The sE Electronics X1 S Vocal pack is an all-in-one combination including a shockmount and a pop filter. This makes it great for people looking for their first mic and want other essentials packaged in.

The X1 S mic itself is made with a custom capsule made in-house by sE Electronics.

A transparent transformerless circuit results in a clean sounding microphone that can handle many different sound sources with ease.

It has a relatively high maximum SPL with low cut filters at 80hz and 160hz making it suitable for louder voices and instruments.

The X1 S strikes a balance between transparency and harmonic richness. This combination coupled with the loud SPL handling makes it a great mic for users with startup project studios / home studios.

Note that the mic itself is slightly heavy and tilts less sturdy mic stands. This can be solved by using a mic stand that can handle heavier mics.

So if you're looking to buy your first mic and want it to be great for all-purpose use, get the sE Electronics X1 S Vocal pack. It has a neutral sound signature that is more commonly heard on more expensive microphones. The pack also includes essential items you need for recording vocals.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20Hz to 20kHz
• Impedance: 125 ohms
• Max SPL:160dB SPL (with pads)
• Applications: Recording vocals, percussions, drums and acoustic instruments
• Power Requirements: +48V

sE Electronics X1 S Frequency Response and Polar Pattern Charts

Aston microphones are designed with the help of a panel of experts Aston calls the "Aston 33", referring to the original 33 members of the panel. They have now expanded to consulting with over 400 audio engineers for their product design. The Origin is a result of several selections made by this panel to decide the best sounding capsule.

The Orign has a very brutalist-like aesthetic with the unpainted body sporting a special "tumbled" finish achieved by letting the enclosure mix around a chamber with ceramic pellets. The waveform head is the undulating structure visible on the outside of the mic and protects the dual layer steel mesh that also serves as a pop filter.

Inside the Origin is an internal shockmount for the capsule. This prevents the mic from picking up excess vibrations from mic stands and low frequency rumble from sound sources.

I can describe the sound of the Origin as "mid forward" with slightly less low frequencies than most mics (even without the 80hz filter). It is a very detail oriented mic that captures nuances that most mics at this price point smear or obscure.

The upper mid presence is rich and not harsh with a slight bump in the treble frequencies. I was afraid that sibilance would be an issue but thankfully, the Origin's smooth high frequencies took care of any that would have arisen my entire time using it.

With this forward sound signature, the Origin reminds me of another British-made audio device: Marshall Amplifiers. Like them, the Origin has an aggressive midrange that cuts through the mix with no effort with just enough warmth to keep it from sounding harsh or anemic. Vocals recorded on the Origin stand out in a mix with very little effort, making it perfect for busy rock or metal mixes.

On modern pop, the Origin makes a great lead vocal mic with more intimate sounds available thanks to how well it handles the proximity effect. If it becomes too much, the 80hz roll off switch does the trick.

One issue I found is that it's not the best for baritone/deep voiced individuals. The relaxed low end may be good for fitting vocals into a mix but it robs deeper vocals of authority and power. It's not a deal breaker but I would reach for a different mic when it comes to voice overs

For instruments, the mid-forward tone might be redundant for the aforementioned Marshall-type amplifiers. For Fender cleans however, the mid push and slightly more relaxed low frequencies give a nice, tight recording that's great for rhythm work.

This odd looking microphone has made its way into home studios around the world for its neutral sound signature with just the right amount of harmonic content to flatter most voices. It's an excellent vocal mic for nearly any sound source you can throw at it. Deeper voices might find that the low frequencies aren't as accentuated and thus, would make their voices sound a bit thinner. Nevertheless, the Origin is a great all-rounder that punches well above its price point.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20 to 20,000 Hz
• Max SPL: 127 dB
• Applications: Lead vocals, electric guitar cabs, acoustic guitar, drum overheads/room mics
• Power Requirements: 48v Phantom power

Aston Microphones Origin Frequency Response and Polar Pattern Charts:

The ML-2 is a transparent condenser microphone with a linear frequency response and serves as a platform for its modelling software, the Virtual Microphone System or VMS. The ML-2 includes 18 mic models including classics like the Shure SM7b, Electro-Voice RE20 and even tube condensers like the Neumann U47.

The VMS software, according to founder Steven Slate in this video, the VMS employs not just

The SDC design doesn't limit it to SDC models; it has a switch to attenuate the signal for use with higher SPL situations, like drums, along with the software's dynamic mic models.

Versatility is the number 1 pro. Different mics fit into mixes in different ways and having the option to choose different mic models opens up a wide variety of applications for a lot of users. On acoustic guitar, the various models let you choose the best mic for the guitar (even in post!) without moving positions.

One con of the system is that in order to use the modelling, you need to use Slate's "Virtual Mix Rack" plugin into each track with the accompanying model. This limits collaborative works because it requires collaborators to have the same models as you do. This can be resolved by bouncing the track but this negates the concept of flexibility that using the VMS system brings to the table.

Despite the aforementioned limitation, the ML-2 is a winner if you're looking for one mic to rule them all. Aside from having access to great reproductions of vintage microphones, being able to change your mics in post is one of the main reasons you should get this mic (or two if you theoretically want a stereo pair of Neumann U47 models).

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: Varies per model
• Impedance: Varies per model
• Max SPL: No data
• Applications: Recording vocals, percussion and acoustic instruments
• Power Requirements: +48V

Lewitt Audio was founded by Roman Perschon out of a desire to make innovative products that don't just rehash older designs from audio yesteryear. The LCT range is their take on the Large Diaphragm condenser design and includes cutting edge systems like the 1040 Tube Condenser.

The demand for a more affordable, project studio oriented product saw the release of the LCT 440 Pure. A distillation of their design philosophy into only the most essential pieces. The 440 Pure is a cardioid only LDC with no other features. On paper, this might not sound like much to offer, but the mic comes in an attractive package of both a shock mount, and 2 pop filters (foam and metal mesh).

It definitely sounds different from other mics in its class like the Aston Origin and Rode NT1. With so many glowing reviews for it, I was surprised that no one has made the comparison to top-tier, very expensive microphones yet.

It has a neutral midrange with a sweet, airy high end that you can only get from classics like the Telefunken ELA M 251e and the Sony C800g (with some examples of the 251e having slightly more harmonically rich low mids vs the c800g). I have been fortunate enough to record audio with these mics and I can easily say the 440 Pure shares the same "pop vocal" sheen that the aforementioned mics offer. What it lacks compared to these mics is the subtle harmonic content that gives a feeling of "compression" on specific frequency ranges.

The microphone's design is bears a fleeting resemblance to those of Austrian mic manufacturer AKG. It's worth noting that Lewitt Audio was formed by an alumni of AKG, Roman Perschon.

I would love to pick Roman Perschon's brain about how they tweak the tonalities of their microphones someday because I feel it's no coincidence that the LCT 440 Pure sounds eerily similar to these sought after mics. Expect a longer format review in the future once I've gotten more mileage from it

One handy thing is that the pop filter is small enough to not obscure vision for singers or speakers reading from lyrics and scripts.

I should point out that some people the mic too sibilant; a trait it shares with the two expensive mics i keep mentioning. If you're looking for Neumann smoothness, look elsewhere as the LCT440 Pure has a very modern and airy sound designed to cut through in a modern pop mix.

Many people who have never worked with high end microphones like the Telefunken ELA M 251e and Sony c800g might not understand what makes the Lewitt LCT440 Pure's timbre and tonality so great. While it doesn't have the harmonically complex midrange of the 251e or the extreme high end detail of the Sony C800g, It fits well within their sound signature at a price most of us can afford.

If you're looking for an excellent pop vocal mic in this price range, the LCT 440 Pure definitely brings that big studio sound without the big studio price.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20 to 20,000 Hz
• Impedance: 110 ohms
• Max SPL: 140 dB
• Applications: Great all-rounder from vocals, acoustic guitar to drums
• Power Requirements: 48 V ± 4 V

Lewitt LCT 440 Pure Frequency Response and Polar Pattern Charts

Thanks to their reputation for premium sound quality, Rode remains a strong contender in the microphone market. The NT2-A is a great example of why they are sought after, with its combination quality and versatility, both of which ultimately result in great sounding recordings.

Speaking of versatility, the Rode NT2-A comes with switchable pickup patterns, which lets you switch between the familiar cardioid to omnidirection and finally to a figure 8 settings. This feature works in conjunction with its switchable high-pass filter and variable attenuation control, allowing the mic to handle louder sound sources and reduce background signals.

Thanks to its innate versatility, value for money is easily the Rode NT2A's main selling point. There are many vocalists and producers who report great experiences with the mic, mostly in the studio, but there are also some reports of the mic working well outside / on location.

The mic's -7dBa and 157dB max SPL allow it to perform well for even the loudest of drums and guitar amplifiers. The tone is slightly more neutral than the NT1-A but having a bit more sheen than the NT1.

One obvious downside of this mic is its bulky size, which can be annoying to setup and store. Note that the weight of this mic requires a stand with a good counterweight to ensure that balance is not off.

Versatility is the name of the game when it comes to the Rode NT2-A. But it doesn't stop there; the NT2-A is perfect for those looking for something in between the bright NT1-A and the darker NT1 with just a hint of upper frequency clarity to go along with it.

Specifications

• Type: Condenser
• Polar Pattern: Omni, Cardioid & Figure 8
• Frequency Response: 20 to 20,000 Hz
• Impedance: 200 ohms
• Maximum SPL: 147 dB
• Applications: Acoustic instruments, guitar amps
• Power Requirements: 48V phantom power

Rode NT2-A Frequency Response and Polar Pattern Charts

Warm Audio is known for their vintage-modern reproductions of legendary gear. The WA-251 is Warm Audio's take on the ELA M 251E tube condenser microphone; a favorite of artists like Ariana Grande, Justin Bieber, Adam Levine and more.

While not an accurate reissue, Warm Audio took the time to study vintage examples to better understand the tone, circuitry and overall vibe the 251's were known for.

The custom designed WA-12-B-60V capsule is an all brass capsule with a 24k gold sputtered 6 micron, NOS PET film (mylar) diaphragm. The transformer is by CineMag USA.

Some vintage examples sound great on their own but don't mix well with modern music; I don't own an original but owners of these vintage examples have mentioned that the WA-251 fits modern mixes better while still retaining the rich midrange harmonic the original units are known for.

While in the upper level of price range for most people, the WA-251 gets you close to the vintage vibe of mics costing nearly 10 times more. Its harmonically rich midrange and sweet tonality make it great for modern pop vocal recordings and acoustic guitars. Try it as an overhead mic as well!

Specifications

• Type: Tube Condenser
• Polar Pattern: Cardioid, Omnidirectional, Figure-8
• Frequency Response: 20Hz-20kHz
• Impedance: 200 Ohms
• Max SPL: 132dB SPL
• Applications: Recording vocals, percussions, drums and acoustic instruments
• Power Requirements:Warm Audio External Power Supply (included)

Warm Audio WA-251 Frequency Response and Polar Pattern Charts

The Neumann KM 184 is a transformerless, small diaphragm condenser mic.

The design helps eliminate off-axis coloration for a more consistent frequency response.

Neumann refers to the mic as "universal" because of the high max SPL which allows usage with loud sound sources.

It is an excellent mic for acoustic guitar. It also pairs well with "Blackface" Fender amps and gives a rich, full-ranged but balanced sound.

Stereo pairs give great natural imaging for binaural recordings. Stereo recordings of room mics also had a sense of detail and upper frequency sheen versus using an LDC. This can be advantageous for kits with dark sounding cymbal sets.

The KM 184 is an essential microphone for any mic collection thanks to its natural and transparent tonality. Its great imaging and consistency allows for great stereo recordings with minimal phase issues. It works best as a stereo pair however, acquiring two may be out of reach for the more frugal among us.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20Hz-20kHz
• Impedance: 50 ohms
• Max SPL: 138dB
• Applications: Recording vocals, percussions, drums and acoustic instruments
• Power Requirements: +48V

Neumann KM 184 Frequency Response and Polar Pattern Charts