The majority of these mics are ego-massaging "coke tin" mics that are unforgiving in poor acoustic environments. When I helped build the first legal FM dance-music radio station in London (that one - it begins with a K) in the 90s, we used the Neumann KM84i as pres mics. Brilliant mics, except the jocks hated then. So we put a lesser spec'd and sounding mic in, and they loved them. The difference? KM84i are small cigar shaped devices, the replacements? Coke-tin sized efforts with all the cats-cradle around them. In 35 years of building hundreds of radio studios and stations around the world, my go-to mic for studios with less than best acoustics, used solo or en-mass in group discussions? The Beyer M201. It's a cigar shaped end-fire mic costing about £200 - $180, has a tight hyper-cardioid response - a little unforgiving off-axis but that's also a bonus. It works well on vocal and instruments too. The BBC still use then on Radio 4 and put them in all their local radio stations until the fad of using the TLM103 came along (a lovely mic, but over the top for this application). Commercial radio in the UK was the same - in the late 1980s /early 90s most opted for the M201 not justifying, with the exception of Capital Radio, London, the expense of a Neuman U47 (and later the U87). It wasn't until the late 1990s when the large diaphragm Audio Technica AT4033 became popular due to the price that they moved away from it. People rave about the "good old days of radio" - The 60s Pirates etc. Many used the AKG 202 - also used in the early days of BBC Radio 1 (who now use a U87 and screw-up its fantastic response by feeding it into four-figures worth of TC Electronic mic-processor and basically destroying it) and you will still find it's successor, the D222, used on the Dispatch Box in the UK Parliament to capture the words of the PM and Leader of the Opposition. It's another good all-rounder cardioid response mic - more expensive than the M201 but great in a discussion recording when used on the chair's voice, as it allows side-to-side head-movement without loss of response. (That's why they use them in Parliament.) Don't get me wrong, the mics mentioned in the video are all nice and have their applications, I have many of those listed and use and love them. But if you want consistent audio quality results in, and lets face it, podcasters or bedroom broadcasters, the last thing most spend their money on is acoustic treatment of the recording space, less-than-best acoustics, then let your head, and wallet, rule your heart and ego and buy an M201. Incidentally, when I train people on using a mic, the fist rule of thumb is positioning - a hand-span distance from mouth to mic grill is the starting point for using a mic. And loose that round windshield crap too. It gets in the way, ruins sight-lines to guests, unbalances the stand and is a waste of money. A foam windshield is all you need. If you pop the mic - the answer to this is simple - learn not to do it.
Great comment. Lots of useful information. Spot on about ego on Broadcasters. They want the biggest mic they can find as low self esteem people want the biggest SUB or truck on the streets to compensate.
The AT2020 was dismissed without you even being familiar with how it sounds. 'As a creative professional who got advice from audio engineers before buying a couple for general home studio use and this is a great sounding mid-capsule condenser, warm through the range. You can't rate something you haven't heard.
I laughed every time you said a mic looked great or not very good. It’s clear that it’s subjective because I thought exactly the opposite in every case. For example, I think the Blue Spark cannot be uglier hahaha. In sound I think we wouldn’t disagree that much.
@@AudioInsider_YT i tell you what you can do a video on, how do i record a podcast audio and the video at the same time so i have the video file and the audio?
Hi James. I'm from Sri Lanka and I'm aspiring to be a Radio Presenter. Most of the mics in this video are not available here in Sri Lanka. What about the Rode NT USB Mini? That is not mentioned here.
If the Aston stealth was 105 bucks it be greatest thing ever made in that price range but its more closer to $400 :-(. Does anyone have an opinion on the Ultravoice Re20 vs Procaster for podcasting broadcasting?
The N/D is not for variable d. It's for neodymium magnets. Unlike the re20, or the 'black hole' aka the sm7b, it only needs 55 DB because of the strong magnets. In the '90s this was the most used FM radio microphone. The fact that you thought n/d stood for variable d, something which was invented in 1969 by Electro-Voice for the re20 and the couple other mics, shows me you need to do a little more research.
good vid. I must admit i tend to like the NT1A for condensor (although i admit sound seems to fall through the mic in a larger studio) & the RE20 as a dynamic as it tends to pull sound into it. For stage use i like the SM58 though, but i doubt id use it in a studio environment. As a volunteer on a community radio station having to VT from home, i'm on a limited budget, i've found the BM800 (not reviewed here) to be one of the most surprising for the cost, definitely worth a look. Also some shows i'm home recording using gaming headsets as it just seems easier & again, the sound in a home environment (provided to get a decent one, not one that sounds like you are pinching your nose or talking into a bucket) can work well & sound like a proper studio mic if you use a USB soundcard rather than the onboard sound.
@@AudioInsider_YT I have to admit there are a lot of reviews on RUclips for them, but a lot review a microphone - any microphone - and dismiss them as rubbish simply because they have connected them either without a decent interface, through a proper mixer or just used a suitable external USB sound adapter - even the very cheapest of plug & play USB adapters can make a huge difference. Using the onboard sound is a definite no-no to connect a mic directly into a PC laptop to do a review and I can't emphasise this point enough. It is good to be able to see this review has been done properly.
I'm struggling to control sibilance. Two questions - first is there any difference in susceptibility to sibilance, overall, between condenser and dynamic microphones? Second, which of these microphones - medium rather than top priced, please, is the best at minimizing this problem? Many thanks and Merry Christmas to all
After having used both the SM7B and the RE20 for both spoken word, singing, bass, guitars and more, I can say that the RE20 beats the 7B in almost every category. Especially for uses like podcasts and streaming, I just love the sound of the RE20. The 7B is great, unoffensive, but it lacks the true clarity and versatility the RE20 offers. I will say, it based on the voice, so if you get the chance to try both, DO IT! But I almost always pick the RE20 these days.
I must agree that I've seen RUclipsrs do various comparisons between the two, and I really do like the sound output from the RE20. It sadly doesn't have enough recognition.
Interesting, which mics did they switch from? It sounds great I think and is a perfect mic for someone starting out or for building a studio on a smaller budget.
James, we have the Shure SM7B, Neumann BCM 104 and Rode NT1 and I tell you what? The Rode sounds better than the Shure SM7B. Perhaps I might need to set my Shure?
Hmm, maybe. I think people gravitate towards the SM7B because of the amount of famous podcasters that use it. By no means is it a bad microphone, but I agree that there are better options out there!
Could you recommend a silent boom/arm capable of holding the Behringer B-1 plus spider, for a small-town's radio studio? (Table mounting) The mic alone seems quite heavy and the suspension arms I can see online -at a reasonable price- can only hold lighter mics.... Love the videos BTW, thanks sooo much for the super useful insight (Y)
Looks like an incorrect price for the Aston Stealth. As for the EV RE20 and the Shure SM7B very gain hungry mics which require a cloudlifter or fethead. I particularly love the Rode NT1 and Neumann TLM103. I use a DBX286 works well. Recommended. James. thank you
Ah, yes well spotted on the Aston Stealth price. looks to be you can pick one up for around £230 / $280. The Neumann TLM 103 is definitely one of my favourites too. Thank you for the kind words, Aidan 🙏
Pricing varies. Plus dependant on location and currency so is for a guide only. You should shop around for the best price whenever you’re buying anything!
The majority of these mics are ego-massaging "coke tin" mics that are unforgiving in poor acoustic environments. When I helped build the first legal FM dance-music radio station in London (that one - it begins with a K) in the 90s, we used the Neumann KM84i as pres mics. Brilliant mics, except the jocks hated then. So we put a lesser spec'd and sounding mic in, and they loved them. The difference? KM84i are small cigar shaped devices, the replacements? Coke-tin sized efforts with all the cats-cradle around them. In 35 years of building hundreds of radio studios and stations around the world, my go-to mic for studios with less than best acoustics, used solo or en-mass in group discussions? The Beyer M201. It's a cigar shaped end-fire mic costing about £200 - $180, has a tight hyper-cardioid response - a little unforgiving off-axis but that's also a bonus. It works well on vocal and instruments too. The BBC still use then on Radio 4 and put them in all their local radio stations until the fad of using the TLM103 came along (a lovely mic, but over the top for this application). Commercial radio in the UK was the same - in the late 1980s /early 90s most opted for the M201 not justifying, with the exception of Capital Radio, London, the expense of a Neuman U47 (and later the U87). It wasn't until the late 1990s when the large diaphragm Audio Technica AT4033 became popular due to the price that they moved away from it. People rave about the "good old days of radio" - The 60s Pirates etc. Many used the AKG 202 - also used in the early days of BBC Radio 1 (who now use a U87 and screw-up its fantastic response by feeding it into four-figures worth of TC Electronic mic-processor and basically destroying it) and you will still find it's successor, the D222, used on the Dispatch Box in the UK Parliament to capture the words of the PM and Leader of the Opposition. It's another good all-rounder cardioid response mic - more expensive than the M201 but great in a discussion recording when used on the chair's voice, as it allows side-to-side head-movement without loss of response. (That's why they use them in Parliament.) Don't get me wrong, the mics mentioned in the video are all nice and have their applications, I have many of those listed and use and love them. But if you want consistent audio quality results in, and lets face it, podcasters or bedroom broadcasters, the last thing most spend their money on is acoustic treatment of the recording space, less-than-best acoustics, then let your head, and wallet, rule your heart and ego and buy an M201. Incidentally, when I train people on using a mic, the fist rule of thumb is positioning - a hand-span distance from mouth to mic grill is the starting point for using a mic. And loose that round windshield crap too. It gets in the way, ruins sight-lines to guests, unbalances the stand and is a waste of money. A foam windshield is all you need. If you pop the mic - the answer to this is simple - learn not to do it.
Fascinating comment - very detailed perspective. Thanks for taking the time to write that 😉
Great comment. Lots of useful information. Spot on about ego on Broadcasters. They want the biggest mic they can find as low self esteem people want the biggest SUB or truck on the streets to compensate.
Hi guys, if you've just read the upper comment, go and read it again, it's a gem of wisdom and know-how.
The Neuman TLM 103 and Rode NT1 gives the best results on producing beautiful well defined low frequencies and smooth highs without over hissing.
Love the types of mics you've posted. I am in the process of creating my own recording studio...
Go for it!
The AT2020 was dismissed without you even being familiar with how it sounds. 'As a creative professional who got advice from audio engineers before buying a couple for general home studio use and this is a great sounding mid-capsule condenser, warm through the range. You can't rate something you haven't heard.
I have heard it used elsewhere so of course I absolutely have an opinion. My opinion is - it's average and there are better mics out there.
How is the RE20 "dated", but the SM7 is not? They're both 50+ years old.
I laughed every time you said a mic looked great or not very good. It’s clear that it’s subjective because I thought exactly the opposite in every case. For example, I think the Blue Spark cannot be uglier hahaha. In sound I think we wouldn’t disagree that much.
Different strokes for different folks I guess!
The BCM705 has a really wonderful high end. Used by radio stations in Sweden. True and crisp sound.
Have you ever tried the Blue Ember? It is in my opinion the best of arround 100 dollar.
You should try it!
I will check it out!
Want to buy any of these mics? Here's the list!
Neumann U87 AI
Amazon US: www.amazon.com/dp/B0016ZSIP2?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B00502CCXG?tag=radiodotco-21
Neumann TLM 103
Amazon US: www.amazon.com/dp/B0002H0S4O?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B000CZ0RA6?tag=radiodotco-21
AKG C414
Amazon US: www.amazon.com/dp/B006VSM8WS?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B006VSM8WS?tag=radiodotco-21
Beyerdynamic MC 840
www.gear4music.com/PA-DJ-and-Lighting/beyerdynamic-MC-840-Large-Diaphragm-Condenser-Microphone/2WKI
Audio Technica AT4033
Amazon US: www.amazon.com/dp/B071L5WRQL?tag=radiodotco-20
Alternative: www.thomann.de/gb/audio_technica_at4033_asm.htm
Blue Spark
Amazon US: www.amazon.com/dp/B01N245822?tag=radiodotco-20
Amazon UK (Alternative): www.amazon.co.uk/dp/B014PYGTUQ?tag=radiodotco-21
Aston Origin
Amazon US: www.amazon.com/dp/B019RVU0C0?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B019RVU0C0?tag=radiodotco-21
Behringer B1
Amazon US (Alternative): www.amazon.com/dp/B000KUA8EI?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B0002KZAK8?tag=radiodotco-21
Audio Technica AT2020
Amazon US: www.amazon.com/dp/B0006H92QK?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B0006H92QK?tag=radiodotco-21
Rode NT1
Amazon US: www.amazon.com/dp/B00GGGQK56?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B00GGGQK56?tag=radiodotco-21
Shure SM7B
Alternative: www.gear4music.com/Recording-and-Computers/Shure-SM7B-Dynamic-Studio-Microphone-and-Shure-SRH840-Headphones/3839
Amazon UK: www.amazon.co.uk/dp/B0153NKJHM?tag=radiodotco-21
Electrovoice RE20
Amazon US: www.amazon.com/dp/B00KCN83V8?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B00KCN83V8?tag=radiodotco-21
Electrovoice RE27
Amazon US: www.amazon.com/dp/B000Z7JJAU?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B000Z7JJAU?tag=radiodotco-21
Heil PR40
Amazon US: www.amazon.com/dp/B000SOYOTQ?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B01N5DC6WO?tag=radiodotco-21
Neumann BCM 705
Amazon US: www.amazon.com/dp/B0018SR2C2?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B0018SR2C2?tag=radiodotco-21
Electrovoice RE320
Amazon US: www.amazon.com/dp/B07WVFDHPZ?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B00KCN83VI?tag=radiodotco-21
Rode PodMic
Amazon US: www.amazon.com/dp/B07MSCRCVK?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B07MSCRCVK?tag=radiodotco-21
Shure SM58
Amazon US: www.amazon.com/dp/B000CZ0R42?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B00FXO5CEW?tag=radiodotco-21
Aston Stealth
Amazon US: www.amazon.com/dp/B07LGMF4WF?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B07LGMF4WF?tag=radiodotco-21
Rode Procaster
Amazon US: www.amazon.com/dp/B001IPUJJI?tag=radiodotco-20
Amazon UK: www.amazon.co.uk/dp/B001IPUJJI?tag=radiodotco-21
So, whats your favourite microphone? 🎤
This is brilliant james and i am probably going to change my mind for the one i was going to go with.
Thank you, glad you enjoyed it! 🙌 Please drop me a like and subscribe if you haven't done so already 🙏
@@AudioInsider_YT Already on and subscribed and also a podcast co member.
awarenessandaction Awesome! Thank you for the support! 😊
@@AudioInsider_YT i tell you what you can do a video on, how do i record a podcast audio and the video at the same time so i have the video file and the audio?
Out of interest - what were you going with and what are you leaning towards now?
I am quite shocked that you did not mention SENNHEISER. The 241 was the standard for many years and still is one of the best microphones around
Ah yes! Isn't that the one with the snap on mount?
Sorry I missed that one. There are lots of great options out there so I was bound to miss a few!
Hi James. I'm from Sri Lanka and I'm aspiring to be a Radio Presenter. Most of the mics in this video are not available here in Sri Lanka. What about the Rode NT USB Mini? That is not mentioned here.
Check out our review here:
ruclips.net/video/8YLC1bSNt8I/видео.html
@@AudioInsider_YT thanks a lot. I'm actually considering buying it since this is available here in Sri Lanka.
If the Aston stealth was 105 bucks it be greatest thing ever made in that price range but its more closer to $400 :-(. Does anyone have an opinion on the Ultravoice Re20 vs Procaster for podcasting broadcasting?
Top two for voice is the Heil PR-40 smooth sounding, 2nd RE-320. Sums it up 😉
The N/D is not for variable d. It's for neodymium magnets. Unlike the re20, or the 'black hole' aka the sm7b, it only needs 55 DB because of the strong magnets. In the '90s this was the most used FM radio microphone. The fact that you thought n/d stood for variable d, something which was invented in 1969 by Electro-Voice for the re20 and the couple other mics, shows me you need to do a little more research.
Most used in US, NOT the rest of the world. You should do your research.
Freddie aquino
good vid. I must admit i tend to like the NT1A for condensor (although i admit sound seems to fall through the mic in a larger studio) & the RE20 as a dynamic as it tends to pull sound into it. For stage use i like the SM58 though, but i doubt id use it in a studio environment. As a volunteer on a community radio station having to VT from home, i'm on a limited budget, i've found the BM800 (not reviewed here) to be one of the most surprising for the cost, definitely worth a look. Also some shows i'm home recording using gaming headsets as it just seems easier & again, the sound in a home environment (provided to get a decent one, not one that sounds like you are pinching your nose or talking into a bucket) can work well & sound like a proper studio mic if you use a USB soundcard rather than the onboard sound.
Thanks for the kind words Ian! I'll have a look into the BM800.
@@AudioInsider_YT I have to admit there are a lot of reviews on RUclips for them, but a lot review a microphone - any microphone - and dismiss them as rubbish simply because they have connected them either without a decent interface, through a proper mixer or just used a suitable external USB sound adapter - even the very cheapest of plug & play USB adapters can make a huge difference. Using the onboard sound is a definite no-no to connect a mic directly into a PC laptop to do a review and I can't emphasise this point enough. It is good to be able to see this review has been done properly.
I'm struggling to control sibilance.
Two questions - first is there any difference in susceptibility to sibilance, overall, between condenser and dynamic microphones?
Second, which of these microphones - medium rather than top priced, please, is the best at minimizing this problem?
Many thanks and Merry Christmas to all
I would suggest learning how to use a de-esser.
Aston stealth is twice the price you listed.
Ok. Are you buying one?
@@AudioInsider_YT thinking about it, shopping for a new mic at the moment.
what do you think about sennheiser 441?
No idea never tried it.
So some these are some you have never used and based the reviews on other reviews and the looks of the mic. 🤣
After having used both the SM7B and the RE20 for both spoken word, singing, bass, guitars and more, I can say that the RE20 beats the 7B in almost every category. Especially for uses like podcasts and streaming, I just love the sound of the RE20. The 7B is great, unoffensive, but it lacks the true clarity and versatility the RE20 offers.
I will say, it based on the voice, so if you get the chance to try both, DO IT! But I almost always pick the RE20 these days.
Interesting. Thanks for sharing your opinion 👍
I must agree that I've seen RUclipsrs do various comparisons between the two, and I really do like the sound output from the RE20. It sadly doesn't have enough recognition.
I have been a fan of the Behringer B1 for quite some time. The Engineer at a radio station I was at switched out for the Behringer's
Interesting, which mics did they switch from? It sounds great I think and is a perfect mic for someone starting out or for building a studio on a smaller budget.
James, we have the Shure SM7B, Neumann BCM 104 and Rode NT1 and I tell you what?
The Rode sounds better than the Shure SM7B.
Perhaps I might need to set my Shure?
Hmm, maybe. I think people gravitate towards the SM7B because of the amount of famous podcasters that use it. By no means is it a bad microphone, but I agree that there are better options out there!
Microtech Gefell MD 300 definitely deserves to be on the Premium Dynamic Mics list.
Can you actually review it?
@@neptune9443 This is a new one to me. I'll check it out!
Could you recommend a silent boom/arm capable of holding the Behringer B-1 plus spider, for a small-town's radio studio? (Table mounting)
The mic alone seems quite heavy and the suspension arms I can see online -at a reasonable price- can only hold lighter mics.... Love the videos BTW, thanks sooo much for the super useful insight (Y)
at a reasonable price was supposed to be between brackets !! Lols. Cheers !!!
Would recommend the RODE boom arm
@@AudioInsider_YT Thank you for getting back to me AND for the advice !!! :)
@Natalia Dubai Flowers No problem! 🙌
Looks like an incorrect price for the Aston Stealth. As for the EV RE20 and the Shure SM7B very gain hungry mics which require a cloudlifter or fethead. I particularly love the Rode NT1 and Neumann TLM103. I use a DBX286 works well. Recommended. James. thank you
Ah, yes well spotted on the Aston Stealth price. looks to be you can pick one up for around £230 / $280.
The Neumann TLM 103 is definitely one of my favourites too. Thank you for the kind words, Aidan 🙏
@@AudioInsider_YT €322 Thomann
Pricing varies. Plus dependant on location and currency so is for a guide only. You should shop around for the best price whenever you’re buying anything!
The RE20 and SM7B predate the cloudlifter by about 40 years, so it *cannot* possibly be required for use.