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.
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 😂
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.
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.
*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 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.
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.
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.
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 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'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...
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.
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).
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.
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"?
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.
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
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!!!
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.
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!
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.
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*
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'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.
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.
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.
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.
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.
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.
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
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
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?
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 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!
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.
To my ears and in this video, AT2005 > SM58 > RE20 > SM7B. The AT has a sharp enough sound that it's at its best closer up than the rest and being so close sounds the clearest. SM58 has a muffled but fairly relaxing sound to it without being boomy unless you get too close. RE20 is either sharp and boomy or with high pass on sharp and thin. SM7B is just boomy and muffled.
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.
There is a new version of the ATR2100 from Audio-Technica. the ATR2100x. USB C or XLR, 24-bit, up to 192 kHz if that matters to anyone and a similar kit of cables. All ATR mics have the same limited lifetime warranty. Costs US$99 right now so maybe a stealth price increase. and the upcoming Samson Q9U USB C or XLR copy of the look of the SM7b is going to be interesting. !
The Q9U is due out in April if I recall and it is really going for the SM7b look. It will be $200. The ATR2100x is out but I've not seen the usual suspects mention it yet nor have I heard it. Waiting for @Podcastage to get ahold of them and the rest of the review crowd like Julian Krause and Curtis. !
I see that but I weight the yoke/built-in shock-mount heavier and once you throw an a81ws like windscreen I think it mukluk be considered close enough. It's like the Røde Podmic. It gets compared to the Procaster because of who makes it and the SM7b because of the yoke. !
I think I just officially confirmed that I like more "Natural" sounding mics (bit more sibilance?) . I know for work, I don't mind feeling the "space" a bit, so I'm coming from that mindset. I also really really dislike the proximity effect lol. Thanks for the Video.
I plan no podcasts or voice-overs, but decided to comment that 2,5 months after this video was uploaded, it has 573 thumbs up and 0 (zero) thumbs down. That is unheard-of! (pun intended) :D
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
@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)
The RE20 sounds very good on your voice. (Much better than the SM7B which I don't like). The RE20, by the way, is currently crazy expensive in my country (Denmark): about $820. Thomann in Germany sells it for "only" $623, but given the price I could easily put up with my SM58, or just about any of my many other mics.
Oh, I despise the sound of the RE20 on my voice. Far too sibilant. This is not a criticism of you, just an illustration that we all hear a bit differently.
The 58 sounds much much better on your voice than the 7b in my opinion. Especially through my Genelecs. Plus the smaller mic looks better on camera. The 7b sounds overly compressed like a dry biscuit. I typically grab the Beyerdynamic 88 or a transformerless sm57 with the screw on pop filter for podcasting/streaming. Nice video though thanks for addressing this when no once else really is.
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
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.
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.
Pop filter is best versus a foam cover for 58, in my opinion because, it can completely remove plosives & more importantly; it reins in the proximity effect. Personally I find the use/& abuse of proximity effect nauseating. As you mentioned "the fm radio announcer sound". That's not to say I wont sweeten things a little in EQ, but that the proximity sound is simply a false woofee sound. Additionally using a pop screen trains the vocalist a little in microphone technique; singing/or talking straight into the 58 at a good distance.
Hi Curtis, thank you so much for this detailed video! Do you have any experience with Tulsa’s TL023 mic? If yes, would you recommend it for podcasting & singing? Thanks! 🙏🏼🙂💖
Very informative. Enjoy your reviews as always. By the way, rode podmic, podcaster, procaster were not mentioned. Are they competitive in their price range? I prefer sm7b but budget won't reach
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. :)
Hey Curtis, great video as always, would you say that one way you could get a better sound while staying within the SM58 form factor is to get a Beta58A?
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
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 may be late to the party here.. but I want to comment just the same... having been a professional photographer for 34 years... and I've also done a feature length documentary.. directed music videos over the years..... etc.... but in order to make a living, any unnecessary expense is money that doesn't go towards the bills... or loss of profit.. we all know that it isn't the camera but the guy behind the camera.... same with sound.... I'm talking once you meet adequate levels... and I have a handful of mics, shotguns, some condenser mics, but I don't have an on camera mic that I like... and lets face it, "It's not how you sound, but how you look, and SM7B you look marvelous... " to further prove that point, I finally stumbled on a channel with an electrical engineer, a guy that could tell you why a mic sounds like it does... and how much of the other is voodoo.. what I didn't realize was that the SM7b, and the SM57, SM58, and the 55SH had the same capsule... what difference there is between the mics is negligible... if any at all.. he pulled them out and showed you as much... interestingly enough the 57 and 58 had something the 7b DIDN'T have... the 7b is missing a step up transformer, and that is why it frequently needs a cloud lifter... so they pulled the transformer out of the 57... and there was no difference of with or without transformer worth talking about... then they experimented with foam.. THEN we started to hear the difference, (and already to hear the difference you have to have headphones) you can't get as close to the 7b capsule because of the cage inside.... but the 57 and 58 you can get right on top of it... then they added the Shure A81WS foam, and they were so close that you couldn't tell a difference in a blind test, and he proved it... the 7b has better isolation, and looks better... I think, if you charged 500 for the 58 it may look better..... LOL ... I'm not going to say that looks don't count, because they do.... when clients are coming to my studio.... I set up and light the set like a movie set.... clients expect that, when they are paying a big day rate...., So, I would be curious if you have experimented with foam windscreens with the 58.... after you take off the ball head... after all, US presidents for years have been talking into 57s with foam and a shock mount for ages... and they look pretty cool....
Obsessing over microphones is a fine pastime for nerds like me. 😉 In seriousness, it appears that the shape of the microphone's body and position of the microphone's diaphragm within that body makes a difference. Note also that the SM7B does have the high pass and presence boost filters so there's another little difference there. But, overall I agree - if one has the money and vanity or needs to look the part, the additional $300 for the SM7B is a fine investment.
@@curtisjuddThanks Curtis, I always appreciate your quick replies.... If I could find a fake 7b shell I would put an 87 in it, It would be scandalous..... LOL...
See I actually think the strength of the RE20 is actually the opposite of what you said/shown, you don’t need to “stay up on it”, it’s a little more versatile than the SM7B in that it sounds a little better when kept like 8 inches away from the speaker, as is often the case for Radio DJs, you’ll see they’re rarely right up on it, and in fact you speaking so close it picked up far too much sibilance that way. But I think the SM7B is better at taking a mediocre voice and making it sound a bit sexier with how it warms up vocals, but it’s less versatile in use in that you really do want to be right up on that mic (it sounds no better than a SM58 once you get 6 inches or more away from it).
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.
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.
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.
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!
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! :-)
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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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!
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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Client: what do you know about sound?
Me: Curtis Judd.
Keep up the great work Curtis, very helpful indeed.
Hahaha! Thanks Don.
*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 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! 🎙
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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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!
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.
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!
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.
Excellent video Curtis. I always learn so much from your video and audio courses. Thanks for posting!
Thanks for watching, Warren!
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!
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.
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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Wonderful sonic illustration, really looking forward to Part Two.
Thanks Alan!
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!
always watch your videos when they come out. thank you for the high quality work
Thanks Jonathan!
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!
An icon in the industry. Respected through and through. Well done!
Thanks Nic!
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 do too. Never had to go back and uncheck it either.
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 :)
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
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.
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
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.
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.
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!
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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Really useful this info, thanks a lot, greetings from Venezuela, i love your videos, your energy, and of course you explanation.
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Great thumbs up! Always excellent and reliable reviews and tips. Thanks a lot.
Thanks Toto Tata!
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.
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!
"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. 😉
The Heil Sound PR40 is also very popular for podcasting.
Yes, agreed.
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'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.
I think I liked your voice on the Electro-voice better once you switched to the SM7B at the end. Just a reference point.
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Thanks.
Q2u does come with a foam cover for plosives. Maybe because of your point.
Thanks for the clarification, Dr. Wright!
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.
The sm-7b sounds great! I want one now
👍 it's a worthwhile investment.
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. 😉
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. 😀
Great video! Very clear info of mics. Keep rockin!!
Thanks John!
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.
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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.
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!
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!
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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Maybe not just eq but tools like oeksound's soothe do take your possibilities much further.
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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
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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?
Rode Procaster was my choice.... Very well done video btw
Happy recording!
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 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!
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.
To my ears and in this video, AT2005 > SM58 > RE20 > SM7B. The AT has a sharp enough sound that it's at its best closer up than the rest and being so close sounds the clearest. SM58 has a muffled but fairly relaxing sound to it without being boomy unless you get too close. RE20 is either sharp and boomy or with high pass on sharp and thin. SM7B is just boomy and muffled.
Thanks for your input!
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.
There is a new version of the ATR2100 from Audio-Technica. the ATR2100x. USB C or XLR, 24-bit, up to 192 kHz if that matters to anyone and a similar kit of cables. All ATR mics have the same limited lifetime warranty. Costs US$99 right now so maybe a stealth price increase.
and the upcoming Samson Q9U USB C or XLR copy of the look of the SM7b is going to be interesting.
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Good to know, will there be a difference between Q2U and Q9U in terms of sound?
The Q9U is due out in April if I recall and it is really going for the SM7b look. It will be $200. The ATR2100x is out but I've not seen the usual suspects mention it yet nor have I heard it. Waiting for @Podcastage to get ahold of them and the rest of the review crowd like Julian Krause and Curtis.
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Thanks for the update!
I see that but I weight the yoke/built-in shock-mount heavier and once you throw an a81ws like windscreen I think it mukluk be considered close enough. It's like the Røde Podmic. It gets compared to the Procaster because of who makes it and the SM7b because of the yoke.
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I think I just officially confirmed that I like more "Natural" sounding mics (bit more sibilance?) . I know for work, I don't mind feeling the "space" a bit, so I'm coming from that mindset. I also really really dislike the proximity effect lol. Thanks for the Video.
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I plan no podcasts or voice-overs, but decided to comment that 2,5 months after this video was uploaded, it has 573 thumbs up and 0 (zero) thumbs down. That is unheard-of! (pun intended) :D
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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.
@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.
SM 58 sounds really nice!
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The RE20 sounds very good on your voice. (Much better than the SM7B which I don't like).
The RE20, by the way, is currently crazy expensive in my country (Denmark): about $820. Thomann in Germany sells it for "only" $623, but given the price I could easily put up with my SM58, or just about any of my many other mics.
Oh, I despise the sound of the RE20 on my voice. Far too sibilant. This is not a criticism of you, just an illustration that we all hear a bit differently.
Excellent demo, thank you!
You are most welcome!
The 58 sounds much much better on your voice than the 7b in my opinion. Especially through my Genelecs. Plus the smaller mic looks better on camera. The 7b sounds overly compressed like a dry biscuit. I typically grab the Beyerdynamic 88 or a transformerless sm57 with the screw on pop filter for podcasting/streaming.
Nice video though thanks for addressing this when no once else really is.
Thanks Shaun, appreciate the insights.
Always super informative... thanks
Thanks Stuart
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.
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.
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. 😀
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.
Great job!
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Pop filter is best versus a foam cover for 58, in my opinion because, it can completely remove plosives & more importantly; it reins in the proximity effect. Personally I find the use/& abuse of proximity effect nauseating. As you mentioned "the fm radio announcer sound". That's not to say I wont sweeten things a little in EQ, but that the proximity sound is simply a false woofee sound. Additionally using a pop screen trains the vocalist a little in microphone technique; singing/or talking straight into the 58 at a good distance.
Thanks for the suggestion - good idea!
Hi Curtis, thank you so much for this detailed video! Do you have any experience with Tulsa’s TL023 mic? If yes, would you recommend it for podcasting & singing? Thanks! 🙏🏼🙂💖
Hi! Unfortunately I don’t. Have you used it before?
Very informative. Enjoy your reviews as always. By the way, rode podmic, podcaster, procaster were not mentioned. Are they competitive in their price range? I prefer sm7b but budget won't reach
Hi Frank, they are, I just haven't had a chance to use them.
Not sure what your talking about? The RE20 is one of the most flat microphones in the broadcast business. Your voice was just fine.
Just doesn't fit my preference. Nothing personal. We all hear differently. It is a good microphone.
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!
Great Useful Video
Thanks Omar.
Hey Curtis, great video as always, would you say that one way you could get a better sound while staying within the SM58 form factor is to get a Beta58A?
I think it depends on the voice you’re be recording. I’d try both and return the other.
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!
Many thanks Curtis.
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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.
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.
I may be late to the party here.. but I want to comment just the same... having been a professional photographer for 34 years... and I've also done a feature length documentary.. directed music videos over the years..... etc.... but in order to make a living, any unnecessary expense is money that doesn't go towards the bills... or loss of profit.. we all know that it isn't the camera but the guy behind the camera.... same with sound.... I'm talking once you meet adequate levels... and I have a handful of mics, shotguns, some condenser mics, but I don't have an on camera mic that I like... and lets face it, "It's not how you sound, but how you look, and SM7B you look marvelous... " to further prove that point, I finally stumbled on a channel with an electrical engineer, a guy that could tell you why a mic sounds like it does... and how much of the other is voodoo.. what I didn't realize was that the SM7b, and the SM57, SM58, and the 55SH had the same capsule... what difference there is between the mics is negligible... if any at all.. he pulled them out and showed you as much... interestingly enough the 57 and 58 had something the 7b DIDN'T have... the 7b is missing a step up transformer, and that is why it frequently needs a cloud lifter... so they pulled the transformer out of the 57... and there was no difference of with or without transformer worth talking about... then they experimented with foam.. THEN we started to hear the difference, (and already to hear the difference you have to have headphones) you can't get as close to the 7b capsule because of the cage inside.... but the 57 and 58 you can get right on top of it... then they added the Shure A81WS foam, and they were so close that you couldn't tell a difference in a blind test, and he proved it... the 7b has better isolation, and looks better... I think, if you charged 500 for the 58 it may look better..... LOL ... I'm not going to say that looks don't count, because they do.... when clients are coming to my studio.... I set up and light the set like a movie set.... clients expect that, when they are paying a big day rate...., So, I would be curious if you have experimented with foam windscreens with the 58.... after you take off the ball head... after all, US presidents for years have been talking into 57s with foam and a shock mount for ages... and they look pretty cool....
Obsessing over microphones is a fine pastime for nerds like me. 😉
In seriousness, it appears that the shape of the microphone's body and position of the microphone's diaphragm within that body makes a difference. Note also that the SM7B does have the high pass and presence boost filters so there's another little difference there. But, overall I agree - if one has the money and vanity or needs to look the part, the additional $300 for the SM7B is a fine investment.
@@curtisjuddThanks Curtis, I always appreciate your quick replies.... If I could find a fake 7b shell I would put an 87 in it, It would be scandalous..... LOL...
LOL! 😂
See I actually think the strength of the RE20 is actually the opposite of what you said/shown, you don’t need to “stay up on it”, it’s a little more versatile than the SM7B in that it sounds a little better when kept like 8 inches away from the speaker, as is often the case for Radio DJs, you’ll see they’re rarely right up on it, and in fact you speaking so close it picked up far too much sibilance that way. But I think the SM7B is better at taking a mediocre voice and making it sound a bit sexier with how it warms up vocals, but it’s less versatile in use in that you really do want to be right up on that mic (it sounds no better than a SM58 once you get 6 inches or more away from it).
Thanks for the insights!
Great review! Any chance you’ll do a review of the Zoom Podtrak P4 when it comes out?
Yes, working on the review this week, in fact.
sm58 surprised me because by spec i would expect it to not sound as good
Yeah, for its price, sounds surprisingly good
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.
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
Another fantastic video.
Thanks Owen.
Excellent video. Thank you.
Thanks Asten!