If you're searching for a quality mic for recording singing, then the Audio-Technica AT2035 is worth considering. Despite its budget-friendly price, it boasts premium features and exceptional build quality.

The AT2035 is a large diaphragm condenser microphone. It is particularly popular with project studios, voice-over artists, and streamers. Its custom shock mount and sturdy metal exterior add to its durability and professional feel.

This mic is a great value option for those starting out in recording. It has exceptional clarity and detailed capture, comparable to more expensive studio mics.

It has a high maximum SPL of 148dB and switchable low-frequency roll-off. This makes it a versatile studio mic option for recording vocals and other sound sources.

While it may not come with many accessories, including an XLR cable or a pop filter, its inclusion of a shock mount and a pouch is still a good bonus. Ideally, it's great to see budget microphones come with high-quality accessories to help get you started right away.

Overall, the Audio-Technica AT2035 is a reliable and versatile microphone. It delivers exceptional vocal recording. And it is also suitable for various instruments, including violins and acoustic guitars.

It's one of the best recording microphones for vocals in its price range. It is an excellent first investment for those looking to get serious about recording.

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

A good mic for recording vocals isn't always from the bigger brands. TechZone (or TZ) Audio Products is somewhat of a lesser-known name in the recording community. The Stellar X2 is a modern condenser microphone that earned its reputation in many gear circles as a hidden gem. Thanks to its sound that's tuned to eliminate the usual "harsh treble" found on cheaper condenser microphones.

The "k67" style capsule is constructed with high-quality Japanese Mylar. It is also 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 peek 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 the best studio recording microphone to warm up higher-pitched or sibilant voices. It also does well to 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 polar pattern only LDC with no other features. On paper, this might not sound like much to offer, but the mic comes in an attractive package with 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.

If you're looking for the best recording microphone for your studio, the Lewitt LCT 440 Pure is an excellent option. It's a recording mic for studio use that delivers high-end sound at an affordable price. Because of the streamlined approach to the mic, price is kept low while the capsule, enclosure, and circuitry remain top standard. The LCT 440 Pure 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's a neutral midrange mic with a sweet, airy high end. A sound that you can only get from classics like the Telefunken ELA M 251e and the Sony C800g. Some examples of the 251e have slightly more harmonically rich low mids vs the c800g.

The Lewitt LCT440 Pure shares the same "pop vocal" sheen that the aforementioned mics offer. But it lacks the subtle harmonic content that gives a feeling of "compression" on specific frequency ranges.

It is a great choice if you're looking for a more affordable studio recording mic that fits well within the sound signature of high-end mics.

It's worth noting that some people find the mic too sibilant; a trait it shares with the two expensive mics mentioned earlier. If you're after Neumann smoothness, you may want to look elsewhere as the LCT440 Pure has a modern and airy sound designed to cut through in a modern pop mix. Lewitt's higher-end models introduce multiple patterns and pads, so those may be worth checking out if you need those features.

Overall, the Lewitt LCT440 Pure definitely delivers that big studio sound without the big studio price. Get it if you're looking for an excellent pop vocal mic or a bright condenser mic to capture nuanced acoustic guitar performances.

The Electro-Voice RE-20 is a large diaphragm dynamic mic that features "Variable-D" technology. This stops it from over-emphasizing the lows when used up close. It counters the proximity effect and allows for clear vocal recordings.

This 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. Allowing intimate-sounding vocals without overloading the low frequencies.

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

There's also a bass tilt down switch that further helps with bass attenuation. This 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 recording studio 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.

The RE-20's ability to capture close sound sources allows for great-sounding takes. Great for whispery vocal styles similar to Billie Eilish.

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 similar to 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. 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 turning +48v on, 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
room 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 intelligibilty. 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 voiceovers 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 Neumann TLM102 is a top contender for the best vocal recording mic and the best mics for recording vocals in a studio setting.

For Neumann's brand of quality build and sound, this mic is more accessible. It has a lower price point due to its streamlined design and smaller profile.

It has a large-diaphragm condenser capsule and transformerless capacitor. These are typically seen on more expensive models, making it an excellent value.

Designed with a slight emphasis on the midrange, the Neumann TLM 102 is perfect for vocal recording. It comes with a single cardioid pattern, limiting its versatility but also making it easy to use. This mic is suitable for a range of settings from home setups to professionals with big recording studios. Its solid build and sonic clarity are both impressive, making it the best studio vocal mic for those seeking high-end microphones.

Despite its streamlined design, the Neumann TLM 102 exceeds expectations. It offers excellent sound quality that outperforms cheaper models with more features. This mic strikes a balance between great specifications and build quality that is uncommon at its price point.

Overall, the Neumann TLM 102 is an excellent choice for those looking to have the best mic studio for recording vocals. It is a great first foray into higher-end tonalities.

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. It was around the time 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. This company was initially familiar only to forum-dwellers and select discussion groups. Byt 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. It has a custom designed transformer, 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 nicely. There is none of the harsh treble found on cheaper microphones. For intimate sounding vocals, very few sound better at this price point.

Although it doesn't affect microphone sound or usage, I'm a bit concerned about the packaging. It comes in a cardboard box, a plastic bag, and some thin foam. Sure, maybe it's to cut cost and to pour it all into 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.

Neumann originals sell at over $4000. 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