# Cheap allround microphone



## LudovicVDP (Jul 20, 2020)

Hi there,

As I don't know s*it about microphones, I'd like your advice on which one to buy.

What I need it for: a bit of everything... 
From finger snaps, claps and vocals to weird noises/instruments for sound design purposes and even podcasting vido making... or when I pretend I can play my acoustic guitar or my harmonicas...)

I know about the SM57 being a very often used mic. Can get one for about 100 EUR which is ok. I don't know whether that's the magical "do-it-all" I'm looking for...?
I know "you get what you pay for" but I'm a non-professional so I guess most cheap mics could do the trick. 

If you know some other gems out there that don't costs a kidney... feel free to give a link below.

(If that info matters, I'm about to buy a Scarlet 4i4)

Thanks a lot.
Cheers
Ludovic


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## Rory (Jul 20, 2020)

Sounds like a good choice for a low cost, all around mike. Even if you purchase other mikes later, you’ll have uses for this one. Since you’re purchasing a Scarlet 4i4, you may be interested in this test, made with a Scarlet 2i2:


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## Rory (Jul 20, 2020)

Geoff Manchester uses the closely related Shure SM7B to make iZotope’s videos, which he narrates. Here’s what he has to say about the mike. However, I think that you should hold off on purchasing a FetHead or Cloudlifter for an SM mike until you’ve used the mike and your audio interface for awhile.





I‘d also suggest watching this Julian Krause video as part of deciding whether to purchase a FetHead or Cloudlifter:


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## JeffvR (Jul 20, 2020)

This company is a hidden gem http://www.lineaudio.se/


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## aspenleaf (Jul 20, 2020)

LudovicVDP said:


> Hi there,
> 
> As I don't know s*it about microphones, I'd like your advice on which one to buy.
> 
> ...


The SM57 is a widely used mic, but there are many low cost choices that have higher fidelity sound, especially for acoustic guitar. A good condenser mic might be more useful overall. Look at the frequency response curve of the SM57 and you'll see that it is made to bring out the midrange, and reject signals at higher frequencies off axis. This makes it a great mic for snare drums and vocals, but not for acoustic guitar. You might be better with a mic like the CAD M179. It offers variable polar patterns to choose from, and a much flatter frequency curve than the SM57.

Here's a link to the specs: https://www.cadaudio.com/products/equitek/m179#details


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## Ashermusic (Jul 20, 2020)

My EV RE-20 does almost everything well. I don't think it's considered cheap, but certainly not wildly expensive either.


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## Rory (Jul 20, 2020)

aspenleaf said:


> The SM57 is a widely used mic, but there are many low cost choices that have higher fidelity sound, especially for acoustic guitar. A good condenser mic might be more useful overall. Look at the frequency response curve of the SM57 and you'll see that it is made to bring out the midrange, and reject signals at higher frequencies off axis. This makes it a great mic for snare drums and vocals, but not for acoustic guitar. You might be better with a mic like the CAD M179. It offers variable polar patterns to choose from, and a much flatter frequency curve than the SM57.
> 
> Here's a link to the specs: https://www.cadaudio.com/products/equitek/m179#details



In the U.S., a CAD M179 is also almost double the price of an SM57. in Europe, where I gather the OP lives, Thomas sells it for the equivalent of US$275. He's talking about spending about Euros 100 or US$115.


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## aspenleaf (Jul 20, 2020)

I don't know what the price is in other countries, but in the US I paid $145 USD, and it includes a shock mount and a hard case. It's a much more versatile mic than the SM57. I have a lot of more expensive mics, but the 3 CAD M179 mics get used quite a bit in my studio.


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## mcalis (Jul 20, 2020)

JeffvR said:


> This company is a hidden gem http://www.lineaudio.se/


I'd like to very much second what Jeff said. Line Audio's website looks horrible, but the microphones are absolutely outstanding. Biggest bang for the buck by far. _Especially _if you're looking for an allrounder. I have 2 of the (now discontinued) CM3's and I have never once regretted purchasing them. If you look on gearslutz, you'll see people comparing it to mics 10x the price, and the consensus seems to be that it either holds up, or at the very least punches far above what the price tag would suggest.









CM3 - really THAT good? - Gearspace.com


I have a burning question... it would probably be buried into oblivion down there where that topic is... So here is my question: http://www.gearslutz.c



www.gearslutz.com





Whilst the CM3 has now been superseded by the CM4, they're essentially the same mics. Just slightly different components. They're handmade by a guy in Sweden called Roger, though perhaps it would be more accurate to say "hand-picked." From what I understand the guy gets some components from an undisclosed vendor, picks out the best components, tests them extensively and does the assembly work from his shed.


Outside of the romantic appeal of that ^, what makes these mics so beloved is just how neutral they are. I don't know of any other hypercardiod mic in its price range that is that neutral.

You can get the mics from nohypeaudio (google it) or from pinknoise systems in the UK. As far as I can tell both don't currently have them in stock anymore, but I think with a week or 2 they should be available again.

If you're on a tighter budget still, you might also want to look at the MXL 770's. They're pretty decent overall mics and they come with a shockmount and in a fairly solid plastic case.

EDIT:
Here's an excerpt from a youth orchestra I recorded years ago. I picked this part because I mic'd the violins with the CM3's, so they're most prominent in this excerpt. I should also add that this was one of my first recordings ever so... not the best mic technique just yet. On the other hand, this might give you an impression of what you might be able to get out of them with little to no prior experience. Any noise is because I had to bump the volume pretty hard because I'd recorded way too low. Beginner's mistake . Obligatory person coughing in the audience the comes included.


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## GtrString (Jul 20, 2020)

Try a Rode M3. It is a very nice allround mic, and can run on a battery if you dont have phantom power, or want to use it outdoors. It is very flat response (which you want), good on a wide variety of sources, and dont need extra gain from cloudlifter nor external preamp. I own one and use it, along with much more expensive mics.









M3 | Versatile End-Address Condenser Microphone | RØDE


Looking for versatility from your microphone? The RØDE M3 end-address condenser microphone excels on stage, in the studio or on-location. Learn more here.




www.rode.com





Priced as an Sm57, much better, and can be had for around 50$ used. You cant go wrong.


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## Rory (Jul 20, 2020)

aspenleaf said:


> I don't know what the price is in other countries



Yes, well it has a bearing on what this person wants to spend.


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## Rory (Jul 20, 2020)

mcalis said:


> I'd like to very much second what Jeff said. ... Biggest bang for the buck by far. _Especially _if you're looking for an allrounder. ... I don't know of any other hypercardiod mic in its price range that is that neutral.



I don't own a Line Audio CM4, but owners are almost invariably enthusiastic, especially for the price. The mike costs only a few Euros more than an SM57.

However, the mike is not only not a hypercardiod, it is not a standard cardiod. The maker describes it as a "slightly wide cardiod". In other words, it is somewhere between an omni and a cardiod. It has been described as similar in pickup to a Schoeps MK22, which Schoeps calls an "open cardiod".

This means that a Shure SM57 has a more focused pickup than a CM4. It is less sensitive to noise from the sides. Which is preferable depends on what one is recording. Personally, I own Schoeps omnis and Schoeps cardioids and I see an open cardiod as a specialised mike. A Schoeps MK22 is not high on the list of mikes that I'm interested in acquiring.

That doesn't mean that one can't adjust to a wide cardiod, and one attraction of the CM4 is that adding a second down the road would make it easy to start recording using some of the more effective stereo techniques.


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## N.Caffrey (Jul 20, 2020)

Aston Origin


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## Rory (Jul 20, 2020)

mcalis said:


> EDIT:
> Here's an excerpt from a youth orchestra I recorded years ago. I picked this part because I mic'd the violins with the CM3's, so they're most prominent in this excerpt. I should also add that this was one of my first recordings ever so... not the best mic technique just yet. On the other hand, this might give you an impression of what you might be able to get out of them with little to no prior experience. Any noise is because I had to bump the volume pretty hard because I'd recorded way too low. Beginner's mistake . Obligatory person coughing in the audience the comes included.




Matthias's edit is really helpful. The CM3 (now CM4) mikes would be good for recording an orchestra or a whole violin section. However, to take two of Ludovic's examples, they would be less great if you are recording a podcast or are shooting video of someone speaking. Unless Ludovic is recording indoors in a quiet, treated room, a cardiod, or even hypercardiod, would make a lot more sense because it would be less sensitive to (i.e. more or less "tune out") extraneous noise. If you're in a busy urban area, in particular, this is a real issue. It's why people use shotgun microphones, and one of the reasons for using lavaliere microphones.

That said, as far as I can tell just about every CM3/CM4 owner thinks that these mikes deliver high sound quality at a very low cost.


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## Rory (Jul 20, 2020)

Ashermusic said:


> My EV RE-20 does almost everything well. I don't think it's considered cheap, but certainly not wildly expensive either.



Great mike, and Spitfire Audio's mike of choice for its videos. However, even in the U.S. it costs four times what Ludovic is talking about spending.


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## Marsen (Jul 20, 2020)

This is my recommendation: Lewitt LCT 440 Pure
I own it. It´s very versatile and most important, it sounds great and is affordable:








Lewitt LCT 440 PURE


Lewitt LCT 440 PURE, Großmembran Kondensator Mikrofon, Nierencharakteristik, 25,4 mm Kapsel goldbeschichtet, Dynamikumfang: 134 dB-A, max SPL 0,5% THD: 140 dB, robustes Zinkdruckgussgehäuse, goldbeschichter 3-pol. XLR-Stecker, inkl. DTP40 Lb...




www.thomann.de





Here´s a video:


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## Rory (Jul 20, 2020)

Marsen said:


> This is my recommendation: Lewitt LCT 440 Pure
> I own it. It´s very versatile and most important, it sounds great and is affordable



Here's what Ludovic says:

"I know about the SM57 being a very often used mic. Can get one for about 100 EUR which is ok."

Price of your recommendation, from your link: 260 EUR.


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## José Herring (Jul 20, 2020)

Definitely every studio needs at least one SM57. 

For larger diaphram condenser mics, look at Sterling Audio. In a shootout that was done it's one of the few "budget" options that can stand up to more expensive mics. 

Audio technica large diaphrams are also some of my favorites. 

For small condenser mics I tend to like Octava.

In the end, unless you really have a good studio environment, you're better off going with good lesser expensive mics. They tend to pick up just what's closest to them rather than everything around them.


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## Marsen (Jul 20, 2020)

That doesn´t mean, it can be a bit higher. For sure not a 1000 bucks.


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## easyrider (Jul 20, 2020)

Oktava MK-012-01


Studio small diaphragm condenser microphone with cardioid capsule




www.oktava-shop.com





I have two....amazing mics...and modular should you wish to expand on them...

For the money I doubt you could beat them...


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## Tim_Wells (Jul 20, 2020)

Marsen said:


> This is my recommendation: Lewitt LCT 440 Pure
> I own it. It´s very versatile and most important, it sounds great and is affordable:
> 
> 
> ...



This is what I was going to suggest as well. You should be able to get one for well under $300. 

The highs are pronounced on the Lewitt LCT 440 Pure, but they are not harsh like many cheap Chinese condenser mics. It's more of a silky high.

The self noise is extraordinarily low, which is really, really nice. Especially in a home studio environment.


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## Rory (Jul 20, 2020)

easyrider said:


> Oktava MK-012-01
> 
> 
> Studio small diaphragm condenser microphone with cardioid capsule
> ...



I would suggest that someone who is considering the purchase of an Octava mike do some reading first. There are many, many discussions about them on the internet, pro and con. As the link effectively notes, there is also a counterfeiting problem, so one should be careful about who the vendor is.


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## mcalis (Jul 20, 2020)

Rory said:


> I don't own a Line Audio CM4, but owners are almost invariably enthusiastic, especially for the price. The mike costs only a few Euros more than an SM57.
> 
> However, the mike is not only not a hypercardiod, it is not a standard cardiod. The maker describes it as a "slightly wide cardiod". In other words, it is somewhere between an omni and a cardiod. It has been described as similar in pickup to a Schoeps MK22, which Schoeps calls an "open cardiod".
> 
> ...


You're absolutely right. And look, if this is the OP's very first microphone and if it's going to be used more often for podcasting and the like, then perhaps the SM57 is indeed a better fit. I mean, you can't really go wrong with it. Besides, I'd understand if the OP has some reservations about a very small, very light looking mic from some shady Swedish website.

However, as you said, adding a second CM3/CM4 would make it a stereo pair, and that's a serious benefit to consider for the long term.


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## easyrider (Jul 20, 2020)

Rory said:


> I would suggest that someone who is considering the purchase of an Octava mike do some reading first. There are many, many discussions about them on the internet, pro and con, and there is also a counterfeit problem.



Cons?

Link?

You just buy from an authorised dealer.


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## Rory (Jul 20, 2020)

easyrider said:


> Cons?
> 
> Link?



A Google search will turn up many, many discussions about Octava mikes. No need to duplicate the discussions here. People can read the discussions themselves and form their own opinions.


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## José Herring (Jul 20, 2020)

easyrider said:


> Oktava MK-012-01
> 
> 
> Studio small diaphragm condenser microphone with cardioid capsule
> ...


Often over looked but these are really good mics. 

I did an arranging session once years ago, I played my own clarinet part and the engineer used the small diaphragm condenser on my clarinet. It was the crispest most clear mic I've heard that sounded even better than the much higher priced small condenser by Beyerdynamic which an engineer also used on a previous filmscore I recorded. I went out and bought the Oktava right away for $100.

Also, there's a guy that does mic mods on these that I've wanted to try out.



Oktava MK-012 Modification Kits and Service


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## Rory (Jul 20, 2020)

José Herring said:


> Often over looked but these are really good mics.
> 
> I did an arranging session once years ago, I played my own clarinet part and the engineer used the small diaphragm condenser on my clarinet. It was the crispest most clear mic I've heard that sounded even better than the much higher priced small condenser by Beyerdynamic which an engineer also used on a previous filmscore I recorded. I went out and bought the Oktava right away for $100.
> 
> ...



I think that just about everyone involved in audio recording is aware of Russian Octava mikes. The current price for a preamp and single capsule is US$200.

You have obviously had a good experience with one. There has long been a secondary market to improve performance for a fee. As the first two sentences of your link say "The modification replaces all the critical electronic parts with higher quality parts, making a good microphone sound even better. It improves the high and low end response, detail, and lowers the noise level."

As I said earlier, I think that someone who is considering the purchase of an Octava mike should do some reading first. Also, it is frequently suggested that one audition the specific mike before purchasing it. Doing this meaningfully requires that one know something about microphones and how to evaluate performance. Note that the person who started this thread began by saying "I don't know s*it about microphones".


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## robgb (Jul 20, 2020)

The Lewett LCT 240 Pro. $150. Excellent mic.


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## easyrider (Jul 20, 2020)

Rory said:


> A Google search will turn up many, many discussions about Octava mikes. No need to duplicate the discussions here. People can read the discussions themselves and form their own opinions.



Well if you are going to post cons then at least back it up with a source....I have personal experience of owning the Oktava MK 012 , I have matched Pair bought from Thomann.

They are incredible mics...for the money...

https://www.thomann.de/gb/oktava_mk01201_cardioid_kleinmembranmikro.htm


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## easyrider (Jul 20, 2020)

José Herring said:


> Often over looked but these are really good mics.
> 
> I did an arranging session once years ago, I played my own clarinet part and the engineer used the small diaphragm condenser on my clarinet. It was the crispest most clear mic I've heard that sounded even better than the much higher priced small condenser by Beyerdynamic which an engineer also used on a previous filmscore I recorded. I went out and bought the Oktava right away for $100.
> 
> ...



Indeed...Can’t go wrong for the money...on acoustic guitar they sound incredible...on drum overheads too...very versatile quality microphones.


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## easyrider (Jul 20, 2020)

Rory said:


> Also, it is frequently suggested that one audition the specific mike before purchasing it. Doing this meaningfully requires that one know something about microphones and how to evaluate performance. Note that the person who started this thread began by saying "I don't know s*it about microphones".



So you are suggesting the OP go and audition an SM57 ?


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## Rory (Jul 20, 2020)

mcalis said:


> You're absolutely right. And look, if this is the OP's very first microphone and if it's going to be used more often for podcasting and the like, then perhaps the SM57 is indeed a better fit. I mean, you can't really go wrong with it. Besides, I'd understand if the OP has some reservations about a very small, very light looking mic from some shady Swedish website.
> 
> However, as you said, adding a second CM3/CM4 would make it a stereo pair, and that's a serious benefit to consider for the long term.



Of the suggestions so far in this thread, I think that the Audio Line CM4 that @JeffvR and you suggested is the most interesting alternative to a Shure SM. The price of these two two options is within a few Euros. I know that the CM4 is well-regarded by people involved in music recording, ambient recording and video recording. Its pencil form and short length makes it easy to manage and manipulate. If video is on the agenda in a serious way, it's the better choice. Acquisition of a second CM4 would make it possible to record in stereo using spaced mikes (called AB Spaced) and maybe XY and ORTF. I say "maybe" because one would have to experiment with the quasi-cardiod pattern. In any event, I'm pretty sure that two of these mikes could be set up to produce a good stereo image.

My only reservation is that a quasi-cardiod condenser mike is not your best friend if you're trying to record in a space where there's extraneous noise. By "extraneous noise", I mean to include, when recording indoors, noise from the street and from inside the walls (plumbing, electrical) of old buildings. Well-made condenser mikes are really sensitive, and it's amazing what they can pick up. However, I'm in New York. If Ludovick isn't living in a noisy urban environment, this may be less of an issue.

I think that Ludovic should think about both options, and what is likely to work best for him given what he wants to record now and down the road.

The videos in posts #2 and #3 should help. Also, note @José Herring's comment "every studio needs at least one SM57" (post #18). For more views on the Audio Line CM4/CM3 mikes, see the Gearslutz, Taperssection and Blackmagic Design Cinematography forums. On the Blackmagic forum, there are a number of people using Audio Line mikes in commercial film production who have a high opinion of them.


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## Loïc D (Jul 20, 2020)

José Herring said:


> Often over looked but these are really good mics.
> 
> I did an arranging session once years ago, I played my own clarinet part and the engineer used the small diaphragm condenser on my clarinet. It was the crispest most clear mic I've heard that sounded even better than the much higher priced small condenser by Beyerdynamic which an engineer also used on a previous filmscore I recorded. I went out and bought the Oktava right away for $100.
> 
> ...


I second this.
I own a matched pair of russian ones, bought 20 years ago, they are really nice.
I didn’t know about the mods though.


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## Ashermusic (Jul 20, 2020)

easyrider said:


> Oktava MK-012-01
> 
> 
> Studio small diaphragm condenser microphone with cardioid capsule
> ...




I have one, hardly ever use it, not so big on small diaphragm condensers I guess.


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## José Herring (Jul 20, 2020)

Ashermusic said:


> I have one, hardly ever use it, not so big on small diaphragm condensers I guess.


Great for picking up instrumental details, accoustic guitar, woodwinds, snares, ect... Not so great for vocals and keys.


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## Rory (Jul 20, 2020)

Ashermusic said:


> I have one, hardly ever use it, not so big on small diaphragm condensers I guess.



What's more, the ElectroVoice RE-20 that you use and recommended earlier (although, at US$450, quite a bit more expensive than what Ludovic is talking about spending), will do every bit as good a job, in the right situation, as a US$1655 Schoeps CMC641. The Schoeps, two of which I have, is probably the most widely used dialogue mike on high-end film productions. This doesn't mean that the RE-20 is a bargain, or that the Schoeps CMC641 is a rip-off. It just means horses for courses:


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## Rory (Jul 20, 2020)

Following on the post just above, I'd be willing to bet decent money that Christian Henson isn't using Spitfire's RE-20 when he vlogs from a train or from in front of a duck pond. Don't know what mike he uses for his vlogs, but it's a fair bet that it's a small diaphragm condenser.

These are the same vlogs that are at the centre, in my view, of Spitfire's entire marketing programme.


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## Quasar (Jul 20, 2020)

Rode NT1.


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## Rory (Jul 20, 2020)

Quasar said:


> Rode NT1.



This is the second recommendation in this thread for a RŌDE mike that is six years old or older, while RŌDE is busy updating its product line.

This mike costs 3.5 times more money than the Shure SM57 that Ludovic is interested in. Why is the NT1 3.5 times better, or even 2x better, for what he wants to record?


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## Quasar (Jul 20, 2020)

Rory said:


> This is the second recommendation in this thread for a RŌDE mike that is six years old or older, while RŌDE is busy updating its product line.
> 
> This mike costs 3.5 times more money than the Shure SM57 that Ludovic is interested in. Why is the NT1 3.5 times better, or even 2x better, for what he wants to record?


Since he says he wants to record "a bit of everything" this suggests an all-purpose mic. The NT1 is a relatively flat LCD, and thus has a neutrality which lends itself well to EQ/coloration in post, and will potentially (depending on what is being recorded) pick up a lot more detail and clarity than any of the $100-ish handheld dynamics.

Plus, for about 2.7 times (not 3.5) more money, you can get a package with a really nice Rycote shockmount and excellent custom-fitting steel mesh pop filter, currently $269 I think at B&H.

I don't have a lot of microphones, but I do have an SM57, SM58 and a CAD M179. After much websearching, I recently purchased the NT1 because I've been recording spoken word and singing (thankfully not mine), and while the dynamics are more forgiving, especially in untreated rooms, and the CAD's variable polar pattern capability is cool, the NT1 is a definite step up for warm, crystal clear vocal quality IMH(amateur)O. It also has a quieter noise floor than the other mics I own.

So I just thought I'd throw it out there as a good, relatively affordable avenue to explore, not as "the right answer" but simply as another option. I am extremely happy to have gotten one. It's a great mic.

Bandrew from Podcaststage made a comp review between the NT1 and the SM7B, and it was this that actually pushed me over the edge, though I would like to get an SM7B at some point, too:


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## brandowalk (Jul 20, 2020)

+1 for Shure SM7B

Works very well on many things: male vocals, brass, electric gtr, bass, drums. I particularly like on percussion when you don't want something too crisp for a track. Good rejection.

If I only had one mic to record a modern day album, it would probably be this. Not a super low cost vs SM57 however. Also needs a strong pre-amp or Cloud booster to raise level. 

Brandon


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## LudovicVDP (Jul 21, 2020)

Hi all,

Sorry I've been away for a full day so it might have looked like I deserted this thread I created 
But no. Definitely looking at all your posts with interest.


Indeed I'm from Europe (Belgium)
And yes, budget is limited (you know how it works... Lots of strings libraries I still need to buy :-D )
That's why the 100 EUR of a SM57 had some appeal.

A lot of things you mentionned are indeed way above budget. And as music is not bringing any food on our table at my stage, it's a a lot of money for what would actually be a bit like a toy just for me to have fun with.

That being said, I know that buying cheap is expensive (quick desire to upgrade, failure risk etc...) and I might think about postoning the purchase and put some more money in the piggy bank to get something more expensive. I'll read all your great posts again in detail.

Thanks a lot for all your ideas and links.


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## NekujaK (Jul 21, 2020)

The MXL V67i was recommended to me by a veteran engineer/studio owner who has recorded and mixed many high profile artists over the past several decades. He has 7 of them in his arsenal (along with many other hi-end mic's) and uses them daily on just about everything, from vocals to guitars to keyboards.

I used this mic to record a jazz singer who had recorded part of her vocals in a big studio with a Neumann, but then finished the remainder of her project in my small studio. This mic was just a tad brighter than the Neumann (easily remedied with minimal EQ) but otherwise matched the Neumann in tone and color. In the final mix, you can't tell the difference between vocals she recorded with this mic and the Neumann, even on tracks that were comped from a combination of both.

The V67i costs around $180 and delivers a huge bang for the buck! And if you feel like spending more, MXL also has more expensive tube versions of this mic.


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## SupremeFist (Jul 21, 2020)

For a properly cheap all-rounder, the AKG P120 is good.


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## LudovicVDP (Jul 21, 2020)

Also a precision: When I talked about making video, I didn't mean going outside interviewing people or whatever. I meant maybe making a YT video from the studio. So in a quiet environment.


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## azmusic (Jul 21, 2020)

Clearly you’ll find use for a SM57 no matter how far along you are. Guitars, vocals, snare, horns. I usually consider a nice large diaphragm condenser to be more versatile and sound good on more sources.
Shure KSM32 is a staple
If you need cheaper Rode NT1-a and some Audio Technica offerings are solid too.
Even cheaper probably looking at Chinese apex, Nady, or MXL mics. May get the job done


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## Nick Batzdorf (Jul 21, 2020)

GtrString said:


> It is very flat response (which you want),



Possibly!

Character mics with an opinion also have their uses - even for an all-purpose mic. For example, if someone said I could only use a Neumann U87, I'd be fine with that.


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## Nick Batzdorf (Jul 21, 2020)

easyrider said:


> Oktava MK-012-01
> 
> 
> Studio small diaphragm condenser microphone with cardioid capsule
> ...



They're instrument mics - at least that's how I use them - but I agree (and have a pair).

If you only have one mic, though, ideally I'd prefer a large-diaphragm condensor that's relatively flat, because they can get a larger-than-life sound if you want it. The Audio-Technica AT4055 would be one in that category - and surprise, I have one of them.

You can also get lucky with some cheap Shanghai U87-alikes.

But the SM57 or 58 is always a safe bet.


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## Nick Batzdorf (Jul 21, 2020)

Ashermusic said:


> I have one, hardly ever use it, not so big on small diaphragm condensers I guess.



You're not recording acoustic instruments (other than your voice). It's also good for hi-hats. Or you can use a pair on acoustic guitar.

That's why I'm not convinced this is a good choice for an all-around mic.


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## Quasar (Jul 21, 2020)

LudovicVDP said:


> Also a precision: When I talked about making video, I didn't mean going outside interviewing people or whatever. I meant maybe making a YT video from the studio. So in a quiet environment.


If you like the somewhat veiled, deep, warm and forgiving tone of the SM7B (I and many others adore it) but don't have $400 to spend, there are various tricks for making an SM57 sound very close. Even Shure has made public statements to the effect of 'these two mics are not the same, but they are similar'...

...Julian Krause has a video on using EQ to make your 57 a 7B clone:




I've experimented with this, have tweaked this general idea and now have a preset in which my own voice sounds a bit deeper, fatter and "broadcasty" on the 57, and it sounds good to me, though I have no SM7B with which to compare.

Additionally, many have recommended getting an https://www.bhphotovideo.com/c/product/68646-REG/Shure_A81WS_A81WS_Windscreen_for.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A514&gclid=Cj0KCQjwpNr4BRDYARIsAADIx9wCA5yDajcfsQPlFrJGDXYidIxqPFV5RdqBZ6gCaJafEM0f7V9bWO0aAm--EALw_wcB (A81WS) windscreen (I bought it cause several YouTubers claimed that it had to be exactly this one, I wouldn't know), which also seems to flatten and dampen the sound in a forgiving SM7B-ish sort of way. I get similar results with a 58 and a cheap little foam windscreen over its ball grill.

As others have said, these $100 Shure microphones are a great exception to the rule of "cheap is more expensive", since they are great mics for so many use-case scenarios that they are unlikely to ever become obsolete. IMHO you probably want a decent condenser for exceptionally delicate or intimate, whispery detail, but this may not be a concern for you. Or even if it is, these dynamic mics may capture enough that the difference isn't critical. This is where it starts to get extremely subjective...


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## Nick Batzdorf (Jul 21, 2020)

You could also use a "match EQ" plug-in, such as the one built into Logic.

But why would you want to do that?


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## wst3 (Jul 21, 2020)

I've been avoiding these sorts of threads lately but something struck me this time around (about the size of a baseball bat, hurt like the dickens...)

The microphone is a key component in the sound of a recording, and it has more influence on the track than the electronics that follow, all of which is predicated on the fact that none of it is pure garbage. But yes, the microphone has a big effect.

Even bigger, and I suppose it is obvious enough, are the source and the space, these have much more influence on the final sound than even the microphone.

There's also the part about personal preference... I am in the minority in the recording world, I don't care much for the AKG C-414 (I have one with the brass capsule, it is a great microphone, and sometimes it is just what I need, but I almost never reach for it first). I'm also prefer the TLM-193 over the U-87, although I do love a good U-47<G>. You get the idea, we each have our quirks.

Of all the microphones I've owned (actually I still own them<G>), or used I've found exactly one for which I can find no use - the AKG C-1000, truly a bad microphone.

I do have a Teac (you read that right) PE-120 which I modified for phantom power, it is an odd microphone, but I really like it on my difficult to record well Martin D-18. 

I think that's the trick - with almost any microphone you will find applications where it shines. It might be the off-axis response that makes it work in your room, it might be the frequency response anomalies that result from a particular microphone/preamplifier combination. It could be the day of the week (ok, maybe not).

When I was buying microphones there were no inexpensive options, which in many ways made things a little easier. Now there are tons of choices.

Since almost every microphone has a purpose I'd say pay attention to build quality first. I'd start with a cardiod pattern microphone, and I'd probably start with a moving magnet dynamic microphone - hmmm... the SM-57 or SM_58. The nice thing about these is that they are well made, forgiving, and they have enough "ooomph" to drive most inputs without a second gain stage. So get a couple of these and find out how placement affects the sound.

Once you get comfortable, and collect a little more money, get a large capsule condenser, multi-pattern if you can, cardiod if you can't. Learn to use that.

Then get a moving ribbon dynamic microphone, or maybe a pair of small capsule condensers, but at that point you will have some experience and you'll know better what you might want next.

It's a crap shoot, I picked up an inexpensive large capsule microphone that everyone loved, it was mediocre at best, and died a year later. First time I've ever tossed a microphone in the trash, but I paid around $100 for it,and it was going to cost more than that to repair it, and then I'd have a $200 mediocre microphone. My point being just be careful.


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## GtrString (Jul 22, 2020)

Nick Batzdorf said:


> Possibly!
> 
> Character mics with an opinion also have their uses - even for an all-purpose mic. For example, if someone said I could only use a Neumann U87, I'd be fine with that.



haha sure, but the (non professional) OP is looking for a cheap (around 100euro) all purpose mic, so a character Neumann might be a bit of a stretch considering these criteria, I think.


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## Ashermusic (Jul 22, 2020)

I will say this Studio Projects makes good mics for the money. I have a B1.


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## LudovicVDP (Jul 22, 2020)

Hi all,

Just updating you on this.
I came across an SM57 for sale while I was reading your posts with attention.
Mic + bag + clip + stand for 70 eur. So I took that as a sign and bought it 
Lots of other possibilities, but no bad things were said about the 57 and you sometimes have to jump on opportunities.

Maybe the beginning of a never-ending journey in the world of mics!

Anyway, 
Thank you all for all your posts. Really appreciate it.


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## Fry777 (Jul 22, 2020)

LudovicVDP said:


> Hi all,
> 
> Just updating you on this.
> I came across an SM57 for sale while I was reading your posts with attention.
> ...



Bonjour Ludovic 
Where did you get the SM57 at this price ? (I'm also in Europe)


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## LudovicVDP (Jul 23, 2020)

Fry777 said:


> Bonjour Ludovic
> Where did you get the SM57 at this price ? (I'm also in Europe)



Bonjour,

It's a used one at that price. 
Not from a shop. Sorry for the false hope


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## wst3 (Jul 23, 2020)

LudovicVDP said:


> Maybe the beginning of a never-ending journey in the world of mics!



You have no idea<G>!!! I almost feel bad feeding this addiction. Almost!

Have fun, you can do a lot of great things with an SM-57


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## Digivolt (Jul 23, 2020)

LudovicVDP said:


> Also a precision: When I talked about making video, I didn't mean going outside interviewing people or whatever. I meant maybe making a YT video from the studio. So in a quiet environment.



I like my MXL 770, when I was looking for one it was between this, the MXL 990 and Rode NT1/a out of all the vids I watched comparing I preferred the 770 the most



Does a good review of it, he does a comparison of 770 vs 990 in another vid too, also look up Boothjunkie he does a comparison with the NT1-a & 990


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## Marsen (Jul 23, 2020)

LudovicVDP said:


> Bonjour,
> 
> It's a used one at that price.
> Not from a shop. Sorry for the false hope



You made a wise choice. 
A Shure SM- 57 will serve you a lifetime (besides other mics, you sure wanna buy from time to time).
But there should be no reason, to ever sell a SM-57.


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## bill5 (Jul 26, 2020)

I see the OP bought a mic, but for future ref and my .02...these are all $100 or less (in some cases a lot less) and IMO excellent mics:

Dynamics:
Sennheiser 835 - prefer over SM57/58, which IMO have a bit of a box quality (and same price as those)
isK ICDM - this little-known company is establishing a rep for great mics at RIDICULOUSLY low prices - this one is only $60 (and can be had on sale for half that!)

Condensers:
isK Pearl - an SDC (again, just crazy inexpensive and I keep hearing rave reviews but don't have an SDC need)
se X1A (LDC)
AKG 120 (LDC)


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## bill5 (Jul 26, 2020)

Ashermusic said:


> I will say this Studio Projects makes good mics for the money. I have a B1.


I have not used but also hear good things. I hear this one is pretty bright - agreed?


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## sostenuto (Jul 26, 2020)

bill5 said:


> I see the OP bought a mic, but for future ref and my .02...these are all $100 or less (in some cases a lot less) and IMO excellent mics:
> 
> Dynamics:
> Sennheiser 835 - prefer over SM57/58, which IMO have a bit of a box quality (and same price as those)
> ...



Still sorting home studio possibilities .... currently with Senn PG48 and Audix OM2 dynamic(s). 
Trust your Condenser recommends (above), yet will appreciate comment on Polsen offerings.
Currently pondering PCR-65 (low cost) and RM-800 (still fairly low cost). 
Can you offer any impressions ?


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## SupremeFist (Jul 26, 2020)

The latest SoS says the Mackie EM-91C (£67.50) is very good.


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## SupremeFist (Jul 26, 2020)

(I'm not a recording engineer so I may well be wrong but my strong impression is that unless you have a great room and a great signal path it's pointless to spend a lot on a mic beyond a basic level of competence like a 57, since what you subsequently do in the mix will affect the sound hugely more than the choice of mic in the first place.)


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## Ashermusic (Jul 26, 2020)

bill5 said:


> I have not used but also hear good things. I hear this one is pretty bright - agreed?



Yes.


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## sostenuto (Jul 26, 2020)

SupremeFist said:


> (I'm not a recording engineer so I may well be wrong but my strong impression is that unless you have a great room and a great signal path it's pointless to spend a lot on a mic beyond a basic level of competence like a 57, since what you subsequently do in the mix will affect the sound hugely more than the choice of mic in the first place.)



Not at any competence level here, which is why Condenser choice is difficult. Room is not prepared, yet feel need to add a single Condenser mic to begin learning differences to dynamics in home studio.
Will now use the 'short list', mentioned here, to purchase with some confidence that $$ will not be totally wasted.
Disappointed that Polsen RM-800 is not a possible choice, but will consider sE Elect X1 A, and AKG P120 now. Main initial interest is vocals with visiting instrumentalist(s) .... guitar, bass, + keyboard VSTi /DAW. Mackie EM-91C does seem a possibility ? No clue how to choose wisely now, but understand it's time to stop standing on the edge and 'get in the pool'.


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## ironbut (Jul 26, 2020)

Another vote for Line Audio OM-3.
I have a pair and they are amazing for the price. 
A little lower output than many small condensers.

I have an NT1 too.
I use it for vocals/voice. 
A real bargain IMHO.


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## bill5 (Jul 26, 2020)

sostenuto said:


> Still sorting home studio possibilities .... currently with Senn PG48


? I think you mean the Shure PGA48, which is only about $50 I think. Basically a less expensive mic similar to the 58, though I doubt quite as good (how close I can't say).



> Trust your Condenser recommends (above), yet will appreciate comment on Polsen offerings.
> Currently pondering PCR-65 (low cost) and RM-800 (still fairly low cost).
> Can you offer any impressions ?


Oh geez thanks but I would not recommend buying something based on any one person's opinion, mine included.  Sorry can't speak to the mics you mentioned. 

I'd also very very strongly recommend doing at least some basic room treatment and last but not least unless you feel you really "have to," don't rush into buying anything. Do the research, gather more experiences/opinions from others. You might want to visit gearslutz.com where they talk a great deal about mics from lowest end all the way on up


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## creativeforge (Apr 3, 2022)

NekujaK said:


> The MXL V67i was recommended to me by a veteran engineer/studio owner who has recorded and mixed many high profile artists over the past several decades. He has 7 of them in his arsenal (along with many other hi-end mic's) and uses them daily on just about everything, from vocals to guitars to keyboards.
> 
> I used this mic to record a jazz singer who had recorded part of her vocals in a big studio with a Neumann, but then finished the remainder of her project in my small studio. This mic was just a tad brighter than the Neumann (easily remedied with minimal EQ) but otherwise matched the Neumann in tone and color. In the final mix, you can't tell the difference between vocals she recorded with this mic and the Neumann, even on tracks that were comped from a combination of both.
> 
> The V67i costs around $180 and delivers a huge bang for the buck! And if you feel like spending more, MXL also has more expensive tube versions of this mic.


Hi, could you share what stand you are using with this mic?

And if possible do you have a short audio clip?

Thanks!


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## NekujaK (Apr 3, 2022)

creativeforge said:


> Hi, could you share what stand you are using with this mic?
> 
> And if possible do you have a short audio clip?
> 
> Thanks!


The mic comes with a shock mount, which can affix to any standard mic stand. I've used it with a typical boom stand as well as on the end of a flexible gooseneck affixed to a regular stand.

This mic has two capsules, called "bright" and "warm". I tend to use the "bright" capsule mostly because it matches the original MXL V6 that I used for many years, and simply got used to mixing to that sound. The primary difference between the two capsules is that the "bright" one imparts a bump at around 10kHz and gently rolls off the low end, while the "warm" one has a more even response. A little EQ in mixing can adjust the tone either way.

Anyway, here are some examples where I've used this mic:

Jazz female vocals:
View attachment Roberta Donnay & the PMB - Say It Isn't So.mp3

View attachment Roberta Donnay & the PMB - Pennies From Heaven.mp3


Pop female vocal:


Rock female vocal and acoustic guitars:


Gypsy jazz male vocals, guitars, and violin:


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## creativeforge (Apr 3, 2022)

NekujaK said:


> The mic comes with a shock mount, which can affix to any standard mic stand. I've used it with a typical boom stand as well as on the end of a flexible gooseneck affixed to a regular stand.
> 
> This mic has two capsules, called "bright" and "warm". I tend to use the "bright" capsule mostly because it matches the original MXL V6 that I used for many years, and simply got used to mixing to that sound. The primary difference between the two capsules is that the "bright" one imparts a bump at around 10kHz and gently rolls off the low end, while the "warm" one has a more even response. A little EQ in mixing can adjust the tone either way.
> 
> ...



Quite nice actually, and for a piano with really high pressure, loud dynamic playing, how does it respond? Lows, mid and highs?

Thank you! What a sweet voice the singer has for jazz especially.


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## NekujaK (Apr 3, 2022)

creativeforge said:


> Quite nice actually, and for a piano with really high pressure, loud dynamic playing, how does it respond? Lows, mid and highs?
> 
> Thank you! What a sweet voice the singer has for jazz especially.


Thanks, I'm very fortunate she's my co-writer, co-producer, and wife 

I've never recorded a piano or even a live guitar amp with the mic, so I don't have an answer. However, I recently recorded a professional male rock singer who can scream and belt the roof off the house, and the mic did great. Unfortunately, I can't share an example at this time because it's part of a score for a film that's currently in post-production. Until the film releases, mums the word, sorry.


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