Finally, your project has the budget for a nice studio with a good microphone closet. When you get there, you want to make sure you are acquainted with common studio microphones so you make wise and informed miking decisions when it’s time to record.
Here is a casual rather than technical walkthrough of some microphones you are likely to encounter in any professional recording studio, and how to get the most out of them when the time comes. Plus: prepare for some eye-candy!
Note: if you like this tut, make sure to check out our guide to the 10 best affordable microphones for home recording!
Neumann U87
This microphone is THE modern vocal mic. For many studios and engineers the U87 is the default microphone for voice over and vocals because it delivers a bright, punchy, and modern sound. But vocals are not all this microphone can do. Try it out on other acoustic sources such as upright bass, acoustic guitar, or as room mics. Its switchable polar patterns (cardiod, figure of eight, and omni) increase the mic’s versatility. Be warned though, the U87 has a fairly high output voltage, so use the microphone’s pad for loud sources.
Recommended Applications: Vocals, Voice Over, Acoustic Guitar, Upright Bass, Room mics.
Neumann U47 (Tube and FET)
Neumann U47 Tube
Neumann U47 FET
This vintage microphone comes in two types: a tube circuit design and the more modern FET design. Both versions are excellent mics. The great thing about the U47 is that it sounds good on almost anything. Its sound is commonly described as warm, full, and round.
Recommended Applications: Vocals, Acoustic Guitar, Drum Overheads, Room mics.
AKG C414
This microphone has been released and re-released over the years because it is such a great workhorse. It has four switchable polar patterns (cardiod, hypercardiod, figure of eight, and omni), a 0-10-20db selectable pad, and a 0-75-150Hz low end rolloff filter.
The 414 sounds good on almost everything, but in my opinion it sounds great on only a few things. While some vocals and voice-overs sound fantastic on a 414, keep in mind that every person’s voice is different. So, if your standby vocal mic just isn’t working, don’t be afraid to try another. The 414′s are great on toms, but watch out. Don’t let your drummer whack them and dent the screens!
Recommended Applications: Vocals, Voice Over, Toms, Acoustic Guitar, Room mics.
Royer R121
The Royer R121 is a warm ribbon mic that sounds great on a lot of instruments. It is a figure of eight polar pattern, where the rear lobe is actually brighter than the front lobe. So, if you want a brighter sound, turn this baby around. The R121 is also designed to take high SPL levels so don’t be afraid to put this thing in front of a guitar amp.
Recommended Applications: Acoustic Guitar, Electric Guitar, Brass, Distant Room mics.
Coles 4038
The Coles 4038 is another great ribbon microphone. The classic adjective for this mic is “smooth”. Be warned though, if you are using these mics as drum overheads, don’t expect a bright, poppy, shiny cymbal sound. These mics are a little dark.
Recommended Applications: Brass, Drum Overheads, Piano, Jazz Vocal.
Electrovoice RE20
This mic started out as a broadcast standard but it has so many great applications other than voice. Proximity effect is no problem with this mic because of its design, which makes it great for novice singers, though it is a dynamic microphone and is not as bright as something like the U87.
The RE20 has a cardiod polar pattern and has excellent rejection. This makes it an ideal choice when you don’t have the luxury of iso-booths or good baffles. Try it on upright bass for woody, clear sound or on a bass drum.
Recommended Applications: Upright Bass, Bass Drum, Vocals.
Shure SM57
The Shure SM57 is a good, cheap mic that all studios will have. Snare drum and Electric Guitar amps are this mic’s forte. Be sure to check out the condition and age of the 57 though. The more worn this mic is, the less responsive the diaphragm becomes, and I have found that older 57s tend to have less high-end frequency response than newer ones.
Recommended Applications: Snare, Electric Guitar.
Schoeps CMC5 body, MK4 capsule
Most studios will have this combination of Schoeps body and capsule. Schoeps microphones are heavily used in classical recording because they have a very flat frequency response and are very transparent.
It will sound great on string instruments (violin, viola, and cello) and can be used for near or distant miking. Also, try it on piano for a big, clear sound. This mic really shines on-axis. Miking anything with this mic off axis will always sound less than stellar.
Recommended Applications: Strings, Piano, Room mics (ORTF, X/Y, or M in a M/S).
Neumann KM140
The Neumann 140 is a great small diaphragm condenser microphone. It is made up of the Neumann KM100 body and the 40 cardiod capsule. These microphones have similar applications to the above mentioned Schoeps, but tend to be brighter because they have less low-frequency response and slight frequency bumps between 2-5kHz and 10khz. Put a stereo pair on piano for a big modern pop sound, or use them on solo strings (violin, viola, cello).
Recommended Applications: Piano, Strings, Acoustic Guitar, Upright Bass (neck).
AKG C451E
This is another small diaphragm condenser that most studios have. I tend to think of this microphone and the Neumann KM84 as brothers. This bright little microphone is great as a spot mic. It can be used on acoustic guitar, piano, cymbals, percussion, and drum overheads. The newer version of this microphone is the 451B, which AKG claims to be acoustically identical to the 451E, but I just don’t hear it. If you have the choice, use the older 451E.
Recommended Applications: Cymbals, Percussion, Acoustic Guitar.
Neumann KM84
This microphone is close the AKG451E, but it’s darker. Use it on the same things you would the 451, including acoustic guitar, cymbals, percussion, and piano. This mic really shines on strings as well. Like the 451, many studios have a newer version, in this case the KM184. The KM184 is a newer design with lower self noise (the KM84 is a little noisy), and it can be brighter in a bad way. If you have the choice, go with the KM84. And if you want a brighter sound, stick with the AKG 451E.
Recommended Applications: Strings, Acoustic Guitar, Piano, Upright Bass (neck).
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Cool 8)
Aren’t you missing:
C12
U67
Elam251
RCA44
M49
I mean come on Re20, km140 and 451s have their uses, but I wouldn’t classify them anywhere remotely close to “the best”
Just wondering why you dindn’t list the Rode NT1 which has replaced everywhere the U87 and which is rated even better than any Neumann mic.
In Your Dreams, my friend. We did an A B test for voice-overs with the NT1 Rode and U87, the Rode is a good cheap immitation of the U87, but that’s all. it’s muddy. The polar switches lose DB when used, unlike the U 87. The only thing alike is the shape. When Neumann opened up the pattent after Sennheiser acquired the company, everyone went crazy with look-a-likes. If you can afford the U87, by god mate, GET ONE! If you can’t afford one, PUT IT ON A CREDIT CARD! You’ll be glad you did. Brent
Hmm, whether or not I agree with your assessment of the NT1 (or NT1A) it’s a shame that you added the polar switch comment, because neither variant has any.
Yes I noticed that glaring error myself, and it makes me question the validity of his opinion. The pompous I’m better than you attitude because i use a more expensive mic, did no favours for him either.
i have never owned a neumann u87 or otherwise I have used the U87 ( the black one) on my voice at a friends studio It sounded good ( on my voice: a rock baritone with poor clarity in the head voice) but then so did the NT1a. Not only are they in the same ballpark, they both play the infield.
hmmmmmmm………….ok, “Scott’ is it? (above)
Where in the ‘hell’ did you receive the knowledge or notion that the Neumann U87 does NOT have a ‘polar switch’?
(I guess you went to one of those ‘learn how to be a rockstar in 6 weeks’ AIM-type schools – in which by the time you end up paying off that extremely overpriced & useless tuition (of nearly 6 figures) – you could nearly buy every single mic mentioned on this page.)
* and by the way, the fixed pattern on the Rode NT-1 mics (on some of the earlier models) is the one mostly used polar patterns used by the U87 anyway – and furthermore, a lot of the newer NT-1′s (or extended models) offer either the same, or even more polar patterns.
(sorry bud, but learn all of your models first before ‘dissing’ others.)
NT1. ROFL.
I hope you are joking. The Rode is a toad. Neither should make a list like this. The 87 is a voiceover mic.
Is this a joke or what?
I would have to comment on the U47/fet47 listing. Both amazing mics. The fet47 is actually one of my favorite mics out there. But they are really different from each other. They really shouldn’t be grouped together.
amen
Great list!
I love the 414. Pretty much the SM57 of condensers. Other mics MIGHT sound better, but none move as seamlessly from source to source.
With all the small diaphragm mics (KM84 = double plus good), I’d just like to throw a vote in for the Senny MD421. It’s my fave dynamic, and a solid competitor for the RE20.
@ John Hope
The Rode NT1 is a much more affordable large diaphragm condenser microphone, but a lot of professional studios tend to have higher end mics like the 87. I think I’ve only used an NT1 once, but I hear it is a good replacement for lower budgets.
@SomeAudioGuy
Man, I can’t believe I left out the 421! That mic is a great workhouse. A lot of people love them on toms, but I tend to think they can be a little tricky to get just right, and tend to have a lot of bleed. But I do love the 421 on guitar cabs (try it instead of a 57) and it also makes an interesting kick mic for smaller bass drums.
Hey John,
While the NT1a is a VERY good mic for it’s price, but I would never put in the same league as most of the mics on this page. The NT1a fills the niche of being one of the best budget mics you can buy, and is an exceptional value. The reason you move to a U87 isn’t because it’s ten times “better” but because you are looking for a specific kind of sound. The sound of a U87 has appealed to people for generations. The NT1a is tricky, since it hasn’t been around as long. It’s also a little “brighter” than the NT1 that came before it, so people aren’t as used to it.
It’s the main reason I prefer the 414 XLS, because to my ears it’s pretty honest. It tends not to “color” the sound as much as other mics (I don’t like the 414 TL II for example).
RODE has an incredible line up, but there is never just ONE mic to use. They’re like paint brushes or tools. You use the right tool for the right job.
I think the NT1 kinda sucks, and sold mine long ago after hearing a good mic or 2. 414 is harsh and has little sparkle in the air. Not to mention there are several versions that all sound different. If you can only afford a Rode, buy a Studio projects C1. Far better, but not list worthy.
Good to know.
Very nice roundup! I hope to see similar articles about hardware in the future…
@Stephen
I’m a pretty recent convert to the 421 (just got my hands on an OLD MD421-U-5), and you’re right it is a little trickier to place properly than a 57. For being as “closed up” as the casing is, I thought it would be a bit more directional, so I was surprised to find it’s actually pretty wide (compared to the 57). I think I like the proximity sound on it better than the RE20, though I think the RE20 sounds more honest.
The MD 421 has got to be the best dynamic mic made. It’s a great voice-over mic if you need a dynamic. I spent 29 years in L.A. as a union musician and 421s were a premeir mic on drums and tenor sax. We have 4 of them along with the U87 and Sennheiser 416, an incredible VO mic for commercials and movie trailers. The U87 for narration, Animation, ADR and women’s voices on commercials. Very warm and transparent. Don’t forget. High end mics, like Sennheisers, Neumann, AKG, Schoeps and Manley seem to signal process in post with out any nasty surprises. Particularly Neumanns. Senn MD 421 is a great choice. Cheers. Ryan WSS
the Royer is fantastic. we use it on just about everything except vocals and drums.
It’s fantastic on backing vocals. I’ve done the lead vocals with a U47, then the backing vocals with the Royer (actually the active version – 122, though). Use the bright side, and it’s a perfect match.
@Andrew
Very true indeed. The original tut was actually called common professional studio mics. But I think the audiotuts editor changed the title when they decided to post the tut.
Any recommendations for brass or winds? Particularly alto sax and trumpet.
SM57
every time i take one out i get that “i don’t know, don’t you have anything shinier?” look.
the results speak for themselves.
nice warm brass sound with good tongue sound – used in conjunction with a good condenser (I use a Shure KSM44) @ +/- 1m for added spit and roundness.
NB: remember 3:1 Rule. :)
@ Graham
The Royer R121 sounds great on sax and trumpet and can take the SPL. The Coles 4038 also sounds great on trumpet, and the km84 works well on sax too.
Any recommendations for brass or winds? Particularly alto sax and trumpet: 4038 is good
What about the Sony C800G. I use it on vocals all the time, it really is the go-to mic for pop vocals, rap vocals, r&b vocals…. anything top 40 really!
Good point. WAY overpriced but a good vocal mic. Better mic than most on the list.
Good Stuff!
Stevie Wonder used an ElectrovoiceRE20 for most of his Muisc of My Mind, Talking Book and Innervisions Albums. Its a great mic.
Also, keep in mind when using different microphones in certain applications. It depends on the room. The room’s accoustics will somewhat, dictate the mic used as well as it’s placement. A dead booth or room, dead bright room, or live room. The same mic’s properties may sound different in each of these. Brent
Blue bird Cardioid condenser??? :))) My favourite!!!!
Sterling ST77, another great mic for the price, and often left out of the lists… unfairly
Because it’s not a common studio workhorse. This is about the most common major studio mics.
what about the shure SM7b? why did you guys decide to exclude it?
Co-sign. The SM7b is a serious workhorse and sounds amazing on almost every kind of vocals.
good dynamic for vocals, but top 11?? Nope. FYI……100% of Anthony’s vocals on “Blood Sugar Sex Magic” are SM7. They could not get him to stop grabbing the mic, so they went with the SM7 cuz you can grab it while you sing with minimal noise.
THE NEW Neumann U87 studio mic seems good for me, i will like to know how much it will cost me to ship it to Nigeria.
Studio Projects C1? Every reviewer says A/Bing it with a U87 is hard or impossible to tell. And at less than 1/10th the cost?
Seems like the only thing justifying the high price of some of these microphones is the high price.
C1 > U87? ROFL.
there should also be an article about the best 10 most cheapest Microphones in the market, not every one can afford to have this high end microphones,,,,,,,,,,, yet.
nice article.
Anyone that thinks the Rode NT-1A belongs on this list knows nothing about real mics.
what he said!
Hey Guys, Stumbled across here and thought i’d ask your opinion.
I’m recording at the moment- it’s quite acoustic tinged with heavy kick and toms- kind of dramatic Bon Iver/ish Florence and the machine.
I’ve been using a budget SE220A and want to know what the best mic i can get is- I don’t mind the sound but am sure a better mic will improve it.
Just to let you know i cover a huge range in my voice/the songs. Quite abraisive to falsetto to deep.
Any recommendations would be much appreciated- cheers
HELLO EVERYONE, I AM NEW AT THIS.
My Microphone (of course) didn’t make this list but I am wondering if it is a decent mic to begin with.
It is the Sterling Audio ST79.
thanks
DG
Good article, enjoyed reading it. Beyer M 88 anyone?
You are an idiot. Ever heard of the Telefunken 251? AKG C-12? Neumann U67? Neumann KM54, 56, SM2? AKG C-426B? C-24? and many others……… your choices imply a lack of experience with the next level of mics. Deaf, dumb, or ignorant? Which are you?
While we all may not know if the writer of this article is in fact deaf, dumb, or ignorant we all now have no doubt that the poster of that question is obviously all three.
The more I think about it, the more foolish this is. Out of the best 11 mics ever, you got 1, the gimme, the U47…then you even screwed that up by lumping it in with the the Fet version (sacralige). You left out the best 10 at least! 1.) Telefunken ELA M250/251. 2.) The U47 but only with VF-14 tube version. 3.) Neumann M49. 4.) AKG C-12. 5.) RCA 44 ribbon. 6.) Neumann KM 56. 7.)Telefunken ELA M270. 8.) Scheopps M221. 9.) Neumann CMV3 Bottle Mic. 10.) Neumann SM 69 11.) Neumann M269 (you probably don’t know what this is…it’s a U67 with an AC701 tube instead of a 6072) IN NO PARTICULAR ORDER!! There are still many mics that would make the list before your sorry choices. For instance: Neumann U67, M269, M50, KM54, KM 53, SM-2, Church Cinemic, Telefunken ELA M 260, AKG C-28, RCA-77, Telefunken AK-47, Beyer Dynamic 160, Telefunken M80, AKG C426B
Your list should be titled: The best 11 mics that you have had the chance to use in your obviously limited exposure to great transducers!!! You have picked mostly economy/utility mics. The SM57?? Really???? One of the 10 best ever???? LAUGH OUT LOUD!!!!!!! Maybe the most common, but one of the 10 best……Had to get off the floor to keep typing….SO FUNNY!!!!!! or maybe the 11 utility mics you could afford??? Your claims trumpet your lack of experience. Go try some good mics.
Woah. If the previous poster had bothered to read the comments they might have found this post from the author of this article:
“Very true indeed. The original tut was actually called common professional studio mics. But I think the audiotuts editor changed the title when they decided to post the tut.”
And all I can say is that with attitude like that I can’t imagine you ever getting any work in a studio. The studio managers I know aren’t big fans of condescending arrogant types who think they know it all and sound like angry 14 year olds (incidentally all the question & exclamation marks and the fact you typed LAUGH OUT LOUD, and in capitals? That actually made me laugh out loud!).
If I’d have read your comment before I read the article I would have thought it was written in a really patronising, superior way or something, but having just re-read it it’s not. You seem to be rather bizarrely enraged by it. I really hope you don’t end up taking a gun to school and blowing a load of people away!
Yes, what about Telefunken ELA M250/251?…I didnt have oportunity to own one but heard so many positive comments thou. If you compare it with Neumann U87…on what scale does it come?
Good article. I’m looking at upgrading from a moded Oktava MK 012-01 stereo set to the
AKG C414 B-XLS Stereo Set. I’m a relative novice and use the mics for live & recorded sound for my acoustic guitars. I found the list and suggestions are really helpful.
Thank you for putting this info out, and all the comments. Very interesting! I’ve been recording for a while
and i find that it is true that, the expensive mics are the better ones! But it is also true that it is not the gear at first. it is knowing what to do with what u have. And making it give you what u are hearing in your head. That’s your sound. If you are not getting that, then u need to make some changes. Don’t let the Jonses get u down. You’ll find yourself driving a cadilac on a voxwagon budget! Buy your gear according to the sound you are going after. Not what others are using. As your studio grows make the better changes, according to YOUR SOUND in your head!!! Every studio is unique in it’s own way. As your studio grows u can add those pieces that go along with YOUR SOUND. U know that part about going into the Music store and actually buying that special piece of gear! That’s the part i like! And then putting it with the rest of your paraphenalia? Keep up the good articles. And for all those who never said it! THANKS!!
Nice list of mics, what are your thoughts on the microtech gefell range of mics, I would rate them alongside neumann mics (well they kind of are the same company historically!) and having compared them a/b quite like the sound of the 940 on vocals.
Also the SM7b is now my go to mic, despite several much more expensive mics in the mic box, this one just takes care of less than perfect room acoustics and is great on vocals.
thanks for the list.
Most of the arguments that take place over mics are like the arguments that take place over cars. The majority of the time, you can’t justify yourself. It’s perspective people, deal with it.
Hi to everybody. I’m using a tascam DP-008 8-track for a little home recording. It records digitally and in 16-bit. I mainly record vocals, acoustic & electric guitar.
Because my 8-track only records in 16-bit, would it be pointless of me to invest in anything more expensive than say, a Shure SM57.
And if this is a stupid question, please explain why. Thanks
KSM44 – JTS JS1t ?
How about a Groove Tube MD 1-A?
hi im in iran and in this cuntry not space for my job i saide i want to singing and my dady said no … wayyyyyyyyyyyyyyy? becuse i saide soo you are veri luky im sory my english writing is shet
Hi! I am looking to have a special microphone made. Is there anyone I can speak to about this? Is there a telephone number I can contact?
Hi Carla. Good luck with your new microphone. Unfortunately I’m not aware of anyone you can speak to about this. You may find googling for “custom made microphones” helpful.
Dear Everyone,
I am not a much familiar with audio thing, but i need some true guidance about a project am about to work on, my friend has a clinic room where he wanted to install very sensitive mic, which can pick even sounds on pin drop, because the room where he needs to install in patient room for disable people and they can only talk or say any thing if they need help, so that some one in next room can hear them very clear and get them help, is there any such mic system please let me know that would be really helpful.
Thanks,
Usman
Hi !
I was looking to buy a decent microphone between 400-700 $ and just wanted to know which one would you recommend or is the best for me.I have a husky voice something like John Mayer .let me know thanks !
All this talk of the NT1-a – well, straight from the factory, this mic does bite. I mean, it’ll pick up sound from a source, but even through a decent preamp it is difficult to get past the upper frequency harshness. Here’s an honest to god good suggestion for you who currently own the NT1. Send it out to Michael Joly for a modification. He replaces the capsule and a few other components, turning it into one of the most convincing u87 clones on the market, no joke. In a blind test of over 400 people, professionals and hobbiests, more people thought the modded NT1a was in fact a vintage u87… yep, it’s that damn close!
You forget the ela m 251 ,akg c61,akg c12,etc…
I have U87 and some more good condenser mics. But one of the best I always use is the little wonder AKG 414 B TL II. José Luiz Filó