I can vouch for Rode mics, I personally have a NT3 which is really a jack of all trades condenser, it can be operated with Phantom power or a battery so it's really adaptable.

We use a NT1 large diagram for vocals and it's really solid for that. If you have a chance to try these out, please do.

For dynamics, Shures are pretty solid and dependable (esp. for live sound), SM58 for vocals or SM57 for instruments.

 

On a budget you could also go:
Samson C01/02/03 - 65-135€ (usually Warm sounding)
Behringer B2-Pro - 135€ (clear and transparent)

Or could stretch it a bit more and go for:
AKG P420 - 219€

 

Last edited: Feb 9, 2023

Very good advice here!

My preferred placement is slightly off-axis and with enough distance (not live micing this one!), a good start is roughly taking your little finger and your thumb and extend those, were talking about 20cm I think. If you're using a large diaphragm mic then having a shield helps. Most mics exhibit the so called "proximity effect" which boosts upper mids if the mic is too close to your mouth, so try the distance to see what works for your voice.

*edit:* When you find a proper placement, to increase the warmth then you can try EQing, boost the bass and lower mids a bit. This is what podcasters do to make their voice nicer. But not too much, we're talking a few dB here.

 

If you are on a low budget, the Rode mics are great. If money is no object, the Neumann TLM102, U87 or U47. If a super low budget, the old reliable Sure SM58's do a half decent job.
I have heard the AKG C414XLII's are also supposed be good for vox but I have never seen them used so far, so I cannot comment with those.

 

Yes, can work great with mezzo-soprano singers. Has a pretty striking saturation pattern.

 

Another very good mic you can get dirt cheap used is the Studio Projects C1. I used one for a decade as a go-to vocal mic. As long as it's been taken care of I'd wonder if you could do better for $150-200.

 

Rode NTK!!!
I have mine for over 20 years now and would buy it again!


https://rode.com/de/microphones/studio-condenser/ntk

Golden Rule:
A good vocal mic is also a good mic for every instrument!

 

U87 and C414 are great mics but pretty bright. Although "smoothly bright" in comparison to many cheaper knockoffs. I've read in SOS that some people think U87 sounds too thin and WA87 addressed that. I haven't heard WA87 so I wouldn't know. U87 is indeed quite bright and I don't like its sound. Needs too much de-essing on my voice but many others' too. I'm sure the OPer wouldn't appreciate its brightness either.

I'd recommend to try (if you can) Sennheiser MK4 or AKG P220/420 condensers and RE20, Shure SM58, Sennheiser e935 as far as dynamics go. I would also take a listen/look at Aston Stealth rather original and flexible dynamic mic. If I needed another mic I would probably buy Senn MK4 since I heard it and it sounds very flat. I too don't like mics which are too bright. I personally use Sennheiser MD431 the most on my voice because it just sounds so good on it and sometimes SM58 or SM57.

I'm not a fan of condensers because they tend to be too sensitive and pick up way too much of the room sound. If you have a recording room then that's not a problem. Some people here recommended super-cardioid dynamic mics like Beta58A, but they have such good room acoustics rejection it is too much and they exhibit too much proximity effect. Great for concerts, though. Stick to cardioid pattern mics as they are good compromise between room acoustics rejection and proximity effect.

Cheers!

 

Last edited: Feb 10, 2023

Thank you all for so many advices
I used the mentioned se2200 mic in a vocal booth in a studio. By the way, it was pirate.com if anybody heard about this. It is interesting thing. I leaned the mic back to have more for reading the lyrics from my mobile held above. So distance and and angle and AIR in audio interface could take off low freqs.

 

Hello @nmkeraj, you should learn the use of the microphone right away, here is a helpful article:

The Basics of Using a Microphone

When possible, always use a good external pop filter. Most modern microphones have some limited built-in wind protection, but it is often not enough. An external pop filter provides extra insurance against plosives. It also can serve as a reference to maintain a consistent distance from the microphone.

When working outside a studio, try to keep the microphone away from reflective surfaces. These audio reflections are often caused by hard surfaces, such as tabletops, podiums or even music stands. Be aware of this. Reflections can negatively affect the audio quality of the microphone.

Read more: www.thebroadcastbridge.com/content/entry/13716/the-basics-of-using-a-microphone

 

Last edited: Feb 9, 2023

That's good to know. So basically women singers who sing a lot from G above middle C to the octave G above it?
So VERY roughly in frequencies it excels from around 392Hz to approximately 784Hz? I guess i will really have to try and hear it used to properly get it. Specs are one thing, the ears are everything.

 

It's insane how badly placing a sensitive mic in proximity to a music stand can jack up the sound. We try to ban them but if you gotta use one try to get get it behind the mic in the cardiod rejection zone (where you want the eyes anyway) and cover it with a towel. Fluffier the better.