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How to Choose the Best Microphone in 2024

How to Choose the Best Microphone in 2024

When you, in the persona of audio engineer, walk into a studio or onto a performance stage, what’s one of the first things you do? You think about what microphones you’re going to use and how they’ll be placed. In fact, you should be doing that when you’re just recording or picking out mics for your live shows, even if you don’t think of yourself as an audio engineer. After all, microphones are the “ears” with which you hear and through which you communicate the excitement and immediacy of that performance to an audience. Whether that audience is there in the space with you, or at the other end of the recording and reproduction chain, your choices at this beginning point are vitally important ones. We say, “No pressure,” because, with this article, we hope to put you in the enviable position of having a clue about what to grab from the mic locker to help make the audience groove along with the music. 

Knowing how to choose the right microphone for a particular application is one of the key skills for anyone with aspirations to be an audio engineer at any level. Different mics will have different sounds based on type, construction and polar pattern. Your job is to be able to make intelligent choices about which mic should go where, and why. It’s also about knowing the rules well enough to know when and how to break them to get the sound that you (or the artist you’re working with) wants to get. Happy accidents are great. Knowing how to repeat them so they’re no longer an accident, but just happy, is the goal. So, follow along with us as we take a deep dive into how you can buy the right microphones to make sure you’ve always got a good choice available. 

Table of Contents

Three Types of Mics
   Dynamic Mics
      Eight Top Dynamic Mics
   Condenser Mics
      Eight Top Condenser Mics
   Ribbon Mics
      Eight Top Ribbon Mics
Special Bonus Stereo Mic Section
Applications
Conclusions

Three Types of Mics

In looking at this collection of what we feel are essential mics, we’ll be covering the three principle types you’ll find on the market today—dynamic, condenser and ribbon microphones. Each type of mic has strengths and weaknesses in different applications, but, as we touched on above, sometimes breaking those rules is the way to find the sound you’ve been looking for. But it’s important to know what those rules are and where breaking them might also break the mic. For each section, for those who love to geek out on gear, we’ll also point you at one of a series of companion articles on how a particular type of mic works.

Dynamic Mics

Dynamic mics are the workhorses of pro audio. Durable, virtually bulletproof, capable of handling extremely high SPL—you can slap one pretty much anywhere and get good sound. Hey, no less than Eddie Kramer, who was one of the sound and recording engineers at the 1969 Woodstock Rock Festival, told us that everything was miked and recorded with the venerable Shure SM57. Certainly, for live sound, vocal mics are predominantly handheld dynamics, with ribbons and condensers being more specialty items in that application. If you’re looking to learn a little more about what makes a dynamic microphone tick, check out our companion article How Dynamic Mics Work for details.

Sennheiser MD 421-II Dynamic Microphone on Drums

In this section, we’re going to look at dynamic mics with a focus on function. For dynamic mics, that dividing line is generally between mics that are primarily vocal mics, and ones that are instrument mics, though, as you’ll see, there can be a fair amount of crossover.

Eight Top Dynamic Mics

Even though we say “eight” in the title here, you’ll find 11 mics listed. That’s because three of these are the same basic mic capsule, just packaged in a mic head that slightly changes the pattern and response (for a better understanding of that, check out our articles on “How Mics Work”) to make them more suitable for particular applications. With that in mind, let’s dive right in.

Shure SM57/SM58

Widely acknowledged as the world’s most used mics, the Shure SM57 and SM58 are standards for a reason. The virtually bulletproof designs share a very similar capsule, but the 57 is primarily intended as an instrument mic, while the 58’s built-in windscreen/pop filter and ability to capture most vocalist’s styles under the most trying of circumstances has it appearing on stages worldwide.

Shure SM57 Dynamic Microphone

Pictured: Shure SM57 Dynamic Instrument Microphone

CADLive D89/D90

A sleeper choice for instrument and vocal mics, the CADLive D89 and D90 start from very similar capsules, with the differences in engineering being that the D89 is tweaked for instrument use and the D90 for vocalists. No newcomer to mic design, CAD Audio is descended in part from the old Astatic mic line, which were popular mics in the world of radio. One big plus for CADLive is that they stand behind their mics with a lifetime warranty against defects.

CADLive D90 Supercardioid Dynamic Microphone

Pictured: CADLive D90 Supercardioid Dynamic Microphone

sE Electronics V7 X/V7

A relative newcomer, compared to the previous two manufacturers, sE Electronics started out making gear for studio usage. Their pair of instrument/vocal mics are the V7 X and V7, respectively. Designed primarily for stage, they’re definitely usable in the studio as well. This pair of supercardioid pattern dynamics have been getting rave reviews from some major touring bands, and are good choices for higher volume stages where off-axis rejection is important.

sE Electronics V7 Dynamic Microphone

Pictured: sE Electronics V7 Dynamic Microphone

Sterling Audio P30

The P30 from Sterling Audio is unique in this group, being an active cardioid dynamic mic that requires phantom power for an internal preamp. This preamp is especially valuable in situations where you might want a little more gain or where there’s substantial RFI (radio frequency interference) in the environment, as it ensures less noise at the mixer’s mic preamp. It also makes it easier, especially on live sound mixers that use lower voltage supplies, to keep those mic pres at their “sweet spot.”

Sterling Audio P30 Dynamic Active Vocal Microphone

Pictured: Sterling Audio P30 Dynamic Active Vocal Microphone

Shure SM7B

In broadcast booths, podcast studios and voice-over facilities, the Shure SM7B is a truly iconic mic that’s been made even more so by the podcasting boom. It delivers that rich, warm “radio voice” for broadcast/podcast applications. It’s also great for vocals, especially for singers who like to work in close proximity to the mic. Its exceptionally wide, flat response and frequency contour switches make for a lot of versatility. It’s been used for vocals by Michael Jackson, James Hetfield, John Mayer and many others in the studio. It’s related to the SM57 and SM58, as they’re all based on Shure’s original Unidyne III capsule, but the SM7B is entirely it’s own thing, not just the same capsule in a different package. Don’t feel that it’s restricted to vocals, though. The SM7B’s ability to handle high-SPL sources also makes it a great mic for guitar and bass cabs, as well as an excellent choice for kick drum. However, the SM7B doesn't offer a lot of input gain, which means it may require an additional booster to get the levels you want. Here's a pro tip: Check out the Shure SM7dB, which offers a built-in preamp that can be switched between 18dB and 28dB of pure, clean gain. As a bonus tip, if you’re a podcaster and love the sound of the SM7B, Shure’s MV7 offers the convenience of hybrid USB/XLR output and some powerful DSP, in a mic that is very much a descendant of the SM7B.

Shure SM7B Cardioid Dynamic Microphone

Pictured: Shure SM7B Cardioid Dynamic Microphone

Electro-Voice RE20

Another studio icon that doubles as a preferred choice for many touring bands, the Electro-Voice RE20—like the SM7B—made its reputation in the studio and the broadcast booth for vocals, both spoken and sung, but it also shines as a mic for guitar amps, drums, brass and other high-SPL applications. Introduced in 1969, the RE20 started life aiming at being a full-range, dynamic alternative to condenser mics, and it’s suitable for just about any application where you’d use a large-diaphragm condenser. In fact, despite its start as a mic aimed at broadcast announcers, it has found a serious place with many studio and touring bands as a go-to for kick drums and bass amps.

Electro-Voice RE20 Dynamic Cardioid Microphone

Pictured: Electro-Voice RE20 Dynamic Cardioid Microphone

Sennheiser MD 421-II

The first of two Sennheiser mics on this list, the venerable MD 421-II is another mic that has made its reputation both in the studio and on the stage. Both a great vocal mic and a superb mic for instruments, the MD 421’s distinctive profile is often seen in critical live situations on drums, guitar cabs and brass. Its five-position bass response switch and ability to handle high SPL makes for a great deal of sonic versatility.

Sennheiser MD 421-II Dynamic Microphone

Pictured: Sennheiser MD 421-II Dynamic Microphone

Sennheiser MD 441-U

The Sennheiser MD 441-U has experienced quite the resurgence in recent years, both for vocals and instruments. All for good reason, we think. It’s an amazingly versatile dynamic mic that can find a place in almost any studio or stage situation. The MD 441-U delivers a clarity and response that you’d normally expect from a condenser with a very tight supercardioid polar pattern with serious side rejection, making it ideal for toms, individual brass and wind instruments, even vocals. For a deeper look, check out our recent article on the history of the 441-U, about just what makes it such a special mic.

Sennheiser MD 441-U Dynamic Microphone

Pictured: Sennheiser MD 441-U Dynamic Microphone

Condenser Mics

From the introduction of the first practical condenser mic by Georg Neumann (the CMV 3) in the late 1920s, condenser mics became the first choice for many critical jobs. While Neumann has continued to be a major force in microphone development, with their U 87 remaining perhaps the most aspirational condenser mic for recording studios worldwide, many other manufacturers have stepped in with worthy offerings. If you’re curious about what’s going on inside that mic head, you might want to take a look at the companion article How Condenser Mics Work to feed your head.

Neumann U 87 Condenser Microphone

As with the section on dynamic mics, we’ll be looking at condenser mics by function. As always, creative engineers find interesting applications for mics that may have been designed for something different. So, don’t take any of this as set in stone, but more as a collection of guidelines for getting started.

Eight Top Condenser Mics

Here’s a selection of eight of what we consider to be the most versatile selections in current condenser mics. Some are mics that are extremely well known, but we’ve thrown in a few surprises that we feel deserve a closer look.

Neumann KMS 105

First on our list is the Neumann KMS 105 handheld condenser vocal mic. Packing a studio-quality condenser capsule into a rugged, stage-friendly handheld, the KMS 105 helps cement Neumann’s reputation as the ne plus ultra of condenser mic manufacturers. Crisp and clean, with low handling noise and able to handle SPL so high (150dB) that your ears would be bleeding, it delivers a very tight supercardioid pattern for excellent off-axis rejection, minimizing feedback issues on loud stages.

Neumann KMS 105 Microphone

Pictured: Neumann KMS 105 Condenser Microphone

Shure SM81

Another mic that you’ve seen on stages everywhere, the Shure SM81 is an incredibly versatile condenser for instrument use. With a flexible, three-position tone contour switch, it’s especially good on acoustic guitars, pianos, woodwinds and drum overheads.

Shure SM81 Cardioid Condenser Microphone

Pictured: Shure SM81 Cardioid Condenser Microphone

Sterling Audio SL230MP

If you’re working on a tighter budget, the Sterling Audio SL230MP is a matched pair of medium-diaphragm condensers that are excellent drum overheads or percussion mics. They also shine on acoustic guitars, piano and other instruments that call for clarity and detail. A 75Hz roll-off switch and high-SPL handling capability adds to their versatility.

Sterling Audio SL230MP Condenser Microphones

Pictured: Sterling Audio SL230MP Condenser Microphones

AKG C414/C214

The AKG C414 is certainly a studio standard. You would, in fact, be hard-pressed to find a quality recording studio that doesn’t have a couple in their mic locker. With its dual-condenser capsule, it offers the classic multi-pattern choices of cardioid, wide cardioid, supercardioid, omni, and figure-8 polar patterns, plus three bass-cut filters and three different levels of pad. Like the legendary AKG C12 from which it descends, the C414 is renowned for its clarity and accuracy in all those modes. Its younger sibling, the C214, uses a single capsule—the same one as the C414—with a single cardioid pattern and single bass cut and pad, to deliver the same sound quality in a simpler package.

AKG C414 XLS Multi-Pattern Condenser Microphone

Pictured: AKG C414 XLS Multi-Pattern Condenser Microphones

Warm Audio WA-47jr

Warm Audio is another relative newcomer who has built a reputation on creating versions of classic vintage condenser mics. Their WA-47jr is a transformerless, FET version inspired by the iconic Neumann U 47 mic heard on so many recordings over the past five decades. Engineered to come as close as possible to the original, it’s got the vibe and personality that many vocalists look for in a studio mic, and at a pretty incredible price.

Warm Audio WA-47jr FET Condenser Microphone

Pictured: Warm Audio WA-47jr FET Condenser Microphone

Audio-Technica AT2020

The "My First Condenser Mic" for many musicians has been the Audio-Technica AT2020, and for good reason. This extremely affordable large-diaphragm condenser is a great all-rounder, working well on vocals, guitar amps, drum overheads, brass, woodwinds and acoustic instruments. While it may not have a lot of the bells and whistles of more expensive condensers, it's got solid sound, a durable build and serious reliability.

Audio-Technica AT2020 Large Diaphragm Condenser Microphone

Pictured: Audio-Technica AT2020 Large Diaphragm Condenser Microphone

Shure KSM44A

The KSM44A is Shure’s version of a multi-pattern, large-diaphragm condenser mic. While it may not be as omni-present as the German and Austrian mics sometimes seem, it has a devoted following amongst recording engineers in the know. It’s versatile enough to grab in almost any situation. The KSM44A shines for capturing vocal detail, and does a stellar job on high-SPL sources like a brass section or drum overheads.

Shure KSM44A Condenser Microphone

Pictured: Shure KSM44A Condenser Microphone

Sterling Audio ST151

The Sterling Audio ST151 is one of the best budget choices for a large-diaphragm condenser mic. Combining smoothness and clarity, the ST151 features a custom-wound transformer and hand-assembled capsule. This is a solid, multi-purpose condenser that does a stellar job and won’t break the bank.

Sterling Audio ST151 Large Diaphragm Condenser Microphone

Pictured: Sterling Audio ST151 Large Diaphragm Condenser Microphone

Ribbon Mics

As we mentioned in our companion article, How Ribbon Mics Work, this style of mic captures sound in a way that is very close to how the human ear hears. This makes them one of the most natural-sounding choices in a wide variety of applications. As we also mentioned in that article, the days when ribbon designs were too fragile for regular use are long gone. Note that ribbon mics of a more traditional design tend to have a little less gain, so you’ll want a mic preamp with a good amount of gain—say 75–80dB. AEA, among others, has preamps that are built specifically for ribbon mics. Active ribbon mics generally have a preamp built into the mic body. Modern ribbons are suitable for a wide range of applications, both in the studio and live. Here are our choices to help in building out your mic locker.

Royer Labs R-121 Ribbon Microphone on a Fender Guitar Amplifier

Eight Top Ribbon Mics

These eight selections highlight the strengths of ribbon mics, while offering a range from iconic, vintage-inspired designs to mics that feature cutting-edge technology and a rethinking of ribbon mic design.

Royer R-10/R-121

The Royer R-121 has been one of the most visible ribbon mics over the past couple of decades and has been the flagship product for Royer Labs. It’s widely held as the mic most responsible for bringing about the so-called “ribbon resurgence,” and was the first modern redesign of the technology to hit the wider market. The natural sound of the R-121 minimizes the amount of EQ necessary, and its patented offset ribbon technology helps maintain full-frequency response, even in the face of extreme SPL. If you want a Royer ribbon (and who doesn’t?) the R-10 uses the same ribbon design and offset ribbon technology, but is designed and engineered to be a more affordable option.

Royer R-121 Ribbon Microphone

Pictured: Royer R-121 Ribbon Microphone

sE Electronics Voodoo VR1

The sE Electronics Voodoo VR1 offers a ribbon capsule design that uses a unique mechanical diffusor to extend the frequency range somewhat beyond the normal point at which ribbons start to roll-off their highs. It’s a great choice if you love that natural ribbon warmth, but want just a little more “air” in your sound.

sE Electronics Voodoo VR1 Ribbon Microphone

Pictured: sE Electronics Voodoo VR1 Ribbon Microphone

RØDE NTR

Australian mic maker RØDE pulled some interesting technological tricks when they designed the NTR, their active ribbon mic. It uses several manufacturing and electronic advances to strengthen the 1.8-micrometer ribbon and extend the frequency response 5kHz beyond where many ribbons start to roll off the high end. Despite this, the NTR retains the classic, smooth ribbon sound profile, and excels at vocals, electric guitar cabinets and drum overheads with all the usual ribbon strong points.

Rode NTR Active Ribbon Microphone

Pictured: Rode NTR Active Ribbon Microphone

AEA R44C

You may be saying to yourself, “My, but there are a lot of AEA mics in this section!” That’s likely because Wes Dooley, founder at AEA, is passionate about both the past and future of the ribbon and has designed a broad range of ribbon mics to suit different applications. We’ll start with the past and the AEA R44C. This is pretty much an exact replica of the much-in-demand RCA 44 ribbon mic. Dooley started his career sourcing parts to rebuild vintage RCAs, and his love of them shows in this mic. If you aspire to replicate some of the most stirring and lasting vocal sounds of the 20th century, this is a mic that deserves to be in your collection.

AEA Microphones R44C Bidirectional Big Ribbon Studio Microphone

Pictured: AEA Microphones R44C Bidirectional Big Ribbon Studio Microphone

AEA NUVO N8

The AEA NUVO N8 is their modern active ribbon that’s designed for instrument use. AEA refers to it as a “far-field” ribbon mic, in that it retains both low- and high-frequency response at a distance, which makes it an ideal choice for covering instrumental sections, like strings or brass. It’s also a great choice for stereo recording or drum overheads, either in an X/Y pattern or as a Blumlein pair.

AEA Microphones NUVO N8 Active Ribbon Microphone

Pictured: AEA Microphones NUVO N8 Active Ribbon Microphone

AEA R84A

When AEA designed the R84 series, they started with the tonality of the classic R44 and extended the frequency response while reducing proximity effect. Both of these make it especially effective as a mid-distance or close-distance mic for instruments and vocals. The “A” in R84A stands for “active,” and the phantom-powered internal preamp adds 12dB of gain for increased ease of use with lower-gain mic preamps on mixing boards.

AEA Microphones R84A Active Ribbon Microphone

Pictured: AEA Microphones R84A Active Ribbon Microphone

AEA KU5A

Front-address ribbon mics are not super common, due to the nature of how ribbon capsules work. The AEA KU5A takes the idea and turns out a modern ribbon mic with a supercardioid polar pattern that is superb for vocals and instrument use while offering excellent off-axis rejection. It delivers all the classic ribbon warmth and body, but in a package that enables easier use in live situations or critical studio sessions where you don’t want to isolate everything, but still want to minimize bleed.

AEA Microphones KU5A Supercardioid End-Address Microphone

Pictured: AEA Microphones KU5A Supercardioid End-Address Microphone

Sterling Audio ST170

The Sterling Audio ST170 is an active ribbon mic. The built-in preamp means that you can keep your mixer’s preamp at its “sweet spot,” making it easier to get the vintage-style warmth and natural personality ribbon mics are known for. A pair of ST170s make great overheads for a drum kit, or, set up as a Blumlein pair (see our article on How Ribbon Mics Work for how that works) for a great stereo setup.

Sterling Audio ST170 Active Ribbon Microphone

Pictured: Sterling Audio ST170 Active Ribbon Microphone

Special Bonus Stereo Mic Section

As an extra added feature, we’d like to take a look at a trio of stereo mics—two ribbons and one condenser. A stereo mic can be a great addition to your collection and offers a lot more versatility than simply capturing a stereo image from a distance. There are lots of applications for stereo mics, from drum overheads or capturing a brass section in stereo to adding room ambience to a recording (provided, of course, that you’ve got a great sounding room). The three mics listed here are our choices for you to consider.

Royer SF-12/SF-24

Royer Labs SF-12 (passive) and SF-24 (active) stereo ribbon mics are essentially a straight-up Blumlein pair (as we mentioned above, check our article on how ribbons work for a little more about the concept), placed in a single shell, which simplifies placement and use, because you don’t need to align the mics or use an unwieldy arrangement of stands and shockmounts to make it work.

Royer Labs SF-12 Passive Stereo Ribbon Microphone

Pictured: Royer Labs SF-12 Passive Stereo Ribbon Microphone

AEA R88A

Using a pair of the same “Big Ribbon” capsule as AEA’s R84 series, the R88 (passive) and R88A (active) deliver a full-frequency stereo experience with the same “far-field” response as its mono cousin. This is a seriously great mic for capturing live performances in an amazingly natural way.

AEA Microphones R88A Active Stereo Ribbon Microphone

Pictured: AEA Microphones R88A Active Stereo Ribbon Microphone

Avantone Pro CK-40

While Avantone Pro is another relative newcomer, we have to say the CK-40 is one of the more intriguing mic designs. With a pair of pressure-gradient capsules, multiple pickup patterns and the ability to rotate the top capsule up to 90 degrees, it’s possible, with this one mic to do a Blumlein pair, mid-side stereo or basic X/Y coincident pair stereo recordings. The best thing is that it’s priced to make it easy to explore the single-mic stereo capture scene.

Avantone Pro CK-40 FET Stereo Multi-Pattern Microphone

Pictured: Avantone Pro CK-40 FET Stereo Multi-Pattern Microphone

Applications

We’d like to add just a few words on applications here. In talking about the different mics, we’ve touched on a number of them during the course of this article. At the end of the day, though, this is art, not science (although we still can’t break the laws of physics). If you want to take a mic that’s designed for one thing and try it for something totally other, that’s how some of the most amazing recordings have been born. And we say, “Go for it!”—unless, of course, it’s going to destroy your mic, in which case you might want to consider other options. The creativity and imagination of other musicians is something we treasure, and something we’re always seeking in the people we make music with. So, think of the mentioned applications as guidelines and messages from those who have come before. But, don’t bypass all your crazy ideas—the world needs them.

Conclusions

Okay—that was a lot of information to take in all at once. Mics are a deep, deep world once you start getting into it, and you’ll find that your mic closet is going to keep growing the more you record. It’s like music in general—the more you know, the more you hear, and the more you hear, the further down the road you want to go. If you need some assistance along the way, call up our Gear Advisers or stop in your local Guitar Center store and talk to the associates in the Pro Audio department. They’ll be glad to help. And keep coming back to Riffs to see new articles about tech, recording, live sound, podcasting, production and more. And guitars—we do guitars, too.

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