if you knew of a good microphone for podcasting that has a gold screen? I know I could take apart another Mike and paint it but I don’t want to do that. But I want something good in gold for our upcoming podcast episodes. Thanks, Adam
Hi Adam, dynamic or condenser? If you have a SHURE SM58, you could just add an aftermarket grill like this: amzn.to/36dN9mJ Full Disclosure - this link is an affiliate link. As an affiliate, I earn from qualifying purchases.
sir i want to do voice over I want professional quality. But my room is not sound proof. I want to record poetry. Whose emotional low voice and high voice have to be recorded. Which audio interface and microphone would be best for me? My budget total is $400. In which the complete studio setup is done. i have laptop
I'm currently using a Rode NT1 for voiceover, but once I start streaming I think the SM7b will be a good match for my voice. Looking forward to part 2, Curtis. Cheers.
My current setup looks like this... the room is not deeply treated though about 25% of the wall space is covered in moving blankets which I use instead of curtains. It is fairly quiet, but there is a computer fan. I am mostly a podcaster though I also vlog on this setup. For a long time I was using the Diety V3 Pro you see on the arm, but honestly, the audio was not great. I added the close-up SM7B you see, and while I LOVE that sound, I would love the freedom of a good boom out of shot. I was wondering if an NTG5 might work? It would be about 18 inches away, but the room will still be at best semi treated and I worry that while the NTG5 is good, that a cardioid mic in a "hard-walled" office like this will still never really have the performance of the SM7b. I know no one can tell me FOR SURE if it woudl work for me, I would still love to hear thoughts. imgur.com/a/JBGWZQ8
Curtis Judd fair enough and as I suspected from all I’ve managed to learn from years of your videos. I was just hoping 😊 Still, I noticed your streaming setup went for a close up dynamic (the sm7b I think) so I’m in good company 😀
NS1 by waves is a great noise supressor for live suppression. It works really really great and I always use it on twitch. Gets rid of my annoying gpu fan pretty good
*WAIT! WHAT???? INTO A CANON C200!! YOU SON OF A ....* (Just Kidding). What a great camera. Been eyeballing this for a long time. Sorry, this is about mics. LOL! I'll watch the rest of the video now. 👍
Curtis Judd Son of a Mr. and Mrs. Judd. 😁 Still watching. Great stuff. Can’t wait to hear the story on the camera. Stupid thought of the day...maybe I should play with the buttons on the back of my SM7B. I’m voting for either the 7B or the Re20. Both sound great.
I like the Aston stealth. It sounds good on my voice and has a really good preamp built in. I think they tuned V1 mode really well and it gives me allot of range to eq. But hey, it's my voice and my opinion, what works for me might not work for others.
Thanks Curtis for the video! As my new covid quarantine project, I would like to get into podcasting. So I just ordered the Shure SM58 (with the on/off switch) plus the Audio Technica AT2005. Also ordered some Shure SM48 (with the on/off switch), plus the Focusrite Scarlett 4i4 3rd Gen audio mixer, and the Zoom H6 recorder. Can't wait to receive all the items so I can start putting things together.
@@curtisjudd Hi Curtis, another question please? Is there any noticeable difference in quality or features between the Audio Technica ATR2100x versus the Audio Technica AT2005 mics? They are both dual XLR and USB, the 2100 model is USB-C and the 2005 model is the older mini-USB. But other than those differences, do you have any major preference of one over the other? Thanks!
@@curtisjudd Okay, thanks Curtis! I think Podcastage says the "tone" is different between the two A.T. mic models but he doesn't elaborate further. Some reviews say they like the sound of the AT2005 better. Other reviews say the 2100x has a little bit more power. Only reason I'm asking this question now is because the 2100x model is currently available on Amazon after being out of stock for awhile. I currently have the AT2005 model which I rather like and have no complaints, but was wondering if I should get the 2100x model instead. So far from what I can tell, the very minor differences aren't very compelling, plus the 2100x model costs a little more at $99 versus $79 for the AT2005. But I do rather prefer the black color and flat top design on the capsule of the AT2005 versus the round and silver color of the 2100x. I realize those are only cosmetic differences though, LOL! What will probably make a significant improvement is getting a Triton Fethead for $89 to use on my AT2005 mic which many reviewers are saying will add an extra 25 to 30 dB for clean gain. Even though I have my gain dial set at near maximum on my Focusrite Scarlett 4i4 3rd Gen audio mixer for the AT2005 mic, I'm still not getting quite as much volume as I'd like. If I turn the gain dial on the Scarlett mixer to absolute maximum at the 5 o' clock position, there is noticeable unwanted hiss/humming background noise, so that's not a valid option. That's why I can only go to the 3 or 4 o' clock position for usable maximum gain on the Scarlett. I'm guessing adding a Triton Fethead to the A.T. mic means I will have more volume/gain and be able to go lower on the Scarlett mixer gain dial for more headroom. Is that a good idea you think?
Thanks Curtis for your awesome video! My natural voice is low and nasal. If my average voice pitch lies at around 110 Hz and my volume at 62 dB does the RE20 or the Sm7b suit my voice best for podcasting. I don't want the mic to make my voice unclear and more nasal than what it is. Haha
Love your content man! Nice and polished. Would love to watch the part 2 as I just bought the rode NTG because of one of the reviews on your channel and I wanted to say that it is really helpful!
What would be a good setup (mic selection, acoustic treatment, etc) for streaming and recording webinar content on the road in hotel rooms and untreated spaces? I have a Mixpre 3 II that I can use as an audio interface. Was thinking dynamic mic or wired lav mic but welcome suggestions!
I would probably go with a dynamic mic. Shure SM7B or sibilant voices, Electrovoice RE20 for darker or more balanced voices. On the budget end, look into the Samson Q2U.
@@curtisjudd Thanks Curtis. Any kind of simple, mobile room treatment you can recommend or generally just using one of those mics itself is good enough?
@@skyace888 If you can, work with lots of pillows and blankets surrounding you and your mic. The main idea is to absorb the high frequency sound which reflects off of hard surfaces.
Thanks for this video. Very informative. Currently im looking for solution for Zoom/teams/skype calls. I have electret mic ZM-MIC1 which is true legend in terms of quality/price ratio, sound is MUCH better than 80-90% electret mics out there. But it picks up too much background. I live with my family in tight flat and this is a problem. Thats why im interested in dynamic mics. I think that ATR 2100/2005 + maybe mtrack solo/behringer umc22 should be nice and affordable combo. The only thing that bothers me is that you have to keep your mic close to you and im afraid that turning my head left and right (to look on multiple screens) might be a problem. Maybe shotgun mic would be better here? Or 2 dynamic mics?
The acoustic treatment? That's a set of GIK Acoustics panels. They use some sort of proprietary material - not sure on the details except that it is formaldehyde free and is not rock wool, though is similar and a bit more dense.
So Curtis, I have a pretty naturally deep voice but it’s articulate. Would you recommend I use the high pass filter on a microphone AND since I have the Focusrite 3rd gen audio interface use the “Air” feature on it too?
Classic dynamic instrument mic and also used for live vocals/speaking. Not the perfect fit for every voice but a solid performer.
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@@curtisjudd But it's less gain hungry than SM7B and with simple EQ sounds almost identical to SM7B... Don't know, I like it better than SM58 for speech :) Always great to hear your opinion though.
Great video, as always. It amazes me that anyone uses the Shure dynamics for anything but a low-end durable road mic’s. The SM dynamics sound so flat, artificial and muffled that it’s painful to listen to. Even an EV 767 or a Lewitt 440 DM sounds so much better, let alone the more expensive Eathworks options. Personally, I try to use an LDC for any decent environment.
Sir I am very confused. Which audio interface and mic should I get? I want to do professional poetry recording. In which my words will go high and also come down emotionally. My room is not sound proof. And I have a budget. $300 to $400 in which my entire setup is made.
Hello Curtis... I have watched so many videos about sound as I am learning and I found your video above today... and I have a question (and I have a video with proof of my question down below): Recently a friend of mine gave me a mixer and the brand is Allen and heath ZED 10 and a BM-800 microphone and he wanted me to help him find a way to hook it up to a laptop because he has an online radio out of his computer and he wanted to use the mixer and connect couple more microphones when sometimes he has a guest... I have struggled to do that for the past week and half doing different tests and watching several youtube videos, buying different cables and doing this and that... and I always thought that whenever there is nobody talking to the microphone the computer should not get any sound.. I managed to connect the mic to the mixer fine and got good level of gain, but I found that when I first connected the mixer to the computer using a regular TS 1/4" cable to capture the output to then convert it to 3.5 TRS connector, I hear noise when I am not talking... I have searched how to solve that and I cannot find any answer to this... then after so many videos watched, I recently then plug an RCA cable to get the sound from the mixer and voila! no noise... why is that? I just found your video today and I cannot hear any noise when you are not talking... do you treat the sound recorded from the microphone in post so you remove the noise? Is it supposed to be the norm? I mean, to pickup noise with a TS output and no noise with a RCA output? I even bought online 3 days ago and I received it today a Radial Pro48 DI box because I saw in other videos that those DI boxes remove noise, but I wonder now if the cause is the TS cable or the TS output because no noise with the RCA output... I don't even know anyway where to plug that DI box... I would appreciate if you can make sense of this mistery on why no noise with RCA output and noise with TS output because I don't know... here is a video I made of this test and you can hear what I am talking about: th-cam.com/video/1uZH1TtLuv4/w-d-xo.html
Hi MiQuel, Both are unbalanced connections (RCA and 1/4" TS) which have a tendency to pick up noise. Most 3.5mm microphone inputs are unbalanced so it is good news that at least the RCA cable was clean. A DI box won't work if your camera's input is unbalanced. In my case, I am have my microphone attached to a Sound Devices MixPre-10 and then line out with a balanced XLR camera from the MixPre to my camera, a Canon C200. Balance connections like that are much more immune to interference. I did NOT apply any sort of noise reduction to this or any of my videos here on TH-cam. Best wishes!
@@curtisjudd Thanks for taking the time to reply out of your busy day! Happy Fathers day, just in case you have kids... In my case (as you can see in my video of my test th-cam.com/video/1uZH1TtLuv4/w-d-xo.html) I am not trying to connect the mixer to a camera, but to my laptop... I realized by looking at your other videos that you specialize connecting them to a camera, not to a laptop... I guess I will just have to accept the fact that the TS to TRS 3.5 is noisy and the RCA to same TRS 3.5 is not noisy. Regards!
Is it reasonable to use my shotgun microphones for the podcast I’m starting? I have the MKH416 and Rode NTG3 .. it would be nice to use mics I already own instead of 800 additional dollars on two Sm7b’s Thanks Curtis for the most helpful audio videos out there
Large diaphragm condensers which we'll cover in part 2. I haven't worked with kids who were too young to train them on basic microphone technique, so I'm not sure there. How old are the kids you're working with?
Hey Curtis, thanks for the great video. I have an Sm7b and am very happy with it for my voice on podcast but I’d like to get another for guests. I’d like to try the Re20 to see if it works better my voice and would have a choice but another sm7b would give me a consistent sound from both Mics. Do you think it would be better to get the second Sm7b or grab an re20? Appreciate it! Love the channel, reviews of l8 and rodecaster we’re very helpful
Hi Michael, I think an RE20 would make sense to give you options. I'd find which of those work best for your voice and then use the other for your guests. :)
Thank you, great video. Do you mind testing the A2100 and its ability to maybe record a phone call or VOIP call using the multiple options...i.e. XLR onto a mixer (I have the Zoom H5) and maybe a TS cable to line in?or a splitter? what options can be used?or alternatively, how do you recommend someone record a phone call onto a separate track and the ability to monitor both individuals using the headphones?
Curtis Judd sorry I should have been more clear... ATR 2100x which is one of the mics you have reviewed. I am wondering if there’s a cheap and cheerful way to do phone calls using my equipment. Otherwise my last resort would be to pay for an online subscription based service.
i AGREE FULLY! You cannot make up for bad sound or improve your sound quality from a poor sound source... you need to learn to have the best sound available for recording for your needs. Period. sOUND TO ME Is more than getting it right, it's imperative, fundamental and more important then the image you want to portray.
Awesome Video Curtis, Is it necessary to have a cloudlifter to boost my signal if I plan to use the Shure Sm7b with the Rodecaster Pro or The Zoom F6? Is there a major difference using or not using a cloudlifter? Lastly, Do you know if Rode plans to have a specific mic profile for the Shure sm7b like the RE20? Thank you.
Hi My Ford Noel, It is not necessary if you will do post processing and can boost the levels in post/edit. However, if you will be live-streaming, then yes, I'd recommend a cloud lifter since you won't have a chance to lift it in post. There isn't a major difference in audio quality one way or the other to my ear, just level. I don't know if RODE plans to create a profile for the Shure SM7B. Best wishes!
This was useful! What do you suggest if you have two people in the same room as co-hosts? Right now, I have an MKH-416, ME66, and SM57. The goal is to either pair or buy a new set of mics. Any thoughts?
You forgot to mention the RE20 has no proximity effect which is quite a plus. Secondly, the effect of better response at 15KHz, I respectively submit, on voice, is nil. Condenser mics often have better ultra high end response but to repeat myself, whatever vocal characteristics you like about condensers, it is not their 15KHZ response
Hi Mark, I haven't. That's Heil's stand which runs about $100 as I recall. I have retired it because I was having trouble with the knob and joint which positions the microphone. I now use much more expensive desk boom arms from OC White and M!KA, but I haven't reviewed them because people tend to complain when I review the more expensive gear. ☹️
@@curtisjudd how about a video comparing the pros and cons of the less expensive stands, like the Heil you retired, and the higher priced replacements you are using now. Gives your viewers the knowledge to make a choice about which option to take.
Hey Curtis! I can always learn so much from your videos and would like to thank you for all your efforts! I've been using a RODE NT1-A condenser microphone for the past few years and think that it's a great microphone for most things but isn't the best when it comes to sibilance. I also have a fair amount of sibilance in my voice and was never able to fix that with an equalizer in post just like you've pointed it out in the video. My setup looks a lot like yours. I have quite many reflective surfaces (desk and monitors) and also tried using a RODE NTG-3 shotgun microphone slightly out of frame, which sounded really dull due to the reverb compared to the NT1-A but did a lot better job when it comes to sibilance. I don't really mind a microphone in the frame, so now I'm thinking about getting the SM7B to replace my old NT1-A to help with some of that unpleasant high end and reverb. Do you think the SM7B could fit my voice? Would love to hear your opinion on that!
Yes, the SM7B tends to emphasize sibilance less than microphones like the NT1A. It also rejects room noise and reflections better than most condenser microphones. However, it doesn't sound quite as realistic - more like a traditional FM broadcast microphone. That's a great sound, but not something you may want all the time. I have an SM7B and do NOT regret the purchase. 😀
@@curtisjudd Thank you for your very quick response. I really highly appreciate that! I'll get the mic and just try it out to see how exactly it sounds with my voice. I plan on using it with my GH5 and DMW-XLR1 adapter, which I know you have also tested on your channel in the past. Do you think that there will be enough gain with a fethead so that I can feed the signal directly into my GH5?
@@ValentinKossenko with a fethead, yes, I think that will work. The XLR1 is not the cleanest so you may experience a bit more self-noise than you do with the NT1A.
I have a budget of £100/$136 for a solo podcast I'm starting, recording from my bedroom. I have a deep voice and will be making episodes with people over VOIP. I've been told that I should get a dynamic mic also. What are the recommendations?
I'd look at a Samson Q2U: geni.us/b0PJH Full disclosure - this is an affiliate link for B&H, Sweetwater, or Amazon. As an affiliate, I earn from qualifying purchases.
Great video. About to get started... I am a little surprised you do not have the AT2020 here... been my go to for many years and I think tough to beat for around $100.
Oh, well, the AT2020 is a condenser microphone and we only covered dynamics in this part. I don't have an AT2020 on hand, so I won't be able to include it in part II unless one happens to appear here before then. ;-)
@@curtisjudd Want me to send it to you? Or would love to swap to test out if you are open to it. I have the AT2020 usb, quite convenient but interesting to see which would work best with my voice.
Great video and comparison; I only recently stumbled on your channel here and have been playing catch up. To my ear the SM7B just seems to be a bit heavy on a mid range presence, on a variety of voices. Just like a smidge much, for my personal preference anyway. Whereas I feel like the RE20 is maybe a little more balanced overall. I wound up picking one up the other week and it might be my favorite piece of audio kit I've ever purchased. One of those rare times I get the "fits like a glove" feeling from day one. Looking forward to checking out more of your content!
The RE-20 is a solid microphone, but it may not last "decades" without periodic replacement of the 3 internal foams, which can degrade in as few as 5 years and can stick to and permanently ruin the mic capsule. Replacement foams are available from Telex or Full Compass. Basic soldering skills are needed to disassemble and re assemble the microphone to replace the foams. EV used to, but no longer does, offer a foam replacement service. www.jeffgeerling.com/blog/2017/refurbishing-classic-microphone-electro-voice-re20 The capsule is not buried deep down in the microphone interference tube as it would be in a shotgun microphone design. The diaphragm is at the same level as the base of the screw off cap of the microphone and is covered by a single, coarse open foam - as you can see at the above link. So the RE 20 is fairly subject to plosives and requires good mic placement/technique if you are going to use it without an external pop filter.
Thanks, Curtis for another helpful video. An alternative to the SM58 is a SM57 + the Shure A81WS windscreen. The windscreen handles plosives much better than the 58 and rolls off slightly above 10kHz. Some people say this makes it sound more like a SM7B, but I cannot confirm this. The windscreen is comically large and a bit pricey for a piece of foam. Still, it's an affordable option for a good dynamic voice-over microphone. www.shure.com/en-US/support/find-an-answer/a81ws-windscreen-and-high-frequency-response
Here's part 2 where we cover voice over microphones: th-cam.com/video/YyjzH_x3_dI/w-d-xo.html
And here's another where we cover pro-level lavalier microphones: th-cam.com/video/tXb7Ov-S6dc/w-d-xo.html
I have a Yamaha MG12XU mixer. I’m interested in the SM7B, the Electro Voice RE20, the Earthworks icon pro/sr314 (or maybe another mic all together that works best for this mixer). I read that you don’t need a cloudlifter with the SM7B with the MG12XU. Do you have any advice or recommendations? I have a more deeper voice.
@@juju8470 I haven't used the Yamaha mixers so I'm not sure. I would try it first and only buy a cloud lifter or equivalent if the Yamaha doesn't supply enough gain on its own. Best wishes!
I have no idea how you talk for so long without needing multiple takes that're cut together. Coherent, useful, well produced content is a rarity these days with the number of channels shilling products; you're quite a breath of fresh air, good sir.
Thanks much trowaclown! Truthfully, there were plenty of cuts in there, but I appreciate the feedback!
I agree with this comment!!
Saying this as a person that spent many years in a recording studio, with some of the best producers in the world. The secret for me, to all sound is that you work from the source out. This applies to all instruments.
A singer or a voiceover artist learns how to control their voice - anything that happens in front of the mic, should be dealt with in order. YOu apply a pop screen if there is a problem with pops, you get closer or further from the mic for best sound. then the sound goes to the mixer - everything you can do to get great sound before EQ ( i.e. gain etc. ) should be done. EQ is the last resort.
I worked with an engineer on a kick drum sound one for about 4 hours on a record, it was sounding great to us and we were really happy, then the producer ( household name ) walked in and listened to it.
Went out into the room and moved the mic about a foot. Came back in to the control room and flattened everything and set the gain - pulled up the fader and BOOM - the best kick drum sound I have ever heard. Lesson learned. Source out. I have applied that principle with sound and now video production. Fix it in the mix is never a good choice. Audio or video.
Thanks Jim - great example of how to approach these things - front end first!
The SM58 is always impressive to me. Not necessarily perfect, but so very usable in so many situations. I also love how inexpensive the windscreens are for it, and they REALLY cut down on the plosives. It doesn’t have the visual appeal of some of the cooler looking mics (especially with the windscreen), but gosh I love it.
Agreed, solid performer through the decades.
The SM57 is a little more versatile in appearance due to not having the built in screen, so they make several different style of windscreens to attach for it which can make it look “cool”. It’s small size will always look a bit goofy being handheld, but it looks fantastic on a podium/fixed stand, it’s literally the “presidential” microphone.
@@personperson9591 it has too much high end and you have to be careful with it's plosives. I own both. For voice sm58 way better.
@@jcap8391 They are objectively the same microphone. As in identical. The only difference is the 58 comes with a tuned windscreen and the 57 does not. In EVERY other aspect they are identical.
@@chuckschillingvideos if you think so
Absolutely loved the video Curtis. It's always great hearing your opinion and take on microphone selection and everything about it. Keep up the amazing work!
Thanks Bandrew, means a lot coming from you!
@@curtisjudd Please bring pizza pronto.
@@danwebb6766 I feel guilty about using that line in this video, sort of like I ripped off Bandrew. I hope you can forgive me Bandrew.
When you change to the Shure SM 58, I realized the SM 7B sounds muffled and less articulate. Now for my taste the Electro Voice RE 20 is the king.
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@roberto When you have mics with a low output gain then you need a preamp to push them up, in addition to your audio-interface. The FetHead can push up around 25db. Something like the TritonAudio FeatHead which is the most affordable option you get: www.tritonaudio.com/fethead
Well he does have that cover on it and the cover is kind of thick which could be muffling it. I haven't tested with it on mine because I don't really need it so idk but that's my theory as to why it may sound "muffled".
This is exactly why i returned my sm7b. I know the comparison is crazy but i have a u87 and a cu29 and wanted a dynamic for quick practice or recording on the go without alot of treatment since it's a dynamic. I just couldn't get over the boxy ness of it, after using my other condensers for so long. For podcasting i think all of these mics will be fine tho.
My favorite was Electrovoice RE-20 with your voice, sounded clean and balanced. The SM7B was similar quality but I feel it has an unnecessary amount of low end, sounding almost muffled compared to RE-20. But I guess in isolation they both sound great just different.
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Thank you, Curtis! I've been a 'thorn in the side' to some local radio stations because I've told them that their DJs have such low voices that the mic is emphasizing the lowness and it gets drowned out when driving on any road.
Also, I would LOVE it if you, Bandrew, Kevin, Gerald, and the prolific Mike Delgaudio were to collaborate on the specific point of addressing voice ranges and how to find a mic to correct for such variations.
Stand by, working on getting Bandrew and Mike together for a video.
@@curtisjudd oooOOOHHH YEEEEEEEEAAAAAAAAH!
(Just like Roger Daltry)
@@curtisjudd That would be great indeed!
Ah wow, now im finally seeing regular mics that I see all the time in real life.. that I've come to accept as "the standard".
This whole audio recording thing is no joke when it comes to mic quality.
Thank you for the amount of time and research it took to make this awsome demonstration.
I feel a little more like a professional now 😂
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Client: what do you know about sound?
Me: Curtis Judd.
Keep up the great work Curtis, very helpful indeed.
Hahaha! Thanks Don.
I used the sm58 as my first mic and still do. Many big streamers have complimented my mic and wondered what I used because they are gamers and not audiophiles so they didn’t know how to properly setup/use their sm7b.
This is an extremely accurate review. It’s not the prettiest mic but it’s reliable and can take abuse in other use cases. Plosives are also annoying but I don’t like the windscreen look, so my workaround is speaking at an angle.
Maybe I’ll upgrade eventually, but I have a slight sentimental attachment now 😅
Its a classic! 🎙
Great video, Curtis! Excited for part 2. 🤓👍
Thanks for dropping by Gerald! 👍
@@curtisjudd Watch out for Gerald's infamous drop-in visits with clipboard in hand! :-)
We are currently on Rode Procaster and Zoom L12. Five different (male) voices all sound pretty great without any EQ, and then we tweak it a little in post to get warmer sound and an even loud mix.
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I've used an RE-20 since 1980 for video narrations. I had used a SHURE SM-7 and a Sennheiser MD-421U before that for radio announcing, and of the three, the RE-20 colored my voice least. It has a FLAT response unless you switch in the high pass/low cut filter. The Variable-D feature means it has less proximity effect than other cardioid dynamic mics. It sounds good on my voice between two feet and around 4 inches. I've used it on kick drums, male voices (my favorite), female voices, choral ensembles, and for sound effect recordings. It's generally natural-sounding, but it has one problem: the foam surrounding the capsule deteriorates over the years, and requires replacement about once a decade! When the mic starts shedding, it's time for a visit to EV for reconditioning. Last time I checked, it was $250 to have it reconditioned. Mine needs it soon... It's the RE-27 that has the Neodymium magnet for higher output...
Thanks for the insights, William!
Thanks for the review of the SM58. You really nailed it.... There are a lot of plosives and also sibilance in it mostly because you have to speak so close into small diaphragm dynamic mics.
I find that a foam cover helps quite a bit.
The neodymium magnets, which were starting to roll out in the early 90's, became a game changer for dynamic microphones. In addition to the RE-20 you mentioned, the RE-50 became a useable mic since it's signal was no longer deep in the noise floor. Plus, if someone is contemplating an SM-58 for Live sound, spend the extra $50 and get the Beta version with the neodymium magnet. Actually, I prefer the Beta 57 on voice in live situations.
Thanks for the input Patrick!
I just got a PD-70 and using a Focusrite solo. Seems to work much better than other microphone I have.
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Thanks Curtis.....your videos have been very helpful to me recently and this one has answered a couple of question I've been wrestling with. Appreciate the effort these videos require.
Thanks First Man Photography!
Curtis another super helpful segment. Observation from a lifetime broadcaster the RE20 seems to be the all-time favorite of radio broadcasters FM and AM. They seem to work the best across a wide range of voices, both men and women. More forgiving on plosives. Built like a tank.
Thanks Dan! I agree - good on most voices, definitely built like a tank and manages those plosives nicely.
im thinking of getting the behringer XM8500 i like its lowness but if theres a better option for a similar price ide like to know
I've never used the Behringer so I cannot say, but it'll have the lowest price of just about any option.
I'm in the process of recording a series of audio books, and have an acoustically well treated recording space in which to record it.
Even so, the SM7B without the foam windscreen proved to be the best choice. Even though I have some more expensive condensers in my cupboard, I kept coming back to the detailed yet warm and intimate sound of the SM7B.
Also, I think a lot of people don't realise how clear the SM7B can sound without the foam windscreen (I use a mesh one instead) ... it really opens up, but still manages to avoid sounding excessively sibilant.
Thanks for sharing your experience!
Hi Picturedmedia, how would you describe your voice please? I know we're all different but would like an idea which way to go for V.O. mic.
@@AmadoWildlifeVideos Its a male voice, but soft and gentle rather than deep. Very average really. A little sibilant too which I have to fix in post even with the SM7b.
I don't like my voice, but people tell me my recordings are pleasant.
Curtis, I have thanked you on many videos in the past, and I am going to do it again. You are always thorough, articulate, and well researched. This is no exception. Thank you for creating yet another well rounded video here. I am in the market to replace my Yeti Pro with a dynamic microphone for the tall ceilings in my house where I record, and this video is now a key piece of research for me.
Thanks Frank and best wishes on finding the right mic for your situation!
Hi I bougth sm57 and Im impresed because I have echoee room. But I have question I plug in to zoom h4n pro plus DM1 dynamite and the questin is what is the perfect volume level for this set up?
Regards from Poland
Jarek
I would adjust the input level up until when you talk, the meters top out at around -12dB. Happy recording!
If you like eating the mic I recommend trying the bcd1, a lot of people give it crap but I got one in grey for around 80 dollars and it is very nice, the proximity effect is deep and there is some sparkle in the highs, doesn't require much gain either
Thanks. Who makes the bcd1?
@@curtisjudd MXL
@@curtisjudd its the successor to the MXL bcc-1 which was a 150 dollar end address condensor microphone (which seems more interesting than the bcd1, wish they still made it), its hard to find much about the bcc1
Thanks.
Q2u does come with a foam cover for plosives. Maybe because of your point.
Thanks for the clarification, Dr. Wright!
Wonderful sonic illustration, really looking forward to Part Two.
Thanks Alan!
I just got a Samson Q2U, in a "Recording and Podcasting Pack". It comes with the foam windscreen, small tripod mic stand with clip and both usb and xlr cables. Great value and it sounds great, imho. It's the recommended budget microphone by many game streamers and podcasters. I am waiting for the new Samson Q9U broadcast mic to be released.
Samson is making some pretty impressive dynamic microphones, for sure.
Great discussion. RE20 doesn't have a special magnet -- its main features are its proximity effect suppression, off-axis tonal coloration consistency, and ambient noise rejection which is why it is ubiquitous in live radio broadcast where the announcer/voice talent is doing all sorts of tasks while talking, potentially moving around on its axis, possibly varying distance some (which a compressor will mitigate some). I believe you may have meant the RE27N/D closely related microphone when you mentioned the special magnet. The RE27N/D uses a neodymium (the N/D in the model name refers to neodymium) alloy magnet which has a much stronger and denser magnetic field compared to the probable alnico (or similar) alloy magnet in the RE20. There are some other internal differences between the RE20 and RE27N/D, but the main one and the one responsible for most of the sound difference between them is the magnet/coil design. The RE27N//D is brighter with more articulation detail without becoming harsh. I wouldn't call it a condenser sound although it has more of the differentiating properties a good vocal condenser has when compared to a dynamic mic than the RE20 has. I own both and use them both for live video conferences and meetings -- I like both of them. I also have a Shure SM7B and a Heil PR-40 which I sometimes use -- both of which are also very good. I agree no one mic is dead perfect for everything and certainly not for everyone. Thanks! Love the info!!!
Thanks for the details, James.
An icon in the industry. Respected through and through. Well done!
Thanks Nic!
Excellent video Curtis. I always learn so much from your video and audio courses. Thanks for posting!
Thanks for watching, Warren!
Excellent video as usual.
I definitely feel like I sound too muddy and dark on my SM7B and have considered switching to another microphone.
My use cases are podcasting, streaming and voiceover.
I’ve considered the RE20 or RE27.
Thanks Stevie! I assume you've already tried the high pass and presence boost. With both of those engaged, it sounds somewhat similar to the RE20. *somewhat.
The Heil Sound PR40 is also very popular for podcasting.
Yes, agreed.
always watch your videos when they come out. thank you for the high quality work
Thanks Jonathan!
Thank you for the test. I'll be saving my money and getting the 58 because:
I was clicking between the 58 and the 57B and to my ears the 58 is clearer.
Also when you were doing the plosives test, I didn't hear any plosives with the 58. But when you said plosives at 17:35 with the RE-20 with all the special doohickey stuff to keep plosives from happening, you can clearly hear the plosives. It could be that you were pretty close to the mic, though.
👍 Keep in mind that the SM58 is quite prone to plosives. You may want to also add a foam cover to the 58 to help prevent plosives. We just got lucky in this sample.
I think my voice sounds similar to yours. So, as I'm looking to upgrade I'm listening to what sounds good on you. I record my VO in a sound treated room with a Senn e835, pop filter, fethead, and into a Zoom H5. I use desser plugin in FCPX to cut down the sibilance along with EQ and Compressor. And that seems to be pretty good although sounds a bit too "processed". I'd like to use more of just what the mic records so I think the SM7B would work better for me. I await Part 2 of this. Great work!!
Thanks MAN about Tools!
@@curtisjudd If you get a chance to listen a bit to my last video let me know what you think of the VO. Am I right in thinking it's a bit too "processed"?
@@MANaboutTOOLS Just had a listen. It sounds like the de-essing is a little overdone - maybe just back off of that a bit. Otherwise, good!
@@curtisjudd Thanks very much! I appreciate your advice. Cheers, Kent
Dude as a starter in the XLR audio game I agree with using dynamic mics. The AT2020 is a good mic if you put it in its comfort zone. However, it's still sensitive since it's a condenser. I setup my fiancee with an SM58 and Behringer 302USB mixer. It's very directional which is important. When she was playing with friends, they could hear me eat in the next room. Now they cannot. Obviously when she streams I won't be clanging dishes in the background. I do agree it has flaws with plosives but good mic technique could take care of that and the pricing is nice. Plus for a higher female voice like hers, the mic suits her in my opinion. Plus, on a note of vanity, she was able to customize it on Colorware.
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I love your videos! You make so much sense, you're generous in sharing what you know, the audio sets the bar really high for other youtubers, and the videography is technically perfect in a lot of ways (lighting, b-roll, etc).
Thanks Arvy!
@Curtis, I think you will love the Lauten Audio LS-208 or Earthworks Ethos (I prefer the the Icon Pro but from all you videos you seem to prefer darker tilt mic)
You’re right - my live streams each week are usually with the Earthworks ETHOS.
Maybe not just eq but tools like oeksound's soothe do take your possibilities much further.
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I've got the SM7B and the RE-20. Currently using the RE-20. We might switch back to the 7B. I think we have the same issue you have. Sibilance is a problem on the RE-20. I think you sound much better on the SM-7B. We need to do some testing. Thanks for the video.
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Great video! The RE20 sounded really crisp on your voice. The RE320 is more budget friendly and also sounds awesome. Sennheiser E845 is also magical at its price point (and a great alternative to the SM58).
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Hello Curtis, I also have a huge problem with sibilance. After recording an online course with a condenser mic, an audio editor advised me to switch to a dynamic mic instead. I was going to get SAMSON Q2U but someone, possibly Bandrew Scott?, said it may pick up more sibilance than Shure SM58, which I'm also considering. Which one would be better for me (for online courses and youtube videos)? Or perhaps something else in this price range?
And I guess it's better to use Q2U with an interface rather than with USB?
I'll appreciate any advice! Thank you! Magdalena
Interestingly, neither of those two mics seem to be easier on sibilance in my experience. And I also find the Electrovoice RE20 and it's less expensive variants to also be quite sensitive to sibilant voices. The editor hasn't had any luck applying a de-esser?
You might also try positioning the microphone a little higher above your mouth which will reduce the sibilant effect - with the capsule around nose height instead of in-line with your mouth. There are several voice over artists who use that technique.
@@curtisjudd I've tried 3 editors (I've asked for de-essing). Two of them has done a great job with overall sound but not with the sibilance. The third one said he would pass on the project as there were too many problems with the audio; he advised switching to a dynamic mic.
I'll try the technique you advised. Thank you very much for your reply!
@@healthvalley386 Do you have any samples online I could hear? I’m curious what other problems exist because sibilance on its own usually isn’t too difficult to address.
The SM-7B and RE-20 are $400 mics. If you're on a budget there is the Shure SM-48 at $40, one tenth the price. The SM-48 uses a Unidyne III capsule like the SM-57, SM-58 and SM-7B. The SM-48 is transformerless and thus sounds a bit crisper than the others.
Thanks. Just be careful - that extra crispness is rough on voices with a lot of sibilance.
@@curtisjudd Have you used an SM-48?
@@testpattern701 I have heard it on several voices but I do not own one.
Thanks much for this. I'm on the edge of buying a new mic for voiceover on YT videos. I can't wait to see your Part 2 on condenser units for comparison. I am especially looking at USB mics, as they eliminate a lot of claptrap and cables for input to Audacity on my PC and for headphone monitoring. I find headphone monitoring very helpful as it keeps *me* in a position to sound best.
So far, I've been sniffing around the Rode NT-USB and the NT Mini USB. After watching to this, I'm also looking at the AT2005USB. Looking forward to Part 2, after which I'll probably click on *buy*
Thanks Jim, we will include the two RODE USB mics n part 2.
@@curtisjudd part 3 for condensers? :)
@@DarkPa1adin We'll see how to break it all down. Was originally thinking I could cover them all in one video - LOL! I was very wrong on that!
Wow I learned a lot from this video! I'm looking forward to part 2 and how it can help me in my voice over recordings. Thanks Curtis!
-Will
Thanks Will!
Thank you for acknowledging the interaction of vocal properties and microphones. I am female and have a high-pitched voice. It's difficult to find microphone reviews with female voices, so I'll likely go with one of the popular mics in the end.
Thanks iunderscoream. In my microphone reviews where we look at a single microphone, I have started including samples of my wife and daughter speaking into the mics so I hope you find that helpful as well. Everyone's voice is different, of course, but hopefully that provides a little more value.
I was looking for mics to work with my singing and this still kinda helped and the info is amazing thank you
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A good review. We are using Q2U + F8n, speaking English and Chinese. Very satisfied with the performance up to now, indeed, they pick up p sound, but for now, we don't perceive it as an issue, since we use the sponge hat.
Excellent, thanks for sharing!
Good video, as usual with you :)
A few comments on the video and the format (I personally know these answers, but for a larger audience I thought I mentioned them):
- You don't really talk about live usually needing a hotter signal at the end of the chain. On podcast or TH-cam you can adjust in post; for live presentation sure the audience can boost up the audio a little bit but there's a usual need for a louder sound.
- You don't demonstrate noise rejection, apart from the usual advice of "dynamic good in untreated room". Like specifically for the mics you suggest, how their noise rejection compare one to another. That may be important or not for podcast depending on the format, but for streaming that's a critical point, it may well be the most important point.
- You don't talk at all about interfaces, I'm not sure if it's by design or not. From a beginner point of view, especially for hard to drive dynamic mics and hot signal for live presentation, giving at least three names of interfaces (like cheap, decent, very good) that can drive those might help.
- That's an easy thing to find, but similar to the last point, you don't mention FetHead or preamp like the DBX 286s.
For those last two points, maybe in a part 3 video?
And maybe a bigger mention of room treatment, even with dynamics? I think you did a short video on that in the past, at least mention it and link to it? Maybe with a short (a few seconds) demonstration of same voice, same hardware, treated vs untreated room?
Thanks Lirae. All good points. Addressing all of the above would make for a great mini course in recording and live sound reinforcement. Have to keep things to a reasonable length but will surely address them all eventually.
@@curtisjudd Oh sure, I didn't know what you wanted to do with the format. Good video anyway :)
Hey Curtis, This may sound like a silly question but I was wondering if you knew of a good microphone for podcasting that has a gold screen? I know I could take apart another Mike and paint it but I don’t want to do that. But I want something good in gold for our upcoming podcast episodes.
Thanks,
Adam
Hi Adam, dynamic or condenser? If you have a SHURE SM58, you could just add an aftermarket grill like this: amzn.to/36dN9mJ
Full Disclosure - this link is an affiliate link. As an affiliate, I earn from qualifying purchases.
sir i want to do voice over I want professional quality. But my room is not sound proof. I want to record poetry. Whose emotional low voice and high voice have to be recorded. Which audio interface and microphone would be best for me? My budget total is $400. In which the complete studio setup is done. i have laptop
Shure MV7.
I'm currently using a Rode NT1 for voiceover, but once I start streaming I think the SM7b will be a good match for my voice. Looking forward to part 2, Curtis. Cheers.
Thanks Dan! I like the NT1. Wish I had one. Seems like you'll have a great set of options there.
My current setup looks like this... the room is not deeply treated though about 25% of the wall space is covered in moving blankets which I use instead of curtains. It is fairly quiet, but there is a computer fan. I am mostly a podcaster though I also vlog on this setup.
For a long time I was using the Diety V3 Pro you see on the arm, but honestly, the audio was not great. I added the close-up SM7B you see, and while I LOVE that sound, I would love the freedom of a good boom out of shot.
I was wondering if an NTG5 might work? It would be about 18 inches away, but the room will still be at best semi treated and I worry that while the NTG5 is good, that a cardioid mic in a "hard-walled" office like this will still never really have the performance of the SM7b.
I know no one can tell me FOR SURE if it woudl work for me, I would still love to hear thoughts.
imgur.com/a/JBGWZQ8
Hi Ken, the NTG5 is more directional than the D3 Pro, but I suspect that you’ll still pick up room sound at 18 inches.
Curtis Judd fair enough and as I suspected from all I’ve managed to learn from years of your videos. I was just hoping 😊
Still, I noticed your streaming setup went for a close up dynamic (the sm7b I think) so I’m in good company 😀
NS1 by waves is a great noise supressor for live suppression. It works really really great and I always use it on twitch. Gets rid of my annoying gpu fan pretty good
👍
Great video! Very clear info of mics. Keep rockin!!
Thanks John!
*WAIT! WHAT???? INTO A CANON C200!! YOU SON OF A ....* (Just Kidding). What a great camera. Been eyeballing this for a long time. Sorry, this is about mics. LOL! I'll watch the rest of the video now. 👍
Dear Son of a What?! There's a long story behind that C200. You'll get the full version next time we talk.
Curtis Judd Son of a Mr. and Mrs. Judd. 😁 Still watching. Great stuff. Can’t wait to hear the story on the camera. Stupid thought of the day...maybe I should play with the buttons on the back of my SM7B. I’m voting for either the 7B or the Re20. Both sound great.
@@BasicFilmmaker Hahaha! Yes, those two are classics for a reason!
Being a Canon user, I also noticed the use of the C200 immediately and would be interested in knowing why not the Panasonic GH5 as previously.
@@djvphotography Short version - our corporate work needed the more efficient workflow of the C200 vs. the Pocket cameras and the GH5s.
I hit the Thumbs Up button BEFORE I watch a video from Curtis Judd. Who else does this? 👍
Thanks Tony!
Curtis Judd YOU are worth it! Thank you for doing what you do!⭐️⭐️⭐️⭐️⭐️ #CurtisJuddRules
I do..
I think I liked your voice on the Electro-voice better once you switched to the SM7B at the end. Just a reference point.
👍
Really useful this info, thanks a lot, greetings from Venezuela, i love your videos, your energy, and of course you explanation.
🙏
Great thumbs up! Always excellent and reliable reviews and tips. Thanks a lot.
Thanks Toto Tata!
I like the Aston stealth. It sounds good on my voice and has a really good preamp built in. I think they tuned V1 mode really well and it gives me allot of range to eq. But hey, it's my voice and my opinion, what works for me might not work for others.
Thanks for sharing.
You should do a full comparison of the RE-20 versus the SM-7b. They're always the podcast mics i see put head to head
I can tell you that on my voice the SM7B wins. So I'll need to find someone who can help me which sounds better on the RE-20. 😀
Thanks Curtis for the video! As my new covid quarantine project, I would like to get into podcasting. So I just ordered the Shure SM58 (with the on/off switch) plus the Audio Technica AT2005. Also ordered some Shure SM48 (with the on/off switch), plus the Focusrite Scarlett 4i4 3rd Gen audio mixer, and the Zoom H6 recorder. Can't wait to receive all the items so I can start putting things together.
Hi Casey - sounds like a fun project. Best wishes and happy recording!
@@curtisjudd Thanks Curtis, you're the best!
@@curtisjudd Hi Curtis, another question please? Is there any noticeable difference in quality or features between the Audio Technica ATR2100x versus the Audio Technica AT2005 mics? They are both dual XLR and USB, the 2100 model is USB-C and the 2005 model is the older mini-USB. But other than those differences, do you have any major preference of one over the other? Thanks!
Casey Cheung unfortunately I haven’t tried the 2100x. I believe Podcastage made a nice review of the new version.
@@curtisjudd Okay, thanks Curtis! I think Podcastage says the "tone" is different between the two A.T. mic models but he doesn't elaborate further. Some reviews say they like the sound of the AT2005 better. Other reviews say the 2100x has a little bit more power. Only reason I'm asking this question now is because the 2100x model is currently available on Amazon after being out of stock for awhile. I currently have the AT2005 model which I rather like and have no complaints, but was wondering if I should get the 2100x model instead. So far from what I can tell, the very minor differences aren't very compelling, plus the 2100x model costs a little more at $99 versus $79 for the AT2005. But I do rather prefer the black color and flat top design on the capsule of the AT2005 versus the round and silver color of the 2100x. I realize those are only cosmetic differences though, LOL! What will probably make a significant improvement is getting a Triton Fethead for $89 to use on my AT2005 mic which many reviewers are saying will add an extra 25 to 30 dB for clean gain. Even though I have my gain dial set at near maximum on my Focusrite Scarlett 4i4 3rd Gen audio mixer for the AT2005 mic, I'm still not getting quite as much volume as I'd like. If I turn the gain dial on the Scarlett mixer to absolute maximum at the 5 o' clock position, there is noticeable unwanted hiss/humming background noise, so that's not a valid option. That's why I can only go to the 3 or 4 o' clock position for usable maximum gain on the Scarlett. I'm guessing adding a Triton Fethead to the A.T. mic means I will have more volume/gain and be able to go lower on the Scarlett mixer gain dial for more headroom. Is that a good idea you think?
Thanks Curtis for your awesome video! My natural voice is low and nasal. If my average voice pitch lies at around 110 Hz and my volume at 62 dB does the RE20 or the Sm7b suit my voice best for podcasting. I don't want the mic to make my voice unclear and more nasal than what it is. Haha
I’m not sure, there are so many nuances with each voice. If you want a crisper sound, RE20.
Love your content man! Nice and polished. Would love to watch the part 2 as I just bought the rode NTG because of one of the reviews on your channel and I wanted to say that it is really helpful!
Thanks Convolva!
What would be a good setup (mic selection, acoustic treatment, etc) for streaming and recording webinar content on the road in hotel rooms and untreated spaces? I have a Mixpre 3 II that I can use as an audio interface. Was thinking dynamic mic or wired lav mic but welcome suggestions!
I would probably go with a dynamic mic. Shure SM7B or sibilant voices, Electrovoice RE20 for darker or more balanced voices. On the budget end, look into the Samson Q2U.
@@curtisjudd Thanks Curtis. Any kind of simple, mobile room treatment you can recommend or generally just using one of those mics itself is good enough?
@@skyace888 If you can, work with lots of pillows and blankets surrounding you and your mic. The main idea is to absorb the high frequency sound which reflects off of hard surfaces.
Thanks for this video. Very informative. Currently im looking for solution for Zoom/teams/skype calls. I have electret mic ZM-MIC1 which is true legend in terms of quality/price ratio, sound is MUCH better than 80-90% electret mics out there. But it picks up too much background. I live with my family in tight flat and this is a problem. Thats why im interested in dynamic mics. I think that ATR 2100/2005 + maybe mtrack solo/behringer umc22 should be nice and affordable combo. The only thing that bothers me is that you have to keep your mic close to you and im afraid that turning my head left and right (to look on multiple screens) might be a problem. Maybe shotgun mic would be better here? Or 2 dynamic mics?
Or just adapting with some microphone technique - place the mic so you can turn your head but still keep close to the mic.
and i like the set up fo your space. What is the unit behind you made of?
The acoustic treatment? That's a set of GIK Acoustics panels. They use some sort of proprietary material - not sure on the details except that it is formaldehyde free and is not rock wool, though is similar and a bit more dense.
So Curtis, I have a pretty naturally deep voice but it’s articulate. Would you recommend I use the high pass filter on a microphone AND since I have the Focusrite 3rd gen audio interface use the “Air” feature on it too?
I'd experiment with both, make several recordings, and make the call from there. Whichever sounds best is the right choice.
I am really curious what you think of Shure SM57? For Dynamic Mic, I have SM57, and I am happy with it.
Classic dynamic instrument mic and also used for live vocals/speaking. Not the perfect fit for every voice but a solid performer.
@@curtisjudd But it's less gain hungry than SM7B and with simple EQ sounds almost identical to SM7B... Don't know, I like it better than SM58 for speech :) Always great to hear your opinion though.
Great video, as always. It amazes me that anyone uses the Shure dynamics for anything but a low-end durable road mic’s. The SM dynamics sound so flat, artificial and muffled that it’s painful to listen to. Even an EV 767 or a Lewitt 440 DM sounds so much better, let alone the more expensive Eathworks options. Personally, I try to use an LDC for any decent environment.
Your ears are a bit more mature and experienced than most others. 😉
Sir I am very confused. Which audio interface and mic should I get? I want to do professional poetry recording. In which my words will go high and also come down emotionally. My room is not sound proof. And I have a budget. $300 to $400 in which my entire setup is made.
Have a listen to the Shure MV7: th-cam.com/video/fhFCsL7bq6Q/w-d-xo.html
The sm-7b sounds great! I want one now
👍 it's a worthwhile investment.
Hello Curtis... I have watched so many videos about sound as I am learning and I found your video above today... and I have a question (and I have a video with proof of my question down below): Recently a friend of mine gave me a mixer and the brand is Allen and heath ZED 10 and a BM-800 microphone and he wanted me to help him find a way to hook it up to a laptop because he has an online radio out of his computer and he wanted to use the mixer and connect couple more microphones when sometimes he has a guest... I have struggled to do that for the past week and half doing different tests and watching several youtube videos, buying different cables and doing this and that... and I always thought that whenever there is nobody talking to the microphone the computer should not get any sound.. I managed to connect the mic to the mixer fine and got good level of gain, but I found that when I first connected the mixer to the computer using a regular TS 1/4" cable to capture the output to then convert it to 3.5 TRS connector, I hear noise when I am not talking... I have searched how to solve that and I cannot find any answer to this... then after so many videos watched, I recently then plug an RCA cable to get the sound from the mixer and voila! no noise... why is that? I just found your video today and I cannot hear any noise when you are not talking... do you treat the sound recorded from the microphone in post so you remove the noise? Is it supposed to be the norm? I mean, to pickup noise with a TS output and no noise with a RCA output? I even bought online 3 days ago and I received it today a Radial Pro48 DI box because I saw in other videos that those DI boxes remove noise, but I wonder now if the cause is the TS cable or the TS output because no noise with the RCA output... I don't even know anyway where to plug that DI box... I would appreciate if you can make sense of this mistery on why no noise with RCA output and noise with TS output because I don't know... here is a video I made of this test and you can hear what I am talking about:
th-cam.com/video/1uZH1TtLuv4/w-d-xo.html
Hi MiQuel, Both are unbalanced connections (RCA and 1/4" TS) which have a tendency to pick up noise. Most 3.5mm microphone inputs are unbalanced so it is good news that at least the RCA cable was clean. A DI box won't work if your camera's input is unbalanced.
In my case, I am have my microphone attached to a Sound Devices MixPre-10 and then line out with a balanced XLR camera from the MixPre to my camera, a Canon C200. Balance connections like that are much more immune to interference. I did NOT apply any sort of noise reduction to this or any of my videos here on TH-cam.
Best wishes!
@@curtisjudd Thanks for taking the time to reply out of your busy day! Happy Fathers day, just in case you have kids...
In my case (as you can see in my video of my test th-cam.com/video/1uZH1TtLuv4/w-d-xo.html) I am not trying to connect the mixer to a camera, but to my laptop... I realized by looking at your other videos that you specialize connecting them to a camera, not to a laptop... I guess I will just have to accept the fact that the TS to TRS 3.5 is noisy and the RCA to same TRS 3.5 is not noisy.
Regards!
Great video Curtis. I don’t know if you have them but it would have been good to hear your thoughts on the Rode Procaster or the Rode Podmic.
Thanks Raymond. Unfortunately I don’t have either of those mics.
Is it reasonable to use my shotgun microphones for the podcast I’m starting?
I have the MKH416 and Rode NTG3
.. it would be nice to use mics I already own instead of 800 additional dollars on two Sm7b’s
Thanks Curtis for the most helpful audio videos out there
I’d certainly try with your current mics first. Position will be important to prevent bleed.
What type of mic do you recommend for kids doing voice over? They are pitchy and tend to move a lot
Large diaphragm condensers which we'll cover in part 2. I haven't worked with kids who were too young to train them on basic microphone technique, so I'm not sure there. How old are the kids you're working with?
Curtis Judd 4-6
@@rocioarcemarin6463 Wow! Not something I have experience with as yet.
Curtis Judd thank you for everything you do 🙏 you are truly appreciated
I would love to hear your thoughts on the RODE PODMIC?
It sounds a little prone to plosives on the samples I've heard, but I'd sure like to try it!
Hey Curtis, thanks for the great video. I have an Sm7b and am very happy with it for my voice on podcast but I’d like to get another for guests. I’d like to try the Re20 to see if it works better my voice and would have a choice but another sm7b would give me a consistent sound from both Mics. Do you think it would be better to get the second Sm7b or grab an re20? Appreciate it! Love the channel, reviews of l8 and rodecaster we’re very helpful
Btw I record music so having a variety might help but I do live my Sm7b, very confused! 😂
Hi Michael, I think an RE20 would make sense to give you options. I'd find which of those work best for your voice and then use the other for your guests. :)
Curtis Judd Lovely! Thanks a million!
Rode Procaster was my choice.... Very well done video btw
Happy recording!
Hello! Have you ever tried the Audio Technica BP40 for podcasting? If so what are your feelings about that mic?
Hi Cecilia, unfortunately, I haven't had a chance to use the BP40 yet. Sure would like to try it.
"Please bring pizza pronto"! One of those mind viruses I can't forget.
😀
Did Podcastage come up with that? Or did someone else conceptualize that originally? I want to know!
@@kolvis6626 Uh oh. @podcastage I'll let you tell the FBI whether that's yours or somebody else's. 😉
Thank you, great video. Do you mind testing the A2100 and its ability to maybe record a phone call or VOIP call using the multiple options...i.e. XLR onto a mixer (I have the Zoom H5) and maybe a TS cable to line in?or a splitter? what options can be used?or alternatively, how do you recommend someone record a phone call onto a separate track and the ability to monitor both individuals using the headphones?
Hi Ali, thanks. Could you please clarify? What do you mean by the A2100?
Curtis Judd sorry I should have been more clear... ATR 2100x which is one of the mics you have reviewed. I am wondering if there’s a cheap and cheerful way to do phone calls using my equipment. Otherwise my last resort would be to pay for an online subscription based service.
Can you place a dynamic mic like the SM58 on a boom out of frame and it’s still sensitive enough to pick up good dialogue?
Not without ridiculous amounts of gain - probably at least 65 dB for a tight head and shoulders shot, possibly 70dB.
i AGREE FULLY! You cannot make up for bad sound or improve your sound quality from a poor sound source... you need to learn to have the best sound available for recording for your needs.
Period. sOUND TO ME Is more than getting it right, it's imperative, fundamental and more important then the image you want to portray.
👍🎙
Awesome Video Curtis,
Is it necessary to have a cloudlifter to boost my signal if I plan to use the Shure Sm7b with the Rodecaster Pro or The Zoom F6? Is there a major difference using or not using a cloudlifter? Lastly, Do you know if Rode plans to have a specific mic profile for the Shure sm7b like the RE20? Thank you.
Hi My Ford Noel, It is not necessary if you will do post processing and can boost the levels in post/edit. However, if you will be live-streaming, then yes, I'd recommend a cloud lifter since you won't have a chance to lift it in post. There isn't a major difference in audio quality one way or the other to my ear, just level. I don't know if RODE plans to create a profile for the Shure SM7B. Best wishes!
@@curtisjudd Great feedback,
Thank you.
This was useful! What do you suggest if you have two people in the same room as co-hosts? Right now, I have an MKH-416, ME66, and SM57. The goal is to either pair or buy a new set of mics. Any thoughts?
The 416 will generally provide the most separation if you need to have the mics out of frame/not on camera.
@@curtisjudd Wonderful, can this also work as a podcast mic in the same room - two hosts on two 416s, or is dynamic preferable (SM7B)?
You forgot to mention the RE20 has no proximity effect which is quite a plus. Secondly, the effect of better response at 15KHz, I respectively submit, on voice, is nil. Condenser mics often have better ultra high end response but to repeat myself, whatever vocal characteristics you like about condensers, it is not their 15KHZ response
Thanks D. T.
Good video Curtis.
Have you done a video on microphone stands for podcasting? Which Heil stand is that one you are using in the video?
Hi Mark, I haven't. That's Heil's stand which runs about $100 as I recall. I have retired it because I was having trouble with the knob and joint which positions the microphone. I now use much more expensive desk boom arms from OC White and M!KA, but I haven't reviewed them because people tend to complain when I review the more expensive gear. ☹️
@@curtisjudd how about a video comparing the pros and cons of the less expensive stands, like the Heil you retired, and the higher priced replacements you are using now. Gives your viewers the knowledge to make a choice about which option to take.
@@markanderson6639 Good idea - will add it to the list!
I love your videos. And as you said about tastes, I simply hate how SM7B sounds, so thanks for this unbiased review.
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Hey Curtis! I can always learn so much from your videos and would like to thank you for all your efforts! I've been using a RODE NT1-A condenser microphone for the past few years and think that it's a great microphone for most things but isn't the best when it comes to sibilance. I also have a fair amount of sibilance in my voice and was never able to fix that with an equalizer in post just like you've pointed it out in the video.
My setup looks a lot like yours. I have quite many reflective surfaces (desk and monitors) and also tried using a RODE NTG-3 shotgun microphone slightly out of frame, which sounded really dull due to the reverb compared to the NT1-A but did a lot better job when it comes to sibilance. I don't really mind a microphone in the frame, so now I'm thinking about getting the SM7B to replace my old NT1-A to help with some of that unpleasant high end and reverb. Do you think the SM7B could fit my voice? Would love to hear your opinion on that!
Yes, the SM7B tends to emphasize sibilance less than microphones like the NT1A. It also rejects room noise and reflections better than most condenser microphones. However, it doesn't sound quite as realistic - more like a traditional FM broadcast microphone. That's a great sound, but not something you may want all the time. I have an SM7B and do NOT regret the purchase. 😀
@@curtisjudd Thank you for your very quick response. I really highly appreciate that!
I'll get the mic and just try it out to see how exactly it sounds with my voice. I plan on using it with my GH5 and DMW-XLR1 adapter, which I know you have also tested on your channel in the past. Do you think that there will be enough gain with a fethead so that I can feed the signal directly into my GH5?
@@ValentinKossenko with a fethead, yes, I think that will work. The XLR1 is not the cleanest so you may experience a bit more self-noise than you do with the NT1A.
I have a budget of £100/$136 for a solo podcast I'm starting, recording from my bedroom. I have a deep voice and will be making episodes with people over VOIP. I've been told that I should get a dynamic mic also. What are the recommendations?
I'd look at a Samson Q2U: geni.us/b0PJH
Full disclosure - this is an affiliate link for B&H, Sweetwater, or Amazon. As an affiliate, I earn from qualifying purchases.
Is the SM7B "presence boost" really the natural sound and when you switch it to flat are you modifying the circuit?
It doesn’t sound natural on my voice. You are adding some processing, yes.
sm58 surprised me because by spec i would expect it to not sound as good
Yeah, for its price, sounds surprisingly good
Have you had a chance to try out the Shure MV7? If so, how does it stack against the SM7B?
Yes: th-cam.com/video/fhFCsL7bq6Q/w-d-xo.html
Great video. About to get started... I am a little surprised you do not have the AT2020 here... been my go to for many years and I think tough to beat for around $100.
Oh, well, the AT2020 is a condenser microphone and we only covered dynamics in this part. I don't have an AT2020 on hand, so I won't be able to include it in part II unless one happens to appear here before then. ;-)
@@curtisjudd Want me to send it to you? Or would love to swap to test out if you are open to it. I have the AT2020 usb, quite convenient but interesting to see which would work best with my voice.
@@curtisjudd btw, watched like 4 or 5 of your videos in a row, ok, listened... while working on the car earlier today. =)
@@SlavGuns No, that's ok. I've got my hands full here with more mics that I can possibly include in a single video.
@@SlavGuns Hopefully it made the work on the car go well. 😀
Great video and comparison; I only recently stumbled on your channel here and have been playing catch up.
To my ear the SM7B just seems to be a bit heavy on a mid range presence, on a variety of voices. Just like a smidge much, for my personal preference anyway. Whereas I feel like the RE20 is maybe a little more balanced overall. I wound up picking one up the other week and it might be my favorite piece of audio kit I've ever purchased. One of those rare times I get the "fits like a glove" feeling from day one.
Looking forward to checking out more of your content!
Thanks for coming by, Tom!
The RE-20 is a solid microphone, but it may not last "decades" without periodic replacement of the 3 internal foams, which can degrade in as few as 5 years and can stick to and permanently ruin the mic capsule. Replacement foams are available from Telex or Full Compass. Basic soldering skills are needed to disassemble and re assemble the microphone to replace the foams. EV used to, but no longer does, offer a foam replacement service.
www.jeffgeerling.com/blog/2017/refurbishing-classic-microphone-electro-voice-re20
The capsule is not buried deep down in the microphone interference tube as it would be in a shotgun microphone design. The diaphragm is at the same level as the base of the screw off cap of the microphone and is covered by a single, coarse open foam - as you can see at the above link. So the RE 20 is fairly subject to plosives and requires good mic placement/technique if you are going to use it without an external pop filter.
Thanks for the info, Gerard.
Hey Curtis, the AT2005 seems to be discontinued, both here in UK and US. Does AT have a replacement? thanks
Yes, the ATR2100x looks to be the replacement.
Thanks, Curtis for another helpful video.
An alternative to the SM58 is a SM57 + the Shure A81WS windscreen. The windscreen handles plosives much better than the 58 and rolls off slightly above 10kHz. Some people say this makes it sound more like a SM7B, but I cannot confirm this.
The windscreen is comically large and a bit pricey for a piece of foam. Still, it's an affordable option for a good dynamic voice-over microphone.
www.shure.com/en-US/support/find-an-answer/a81ws-windscreen-and-high-frequency-response
Thanks Barry!