I must admit I have watched maybe hundreds of gear videos , reviews etc. I notice the relatively small size of your channel but I will say you hit the ground running. Even after all those other videos and being very familiar with most of what you said. I still looked at the video in it's entirety. I try to learn more from what is not said in videos now. Like observing mic technique, video transitions , lighting, speaking technique, frame composition etc. I have to say I really enjoyed this video. Well done !!
Wow, thank you so much. Yes, my channel is brand new and I’m hoping to be able to bring a unique perspective to what is, in many ways, a well-covered and even saturated topic space. I think there’s a lot of missing information in the remote (and in-person) communication space and hope to help fill in some vital answers to material questions.
Very good video especially for beginners. I think it's great that you have the courage to actually recommend specific microphones for different requirements and types of people. Many good audio people rightly say that the personal voice is important for the right microphone. But that is already the clearly advanced stage and too far away for normal people. The recommendations for microphones that I know from your selection actually fit the vast majority of voices. That's exactly why it's so helpful.
Thank you! Yes, this is really targeted at beginners with teasers for the mic-curious. Clarity with a full frequency response is what I would prioritize first. I think it takes a little time to develop the sonic palette to know which mic you’d prefer to pair with your own voice. I’d love to make a video on that in the future.
I agree with some of the earlier comments and say it was an excellent video. The quality was good and the information very helpful. Although I feel there are great out-of-screen options at a lower price point. The higher tier suggestions, while expensive, are truly great.
Thanks Oscar, you are right. My goal is to target working professionals who are using their setup to earn a salary, so I’m not particularly focused on finding the absolute cheapest gear. While there may be some gear that sounds good right out of the box, there are other factors, like durability, product consistency and electronic longevity that are extremely important. Nobody wants a piece of gear to fail the moment they dive into a presentation in front of several hundred people, for example. While some cheaper gear may hold up fine, I think it’s wise to invest a bit more in something that may be in service in your home office for years. Comparatively, if you were working in person, how much would you spend on a jacket, shirt, pants and pair of shoes to look sharp in the office? I liken the way we present ourselves online to the way we would in person, so I think the cost is reasonable. This is only my philosophy, but it will be a common theme throughout my videos.
Thank you so much for this clear, concise, and helpful information. A very precise take on voice reproduction for many venturing into this arena for the first time.
Thanks! Yeah, I originally got it for recording acoustic guitar and hi-hats on the drum kit. Then, I realized how fantastic it sounds on voice. Its form factor makes it so convenient for laptop meetings. The only thing to be careful of is not to speak directly into it close-up as the plosives will be overwhelming.
@@simonpeck I did buy the FIFINE (USB/XLR) a couple of weeks back. For such a cheap mic - it's pretty amazing - actually I'll rephrase that: it's awesome. I don't know why I keep buying mics it's hysterical.
@@simonpeck temptation went the other way in the end. 2 x Sontronics Podcast Pro's and a Rodecaster Pro 2 - amazing combo. Hopefully that hold back temptation for the moment. 🤣😂 My assistant inherited my FiFine to get her practicing her podcast voice and post production learning.
Thank you for the advise! I never really thought about the microphone I was using in my calls. After seeing your video I immediately bought me a new one! 🎤
Great video. Basically anything but the built-in mic on your computer is better. I appreciate this video a lot. Just getting something closer to your mouth is going to make such a huge difference.
Oh yeah, I almost bought the MK-012 Film Edition to use in one of the personas. It seems like another great candidate for off-screen miking. I didn’t mention it, because I don’t have any first-hand experience with it yet.
Thanks for all the great tips, Simon! I'm wondering about USB headsets (e.g. Astro A50) and sound comparisons to a more fancy setup. I wonder if you made a video comparing and contrasting all-in-one headsets vs. more professional level microphones so we can hear the difference. Keep up the awesome work with your videos!
Thanks, Tyler. This would certainly be an interesting topic to cover. I don't know of a headset that has a microphone with a full-range frequency response, which is why people sound like they are "on the phone" when they use these. However, there must be something out there. I can do some research to find out. I'll start with the Astro A50, but if you (or anyone else in here) know of some contenders I can explore that as an option.
@@simonpeck As far as premium goes the only other headset I know of is: HyperX Cloud II - Gaming Headset . Thanks for considering a future video on it!
Very descriptive! I might also suggest the Wave XLR for an audio interface primarily because of its ability to use VST plugins and its Clipguard feature, even though it's a tad pricey. I'm a beginner voice actor with a few great microphones and a portable booth, but I would love to see what you recommend for a potential mobile indoor setup for future reference. 🙂
Great video, well produced, solid advice. Three comments: (1) I would assume most people would not want the microphone in the shot, so surprised you did not include more than one shotgun mic choice, like the ones usually recommended for YT content creators who are starting out (Rode Video Mic, Diety, etc.); (2) The mic-that-shall-not-be-named is the one on the Apple Air Pods? If so, not sure why they would be excluded, because they are literally broadcast quality, you see them all the time in TV news interviews. They would better meet requirements for your Minimalist and Working Parent personae, as they would not require additional equipment and easily connect wirelessly to computers via Bluetooth. Granted they are not the same quality as a dedicated microphone, but they are a huge jump up in quality from your computer's microphone. (3) Good call out on World's Best Cables. Would add that they are superior to cheaper cables because they use Mogami 2534 wire, which are shielded from radio-frequency interference. This is especially important if you live in the middle parts of a city or in an area with lots of radio activity. No one wants to hear faint traces of their local radio stations when they connect their microphone!
Thanks for the feedback, Derrick. For shotgun, mics, I probably should have included at least one more option. Frankly, I don’t think they produce the best sound for remote meetings, because they will pick up more of the room noise from behind the mic, due to the nature of shotgun pickup patterns. The primary lobe of sensitivity is towards the front and there’s a secondary one that is less sensitive behind the mic. If I had included one more, it would have been the Oktava MK-012 Film Edition. Most shotgun mics work better outdoors where they are placed overhead and the back of the mic is aimed at the sky. Regarding earbuds, I didn’t mean to exclude anything, but I wanted to provide an alternative that wasn’t targeted at specific phone manufacturers. Maybe this was a mistake. The two earbud models I left off were the Samsung Galaxy Buds 2 for Android and the Apple AirPods for iOS, both of which do have decent microphones. Thanks for watching, and I appreciate the thoughtful comment.
After getting some feedback about removing my SM58 from the shot, I experimented with booming it overhead. I’ve gotten pretty good results by removing the internal foam from the ball grill and strategic sound treatment of the room. The mic is usually 9” - 12” from my mouth. For live calls and meetings, I run the signal through Nvidia Broadcast for some realtime noise reduction. My interface is the Zoom Podtrak P4 and I engage its high pass filter and digital limiter. Definitely recommend World’s Best Cable Mogami version.
I’ve owned a lot of mics, and a studio, and your video is the best I’ve ever seen at being pitched at the right level for most of the people who need this kind of advice. Really well done. Plus I love that AEA KU4 that you were speaking into. What a mic. Also noticed the 44 in the background... I must say I hate the proliferation of the Sm7b for podcasting. First of all, an ugly piece of industrial design, and second, a non-flattering proximity effect. I owned one and sold it. But it has become ubiquitous. An sm58 sounds less tubby, and so does a 57. I use a Sennheiser 421 for a dynamic mic for voice when I need one. Used properly it sounds very much like a U87. I used to own a U87 and tested it extensively with studio visitors. The 421 is now in the minds of engineers relegated to tom Tom drums, but it was designed and used for many years as a first line speech mic for both PA and Broadcast. Beautiful industrial design and a great sound. I have a cloudlifter, but don’t need it. Lovely proximity effect if you want to work it that way. I could go on and on. But people should follow your advice. Just hoping to turn the tide against the dreaded Sm7b. It was alway the RE20 for that kind of application. A better mic. Not sure how Shure got their hands so firmly on podcasting. All the best. Subscribed.
Wow, thank you so much, John! I agree with you that the SM7B is wildly over-used. I hear so many voices through it that would be better matched with a different mic. It works well with some voices, so I think a few prominent personalities and performers who had success with it implicitly drove its adoption. But microphones are like bathing suits. The same one isn't going to work with everyone. Funny you mention the 421! I almost included it in the video. I have several (new and vintage), because I'm a drummer and I record the kit. I tested it out for the video, but it ended up on the cutting room floor. I kind of regret that, but had to make some hard choices. I may do a follow up on matching voices to mics based on some of the feedback I've gotten, as there are a few other mics I'd like to have included in this video and they each have their niche.
@@simonpeck perhaps we can blame Joe Rogan for the SM7B proliferation. He’s getting blamed for a bunch of other things, rightly or wrongly, so I doubt he’d even notice. At some point I think it would be fair for you to give the dollar value of your podcasting vocal chain. It sounds great, but the mic alone is five grand or so. People should not think they can duplicate your results with the advice you give. I owned a KU2A “Skunk” mic for a while that I eventually sold to Ry Cooder, it you’ll pardon the name dropping. I had Clarence Kane of ENAK mics refurbish it, but it sounded terrible. Wes Dooley of AEA told me to put it in a cabinet and forget it and buy a KU4A. He was probably right. And the poor 421-Willy Brandt addressed the West German Bundestag using it, and it was the desk mic on Hollywood Squares. It’s a great mic, way better than its reputation. For now it will remain my secret weapon. Best regards, JG
Ha! You could be right about that, although the SM7B is a very popular mic on Twitch as well. I think a lot of live streamers started using it because of its background noise "rejection" capabilities, because gamers don't seem to be that interested in investing in room treatment. I have a video planned to compare several different ribbon mics at wildly different price points and another one comparing 421s from the 60s, 70s and today. I have no idea if these will have appeal, but should be fun videos to make. I supposed I could go through my chain. As far as cost, I'll say that Reverb.com is a great secret weapon, especially in the time of economic recession.
@@simonpeck Hey Simon, Great to hear from you! I'd love to hear the vintage 421 timeline. Wow, would that be n=1 winner! Not sure how many other people outside of the TapeOp subscription list would be pawing the turf to get to that one, but it would be a valuable service to the cognoscenti. Let me cut to the chase here: The issue with the SM7B is the trade-off between the distance to the mic and how much it obstructs the speaker's face/mouth. For an audio-only podcast, that was not an issue, of course, but nowadays only a few people can refuse to give video, like Dana Carvey and David Spade, and if you look at their comments in YT, most are complaints that there is no video. The SM7B, as you said, has truly superior bkgd sound rejection, so it solves a lot of problems, but creates the video problem of only sounding good when it's 2 inches from the speaker's mouth. Closer and it has an unflattering proximity effect. Farther away and you need 70dB of preamp gain and that is going to pick up the sounds in the room. I think some engineers must have developed workarounds with using this mic with compressors and gates, because sometimes talent just doesn't bring the mic up to their mouth, but it still sounds ok. Perhaps my main complaint is that the mic is ugly. Nasty piece of industrial design. Now, a 421, that was meant to be heard and seen. My only remaining ribbon mic is an RCA 74b, also redone by Clarence Kane. It is a bona fide wayback machine for voice, and it has a special vibe for a room mic and for guitar cabinets. I think I'm going to give it as a gift to my favorite guitarist, who is kind of a friend. My kids would never appreciate it, and I will never use it anymore. I wrote an article for Reverb a while ago on downsizing. It's not so relevant now, but it's a nice piece of writing. I bought everything on eBay and sold everything on Reverb. I used to own nearly every Crane Song piece that existed. I'm so sad to see that Dave died. We had many an edifying conversation at AES. reverb.com/es/news/a-guide-to-conscientious-studio-downsizing The other mic that I would think could be something for you to explore for your channel is the Sennheiser 416. Check out how they use it on NPR's Tiny Desk concerts. Regarding what I was talking about earlier, it does not interfere with the camera shot. It's more expensive, but is widely available used. And it can come in from top or bottom. I promise I'm not a Sennheiser fanboy--if I had my way everyone would just buy the blue Schoeps short shotgun, keep it out of the video frame and be done with it. All the best from Hungary (I live here!). JG
I already use a Audio Interface (Focusrite 2i2 Gen3) and small condenser mic (Avantone CK1 with Hyper Cardiod pickup) used for all audio/video meetings Zoom & Teams. I position the mic Infront on me and above me just out of frame so no mic can been seen. The audio is great, however once you get an XLR mic you’re always chasing better audio quality and the next upgrade … we’ll I am anyway. I was already looking at the Neumann KM185 (rather than KM184) as I felt it being Hyper-Cardiod would provide better focus and more side rejection. I was surprised you never mentioned the KM185. Still trying to justify an upgrade to a Neumann and if it will make a noticeable difference.
Yeah, the KM 185 is a fantastic mic. It's the same as the 184 except for the capsule. If you're going that route, be cognizant of the fact that is does pick up a bit more sound from the rear, where the 184 has a null point there. It is more focused, but will pick up more noise and reflections from the back than the 184. Take a look at the data sheet for more info: en-de.neumann.com/km-185-series-180#technical-data
Good tips! However, I think it was just confusing to know which microphone you were speaking to, I think it would be nice to only speak into the microphone that is currently being tested. But thanks for the mic pointers.
Yeah, either of those would undoubtedly be amazing in terms of sound quality. Having not tried either, I can't speak from experience. The Schoeps is on my short list, but I'd probably go with the MK4 (cardiod) instead of the MK41 (supercardioid). The 41 would likely pick up more sound from the back of the mic. Looking at the data sheets, the MKH50 would probably pick up more sound from the back of the mic than the Schoeps with the 41 capsule. The MK4 has a null point in back, so that would be my choice unless the mic had to be far (couple of feet) away.
The AEA KU5A at 22:15 is a ribbon mic! The main mic I used for the video is also a ribbon -- the AEA KU4. I was thinking about doing a dedicated video with the KU5A and maybe a video for each of my ribbon mics if there's interest.
Zoom is famous for it's audio recorders not saving settings between sessions. For the price, this is ridiculous. And it's the reason I don't buy Zoom products.
Yes, that can be pretty annoying. I will say that I also use Zoom F6 recorders to record live acoustic drums and all of my settings for that are 100% saved. To record simultaneously across 12 different microphones into two synced recorders, I only have to power them on and hit record on one of the recorders.
The Zoom field recorders (F6, F1, and the F3 recommended in this video) all save settings between setting. The Handy recorders (H1, H4, H5, H6, H8) don't.
Great video! I recently spent months deciding on an audio interface and microphone for my needs. I went with the Scarlett 2i2 and an Earthworks Ethos and have been very happy with the results. I'm now using Voicemeeter and Light Host to run VSTs on my live vocals. I'd be interested to hear what you recommend for processing vocals in a live setting!
Thanks, J! Sounds like a fantastic setup. I'm currently using hardware for processing in a live setup, but I have done that in the past. This is a great topic idea for a future video.
I must admit I have watched maybe hundreds of gear videos , reviews etc. I notice the relatively small size of your channel but I will say you hit the ground running. Even after all those other videos and being very familiar with most of what you said. I still looked at the video in it's entirety. I try to learn more from what is not said in videos now. Like observing mic technique, video transitions , lighting, speaking technique, frame composition etc. I have to say I really enjoyed this video. Well done !!
Wow, thank you so much. Yes, my channel is brand new and I’m hoping to be able to bring a unique perspective to what is, in many ways, a well-covered and even saturated topic space. I think there’s a lot of missing information in the remote (and in-person) communication space and hope to help fill in some vital answers to material questions.
Very good video especially for beginners. I think it's great that you have the courage to actually recommend specific microphones for different requirements and types of people. Many good audio people rightly say that the personal voice is important for the right microphone. But that is already the clearly advanced stage and too far away for normal people. The recommendations for microphones that I know from your selection actually fit the vast majority of voices. That's exactly why it's so helpful.
Thank you! Yes, this is really targeted at beginners with teasers for the mic-curious. Clarity with a full frequency response is what I would prioritize first. I think it takes a little time to develop the sonic palette to know which mic you’d prefer to pair with your own voice. I’d love to make a video on that in the future.
I agree with some of the earlier comments and say it was an excellent video. The quality was good and the information very helpful. Although I feel there are great out-of-screen options at a lower price point. The higher tier suggestions, while expensive, are truly great.
Thanks Oscar, you are right. My goal is to target working professionals who are using their setup to earn a salary, so I’m not particularly focused on finding the absolute cheapest gear. While there may be some gear that sounds good right out of the box, there are other factors, like durability, product consistency and electronic longevity that are extremely important. Nobody wants a piece of gear to fail the moment they dive into a presentation in front of several hundred people, for example. While some cheaper gear may hold up fine, I think it’s wise to invest a bit more in something that may be in service in your home office for years. Comparatively, if you were working in person, how much would you spend on a jacket, shirt, pants and pair of shoes to look sharp in the office? I liken the way we present ourselves online to the way we would in person, so I think the cost is reasonable. This is only my philosophy, but it will be a common theme throughout my videos.
I like the Rode Videomic Go II usb shotgun mic mounted on a cheap scissor arm just out of frame above my head. Cheap, easy, works great.
Thank you so much for this clear, concise, and helpful information. A very precise take on voice reproduction for many venturing into this arena for the first time.
You bet. Thanks for the kind words.
Fantastic video, extremely interesting - thank you. I now want the Neumann km184 - it's gorgeous!
Thanks! Yeah, I originally got it for recording acoustic guitar and hi-hats on the drum kit. Then, I realized how fantastic it sounds on voice. Its form factor makes it so convenient for laptop meetings. The only thing to be careful of is not to speak directly into it close-up as the plosives will be overwhelming.
@@simonpeck I did buy the FIFINE (USB/XLR) a couple of weeks back. For such a cheap mic - it's pretty amazing - actually I'll rephrase that: it's awesome. I don't know why I keep buying mics it's hysterical.
Sorry I missed this. It’s amazing how affordable decent sound has become. And trust me, I understand the temptation! 😂
@@simonpeck temptation went the other way in the end. 2 x Sontronics Podcast Pro's and a Rodecaster Pro 2 - amazing combo. Hopefully that hold back temptation for the moment. 🤣😂
My assistant inherited my FiFine to get her practicing her podcast voice and post production learning.
@@MarkHebblewhite Oh, interesting. Are you setting up an interview situation with multiple mics?
Simple, practical and spectacular. Only truth. Thanks
Thank you!
Thank you for the advise! I never really thought about the microphone I was using in my calls. After seeing your video I immediately bought me a new one! 🎤
This video is incredibly useful. Well done
Great video. Basically anything but the built-in mic on your computer is better. I appreciate this video a lot. Just getting something closer to your mouth is going to make such a huge difference.
Thank you! Yes, the closer it is to your mouth, the less of the room other people will hear and the stronger the mic’s output will be.
Love my Octava!
Oh yeah, I almost bought the MK-012 Film Edition to use in one of the personas. It seems like another great candidate for off-screen miking. I didn’t mention it, because I don’t have any first-hand experience with it yet.
Thanks for all the great tips, Simon! I'm wondering about USB headsets (e.g. Astro A50) and sound comparisons to a more fancy setup. I wonder if you made a video comparing and contrasting all-in-one headsets vs. more professional level microphones so we can hear the difference. Keep up the awesome work with your videos!
Thanks, Tyler. This would certainly be an interesting topic to cover. I don't know of a headset that has a microphone with a full-range frequency response, which is why people sound like they are "on the phone" when they use these. However, there must be something out there. I can do some research to find out. I'll start with the Astro A50, but if you (or anyone else in here) know of some contenders I can explore that as an option.
@@simonpeck As far as premium goes the only other headset I know of is: HyperX Cloud II - Gaming Headset
. Thanks for considering a future video on it!
Very descriptive! I might also suggest the Wave XLR for an audio interface primarily because of its ability to use VST plugins and its Clipguard feature, even though it's a tad pricey. I'm a beginner voice actor with a few great microphones and a portable booth, but I would love to see what you recommend for a potential mobile indoor setup for future reference. 🙂
very well done video and helpful
Thanks!
Great video, well produced, solid advice. Three comments:
(1) I would assume most people would not want the microphone in the shot, so surprised you did not include more than one shotgun mic choice, like the ones usually recommended for YT content creators who are starting out (Rode Video Mic, Diety, etc.);
(2) The mic-that-shall-not-be-named is the one on the Apple Air Pods? If so, not sure why they would be excluded, because they are literally broadcast quality, you see them all the time in TV news interviews. They would better meet requirements for your Minimalist and Working Parent personae, as they would not require additional equipment and easily connect wirelessly to computers via Bluetooth. Granted they are not the same quality as a dedicated microphone, but they are a huge jump up in quality from your computer's microphone.
(3) Good call out on World's Best Cables. Would add that they are superior to cheaper cables because they use Mogami 2534 wire, which are shielded from radio-frequency interference. This is especially important if you live in the middle parts of a city or in an area with lots of radio activity. No one wants to hear faint traces of their local radio stations when they connect their microphone!
Thanks for the feedback, Derrick. For shotgun, mics, I probably should have included at least one more option. Frankly, I don’t think they produce the best sound for remote meetings, because they will pick up more of the room noise from behind the mic, due to the nature of shotgun pickup patterns. The primary lobe of sensitivity is towards the front and there’s a secondary one that is less sensitive behind the mic. If I had included one more, it would have been the Oktava MK-012 Film Edition. Most shotgun mics work better outdoors where they are placed overhead and the back of the mic is aimed at the sky.
Regarding earbuds, I didn’t mean to exclude anything, but I wanted to provide an alternative that wasn’t targeted at specific phone manufacturers. Maybe this was a mistake. The two earbud models I left off were the Samsung Galaxy Buds 2 for Android and the Apple AirPods for iOS, both of which do have decent microphones.
Thanks for watching, and I appreciate the thoughtful comment.
After getting some feedback about removing my SM58 from the shot, I experimented with booming it overhead. I’ve gotten pretty good results by removing the internal foam from the ball grill and strategic sound treatment of the room. The mic is usually 9” - 12” from my mouth. For live calls and meetings, I run the signal through Nvidia Broadcast for some realtime noise reduction. My interface is the Zoom Podtrak P4 and I engage its high pass filter and digital limiter. Definitely recommend World’s Best Cable Mogami version.
I think Air Pods would be a lot easier to recommend if they worked well outside the Apple ecosystem. Apple doesn't want it that way though.
That's great! You basically converted your SM58 into an SM57, hah. The only difference between those two mics is that built-in pop filter.
I’ve owned a lot of mics, and a studio, and your video is the best I’ve ever seen at being pitched at the right level for most of the people who need this kind of advice. Really well done. Plus I love that AEA KU4 that you were speaking into. What a mic. Also noticed the 44 in the background... I must say I hate the proliferation of the Sm7b for podcasting. First of all, an ugly piece of industrial design, and second, a non-flattering proximity effect. I owned one and sold it. But it has become ubiquitous. An sm58 sounds less tubby, and so does a 57. I use a Sennheiser 421 for a dynamic mic for voice when I need one. Used properly it sounds very much like a U87. I used to own a U87 and tested it extensively with studio visitors. The 421 is now in the minds of engineers relegated to tom Tom drums, but it was designed and used for many years as a first line speech mic for both PA and Broadcast. Beautiful industrial design and a great sound. I have a cloudlifter, but don’t need it. Lovely proximity effect if you want to work it that way. I could go on and on. But people should follow your advice. Just hoping to turn the tide against the dreaded Sm7b. It was alway the RE20 for that kind of application. A better mic. Not sure how Shure got their hands so firmly on podcasting. All the best. Subscribed.
Wow, thank you so much, John! I agree with you that the SM7B is wildly over-used. I hear so many voices through it that would be better matched with a different mic. It works well with some voices, so I think a few prominent personalities and performers who had success with it implicitly drove its adoption. But microphones are like bathing suits. The same one isn't going to work with everyone.
Funny you mention the 421! I almost included it in the video. I have several (new and vintage), because I'm a drummer and I record the kit. I tested it out for the video, but it ended up on the cutting room floor. I kind of regret that, but had to make some hard choices. I may do a follow up on matching voices to mics based on some of the feedback I've gotten, as there are a few other mics I'd like to have included in this video and they each have their niche.
@@simonpeck perhaps we can blame Joe Rogan for the SM7B proliferation. He’s getting blamed for a bunch of other things, rightly or wrongly, so I doubt he’d even notice. At some point I think it would be fair for you to give the dollar value of your podcasting vocal chain. It sounds great, but the mic alone is five grand or so. People should not think they can duplicate your results with the advice you give. I owned a KU2A “Skunk” mic for a while that I eventually sold to Ry Cooder, it you’ll pardon the name dropping. I had Clarence Kane of ENAK mics refurbish it, but it sounded terrible. Wes Dooley of AEA told me to put it in a cabinet and forget it and buy a KU4A. He was probably right. And the poor 421-Willy Brandt addressed the West German Bundestag using it, and it was the desk mic on Hollywood Squares. It’s a great mic, way better than its reputation. For now it will remain my secret weapon. Best regards, JG
Ha! You could be right about that, although the SM7B is a very popular mic on Twitch as well. I think a lot of live streamers started using it because of its background noise "rejection" capabilities, because gamers don't seem to be that interested in investing in room treatment. I have a video planned to compare several different ribbon mics at wildly different price points and another one comparing 421s from the 60s, 70s and today. I have no idea if these will have appeal, but should be fun videos to make. I supposed I could go through my chain. As far as cost, I'll say that Reverb.com is a great secret weapon, especially in the time of economic recession.
@@simonpeck Hey Simon, Great to hear from you! I'd love to hear the vintage 421 timeline. Wow, would that be n=1 winner! Not sure how many other people outside of the TapeOp subscription list would be pawing the turf to get to that one, but it would be a valuable service to the cognoscenti.
Let me cut to the chase here: The issue with the SM7B is the trade-off between the distance to the mic and how much it obstructs the speaker's face/mouth. For an audio-only podcast, that was not an issue, of course, but nowadays only a few people can refuse to give video, like Dana Carvey and David Spade, and if you look at their comments in YT, most are complaints that there is no video. The SM7B, as you said, has truly superior bkgd sound rejection, so it solves a lot of problems, but creates the video problem of only sounding good when it's 2 inches from the speaker's mouth. Closer and it has an unflattering proximity effect. Farther away and you need 70dB of preamp gain and that is going to pick up the sounds in the room. I think some engineers must have developed workarounds with using this mic with compressors and gates, because sometimes talent just doesn't bring the mic up to their mouth, but it still sounds ok. Perhaps my main complaint is that the mic is ugly. Nasty piece of industrial design.
Now, a 421, that was meant to be heard and seen.
My only remaining ribbon mic is an RCA 74b, also redone by Clarence Kane. It is a bona fide wayback machine for voice, and it has a special vibe for a room mic and for guitar cabinets. I think I'm going to give it as a gift to my favorite guitarist, who is kind of a friend. My kids would never appreciate it, and I will never use it anymore. I wrote an article for Reverb a while ago on downsizing. It's not so relevant now, but it's a nice piece of writing. I bought everything on eBay and sold everything on Reverb. I used to own nearly every Crane Song piece that existed. I'm so sad to see that Dave died. We had many an edifying conversation at AES.
reverb.com/es/news/a-guide-to-conscientious-studio-downsizing
The other mic that I would think could be something for you to explore for your channel is the Sennheiser 416. Check out how they use it on NPR's Tiny Desk concerts. Regarding what I was talking about earlier, it does not interfere with the camera shot. It's more expensive, but is widely available used. And it can come in from top or bottom. I promise I'm not a Sennheiser fanboy--if I had my way everyone would just buy the blue Schoeps short shotgun, keep it out of the video frame and be done with it.
All the best from Hungary (I live here!). JG
I already use a Audio Interface (Focusrite 2i2 Gen3) and small condenser mic (Avantone CK1 with Hyper Cardiod pickup) used for all audio/video meetings Zoom & Teams. I position the mic Infront on me and above me just out of frame so no mic can been seen.
The audio is great, however once you get an XLR mic you’re always chasing better audio quality and the next upgrade … we’ll I am anyway.
I was already looking at the Neumann KM185 (rather than KM184) as I felt it being Hyper-Cardiod would provide better focus and more side rejection.
I was surprised you never mentioned the KM185.
Still trying to justify an upgrade to a Neumann and if it will make a noticeable difference.
Yeah, the KM 185 is a fantastic mic. It's the same as the 184 except for the capsule. If you're going that route, be cognizant of the fact that is does pick up a bit more sound from the rear, where the 184 has a null point there. It is more focused, but will pick up more noise and reflections from the back than the 184. Take a look at the data sheet for more info: en-de.neumann.com/km-185-series-180#technical-data
Good tips! However, I think it was just confusing to know which microphone you were speaking to, I think it would be nice to only speak into the microphone that is currently being tested. But thanks for the mic pointers.
Great point, hah. Thanks for the feedback.
How about MKH50 or Schoeps CMC641?
Yeah, either of those would undoubtedly be amazing in terms of sound quality. Having not tried either, I can't speak from experience. The Schoeps is on my short list, but I'd probably go with the MK4 (cardiod) instead of the MK41 (supercardioid). The 41 would likely pick up more sound from the back of the mic. Looking at the data sheets, the MKH50 would probably pick up more sound from the back of the mic than the Schoeps with the 41 capsule. The MK4 has a null point in back, so that would be my choice unless the mic had to be far (couple of feet) away.
How about a ribbon mic?
The AEA KU5A at 22:15 is a ribbon mic! The main mic I used for the video is also a ribbon -- the AEA KU4. I was thinking about doing a dedicated video with the KU5A and maybe a video for each of my ribbon mics if there's interest.
Hello 👋 What is the mic you use in this video? The one in front of you most of the time 😂. Tx
Hi Ben! It’s an AEA KU4 supercardioid ribbon. In the video, I’m running it through the AEA TRP2 and an EL8 Distressor.
Zoom is famous for it's audio recorders not saving settings between sessions. For the price, this is ridiculous. And it's the reason I don't buy Zoom products.
Yes, that can be pretty annoying. I will say that I also use Zoom F6 recorders to record live acoustic drums and all of my settings for that are 100% saved. To record simultaneously across 12 different microphones into two synced recorders, I only have to power them on and hit record on one of the recorders.
The Zoom field recorders (F6, F1, and the F3 recommended in this video) all save settings between setting. The Handy recorders (H1, H4, H5, H6, H8) don't.
Great video! I recently spent months deciding on an audio interface and microphone for my needs. I went with the Scarlett 2i2 and an Earthworks Ethos and have been very happy with the results. I'm now using Voicemeeter and Light Host to run VSTs on my live vocals. I'd be interested to hear what you recommend for processing vocals in a live setting!
Thanks, J! Sounds like a fantastic setup. I'm currently using hardware for processing in a live setup, but I have done that in the past. This is a great topic idea for a future video.