Don't be fooled by the budget pricing of the AT2035. It is a large diaphragm condenser microphone with premium features. Aside from its metal exterior, it comes bundled with a custom shock mount.

It has proven to be very popular with project studios, voice-over work and streaming. In addition to vocal recording, this mic can also work with other sound sources thanks to its higher than average maximum SPL of 148dB, -10dB pad and its switchable low-frequency roll off.

This is a great value microphone. I particularly appreciate the clarity and detail that this mic captures, quite comparable to more expensive studio mics. Its overall solid feel and metal exterior is the cherry on top for this excellent offering. And while I would use this mic mostly for recording vocals, it also works great with various instruments, including violins and acoustic guitars.

This mic's weak point is its accessories, or the lack thereof. The package does not come with an XLR cable or a pop filter. Good thing it comes with a shockmount and a pouch. Being geared more towards those just starting out, I like to see these budget microphones come with as many high quality accessories as possible to help you get started recording right away.

If budget is tight and you're looking for a quality microphone that can handle vocal recording well and versatile enough to work with acoustic instruments, then get the Audio-Technica AT2035. Be sure to buy a pop filter and an XLR cable though if you haven't already.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20 to 20,000 Hz
• Impedance: 120 ohms
• Maximum SPL: 148 dB
• Power Requirements: 11V to 52V DC, 3.8 mA typical

TechZone (or TZ) Audio Products is somewhat of a lesser-known name in the recording community. Earning a reputation in many gear circles as a hidden gem, the Stellar X2 is a modern condenser microphone with a sound that's tuned to eliminate the usual "harsh treble" sound found on cheaper condenser microphones.

The "k67" style capsule is constructed with high quality Japanese Mylar, and gold sputtered using the company's proprietary tech. The circuitry is rounded out by a transformerless JFET circuit with up to 1% tolerance between components.

I love the warm and smooth sound this mic presents, a tonality usually not found with mics at this price point. I also praise the Stellar X2 for its build quality and taking a peak inside you will see the internal componentry is also done to a very high standard.

In TZ's quest to create a warm sounding mic for less they have sacrificed some versatility. I found the sound to be dull and bloated in the low midrange frequencies of baritone vocals.

The TZ Audio Products Stellar X2 is a mic with a great price to performance ratio. Get it if you want a mic to warm up higher pitched or sibilant voices as well as give a nice midrange push to instruments should you need it.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20Hz - 18kHz
• Impedance: 140 Ohms
• Maximum SPL: 130dB
• Power Requirements: 48V Phantom Power ±4

The demand for a more affordable, project studio oriented product from Lewitt 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 shockmount, and 2 pop filters (foam and metal mesh).

The "stem" of the microphone houses the XLR output jack. This is the part that slides into the proprietary shockmount and friction-locked into place.

Because of the streamlined approach to the mic, price is kept low while the capsule, enclosure and circuitry remain top standard. It employs the same capsule as their flagship microphones but distilled into a simple, single pattern mic. The result is surprisingly versatile especially with a max SPL handling of 140dB SPL for 0.5% THD, it won't need a pad at all for some cases.

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.

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.

I should point out that some people find 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. Likewise, if you're in the market for a mic that has multiple patterns and pads, Lewitt's higher end models begin to introduce those features so check those out.

If you're looking for an excellent pop vocal mic or bright condenser to capture nuanced acoustic guitar performances, the LCT 440 Pure definitely brings that big studio sound without the big studio price.

The Electro Voice RE-20 is a large diaphragm dynamic mic that features "Variable-D" technology, which stops it from over-emphasizing the lows when used up-close - in other words, it counters the proximity effect.

This feature allows for clear vocal recordings, which propelled its popularity among professional voice-over and broadcast circles. Its attenuation of the proximity effect enables singers to get up close with the mic for intimate sounding vocals without overloading the low frequencies.

Interestingly, it is also good enough for rock style vocals, since it is Radiohead vocalist Thom Yorke's preferred mic.

There's also a bass tilt down switch that further helps with bass attenuation, which makes the RE-20 viable for miking louder sources like guitar and bass amps, as well as kick drums.

I have to commend the mic for working well in both live performance and studio recording settings. Not to overstate: but beautiful sounding, magical and astounding are just a few of the many positive words I would use to describe this mic.

Price remains a barrier to entry for many and a deterrent for fear of maintenance woes. It's a bit more expensive than one of its main rivals, the Shure SM7B, another highly rated and legendary large diaphragm dynamic broadcast mic.

I do have to note the lack of bass response, but this is expected since this mic is designed to counteract the extra bass that regular mics capture.

Especially with the rise in popularity of whispery vocal styles similar to Billie Eilish, the RE-20's ability to capture close sound sources allows for great sounding takes.

Specifications

• Type: Dynamic
• Polar Pattern: Cardioid
• Frequency Response: (-3dB) 45Hz-18kHz
• Impedance: 150 ohms
• Power Requirements: None

I am a huge fan of vintage mics. I've been spoiled because I've been in studios with great vintage tube mics and worked with tracks sent to me that were recorded with them. Mixing tracks made with them has always been a good experience especially when they match the singer. One of my favorite experiences was mixing a singer recorded with a great sounding vintage Neumann/Telefunken (it wasn't specified then) U47. My journey to find something that could lean even a little bit towards the U47 direction brought me to the Rode NT1.

Rode promotes the NT1 as having a warm, vintage sound by comparing it with a U47 that was formerly owned by the band INXS.

My first impression of the mic was great. Depending on the package you get, some stores offer the Rycote Lyre-style shockmount with a paddle-like metal pop filter, while others carry a more traditional metal shockmount with elastic bands plus a fabric pop filter. Regardless of the paired accessories, the mic is the same in either. I had the one with the metal shockmount which was built solidly.

Moving onto the mic itself, the finish feels great to the touch. It has a high quality matte black finish with the logo, serial number and other details laser etched on the body. The edge terminated capsule is visible through the headbasket. The one on mine came slightly misaligned but it was only a matter of unscrewing the endcap and realigning the capsule and closing it. Not really a problem for me but it might be for some that are particular with how their products come out of the box.

Plugging it in and firing up the phantom power, I got to do a preliminary mic test with the peaks hitting around -10dbfs. I have to say that I was initially underwhelmed. But this is only because I've grown so accustomed to modern sounding mics like the Aston Origin and Lewit LCT 440 pure that moving to a vintage tuned mic made me aware of my instinct for instant gratification.

Consider the NT1's sound as more of a blank canvas rather than an already finished painting and things will suddenly fall into place. One feature to support this is the NT1's extremely low self-noise. This enables the use of heavy tone shaping without bringing up the mic's inherent noise floor (not counting environmental noise of course). Record in a well-treated room and you will be rewarded with a recording that can take a lot of processing and still sound good.

In essence, the sound reminds me more of the successor to the Neumann U47, the U67. The U67 has less of the midrange harmonics of its predecessor (which honestly can get very cluttered with louder singers) with a slight bump at the high frequencies to help in intelligibiltiy. Like the U67, the Rode NT1 has a natural sounding low frequency range in contrast to the U47's more prominent bass especially with proximity effect in play.

On other aspects, handling noise was actually very minimal. The capsule is internally shockmounted with a Rycote cradle. I use the NT1 for streaming and voice overs and moving the mic around while I do so doesn't result in overbearing thumps and thuds.

The heavy-duty metal shockmount and integrated pop filter are included in this version of the kit.

With all this praise, I have to note that I have a few caveats with the kit. The shockmount is solidly built but very heavy. The fabric mesh pop filter is built into the shockmount and it adds to the weight. Unless you're using a straight mic stand, you will need a heavy duty boom mic arm to carry the weight of the mic kit. Rode offers a direct mounting solution in the form of the Rode RM2 ring mount. This is my preferred setup when using the NT1 for voice overs.

The Rode NT1 is a great mic for vintage tones without the vintage price. While the lack of any other pad and polar pattern options limit its versatility, its tonality is enough for it to be useful for a wide array of voices and instruments.

Specifications

• Type: Dynamic
• Polar Pattern: Cardioid
• Frequency Response: 40 to 15,000 Hz
• Impedance: 150 ohms (300 ohms actual)
• Max SPL: 160 dB at 1kHz
• Applications: Live and recorded guitars, guitar amps, vocals, drums & more

The TLM102 gives you Neumann's brand of quality build and sound at a more accessible price point, thanks to its relatively smaller profile and streamlined design. This mic houses a large-diaphragm condenser capsule and it features a transformerless capacitor. This combination is more often seen on their more expensive offerings.

It is especially designed for vocal recording with its slight emphasis on the mids. To keep the cost down, the Neumann TLM 102 comes with a single Cardioid pattern with no extra features. This limits its versatility, but makes it easier to work with since there are no settings to mess with.

The Neumann TLM 102 continues to exceed my expectations and is be a perfect, simple cardioid condenser for many settings from home setups to professionals with big recording studios. It gets my thumbs up for both its solid build and sonic clarity. This may even be the best way to enter into the world of high-end microphones. It's compact size is an added bonus.

Its streamlined design might make you think twice though, especially when considering that there are cheaper ones with more features. But excellent sound quality beats sub-par sound quality with a lot of features in my book.

Balancing great specifications with great build quality is uncommon at this price point. While the TLM 102 trades versatility for specificity, it does its job exceptionally well. It makes it a great mic to have as a first foray into higher end tonalities; granted you've developed an ear for the finer nuances these mics bring to your tracks.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20 to 20,000 Hz
• Impedance: 50 ohms
• Maximum SPL: 144 dB
• Power Requirements: 48V phantom power

The original Neumann U47 FET (Field Effect Transistor) was introduced in 1969 when the VF14 tube used in the impedance conversion of the U47 was discontinued. After a decades-long run, Neumann ceased production in 1986. While Neumann issued a "collectors edition" in 2015, it was, and still is very expensive.

Enter: United Studio Technologies. While the company was initially familiar only to forum-dwellers and select discussion groups, they have slowly gathered a reputation for their flagship product: the UT FET47.

The UT FET47 is a modern, relatively affordable recreation of the Neumann classic with custom designed transformer and capsule, vintage capacitors and NOS (New Old Stock) transistors.

I find that this mic sounds eerily similar to the microphone it's paying homage to. On vocals, the UT FET47 sounds smooth but not muffled. Higher frequency harmonics populate the upper registers of the frequency spectrum instead of harsh treble that is usually found on cheaper microphones. For intimate sounding vocals, very few sound better at this price point.

Although it doesn't effect the sound or usage of the mic, I'm a bit concerned about the packaging this microphone comes in which is basically just a carboard box, a plastic bag and some thin foam. Sure, maybe it's to cut cost and to pour it all in to the microphone but this packaging might not hold up well in shipping. Although a bargain for what it is, it's still expensive in the context of budget microphones and deserves protection.

With the Neumann originals starting at over $4000, the United Studio Technologies puts the sound of the iconic U47 FET within reach of many audio engineers.

Specifications

• Type: Condenser
• Polar Pattern: Cardioid
• Frequency Response: 20Hz-20kHz
• Impedance: 160 ohms
• Maximum SPL: 136 dB
• Power Requirements: 48V phantom power