No there isn't...but there could be a magic microphone that uses physics. Got me thinking.

 

Good shout on the MD441.

Never seen those Aston shields. I must admit to scepticism regarding any close range diffusers being of use as they introduce comb filtering which can be much more of a problem to deal with than room tone. I'm open to being convinced otherwise though...

I wouldn't rule out cardiods altogether though as they do have the best rear rejection, which may be important, dependant on the room. In my experience, carefully choosing the position in a room is more important than mic choice when it comes to limiting negative room effects. Flutter and high frequency reflections can be fairly easily dealt with by the use of makeshift gobos made from mic stands, duvets/blankets etc. The biggest problems come from low frequencies, which is why positioning is important as it will vary throughout the room and is impossible to deal with without serious absorption.

 

I have owned many vocal mics as a budding male vocalist over the years, most medium to low end, from my first mic, the Rhode NT1 to a Telefunken BUT the best mic I've ever had actually is the UAD DLX mic, even after paying a lot of money for WA 47's and other types of replica mics. It really is the most versatile because it gives you so many mic options. Buying a mic that's right for you vocally is the most difficult thing ever IF you cant test it before hand. Normally a hard / harsh sounding vocal sound requires a soft sounding mic and vice versa. This can be a very frustrating and overly expensive journey. The DLX gives you much more options for finding the right sound for your vocals.

I hope that helps.

ps. be prepared to spend a min of 1 to 1.5k or don't bother.

 

Last edited: Apr 3, 2025

With the Aston Halo you get a comb with barely a tooth that will most minimally give your capture the shaft.

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>using condenser mics in 2025

 

I don't find that to be true as it might have at one time been. For instance, I bought a used Microtech Gefell M 930 in like new condition for 700 bucks and it's a brilliant microphone on vocals, acoustic guitar and percussion. I've seen them at similar prices so mine was not an outlier (when someone is parting with theirs which is a rarity). New they are under a grand near me. It is a fantastic mic with a proximity effect that is linear and can be easily reproduced from session to session. In addition, the off axis sound is perhaps the best I've ever heard and won't mess you up in a mix. It's also incredibly quiet and has a wide dynamic range. It's tiny but it's size bellies it's prowess!

 

Whilst I agree with the general thrust of your argument, I definitely don't agree with this.

There are loads of mics that perform amazingly well under that price. SE Z5600A MkII, Neumann TLM103, AKG C414XL, Shure SM7B, Audio Technica AT4040, JZ V47/67/Black Hole. All equal or better given the right circumstances.

Even an SM57/58 can be the right choice sometimes. Countless vocalists have used them for recording: John Lennon, David Bowie, Madonna, Michael Jackson, Bjork, Celine Dion, Henry Rollins, Lana Del Ray. Bono and Peter Gabriel have used them extensively throughout their careers (which ties in with the original question - They often record vocals in the control room, with the speakers blaring out, so those mics will reject more of the ambient sound and produce better recordings under those circumstances.) Quality content will always be more important than perfect clarity. The punters don't know there's a difference between an SM58 and a U47, nor do they care as long as the music shines brightly.

 

Definitely Shures Sm7 as mentioned before.
Don't go for a condenser. Go for a dynamic microphone.

 

Too obvious… and if you don’t like it you can use as a hammer.

 

Sennheiser e 935 - Dynamic Mic (199 €)

Features

• Dynamic microphone
• Clearly emphasizes voices on loud stages
• Transparent highs and warm, gently emphasized low mids
• Uniform directional characteristic:
• High resistance to feedback
• Spring-loaded capsule
• Hum compensation coil
• Extremely robust metal housing
• 1 MZQ 800 microphone clip