Microphone for Singing Comparison: Best Pro Tips

• More fragile than dynamic mics and can be damaged by rough handling or extreme humidity.
• Require phantom power, which needs to be supplied by your audio interface or mixer.
• More sensitive to background noise, making them better suited for quieter, treated recording spaces.
• Can sometimes sound too “bright” or sibilant on certain voices if not EQ’d carefully.
• Generally more expensive.

Best for: Studio vocals, acoustic instruments, detailed vocal performances, pop, jazz, and classical music recording, voiceovers, podcasting in a treated studio environment.

Key Features to Consider for Singing Microphones

Beyond the basic type (dynamic vs. condenser), several other factors will help you narrow down your choice.

1. Polar Patterns

The polar pattern describes the microphone’s sensitivity to sound coming from different directions. For vocalists, the most common and useful pattern is cardioid.

• Cardioid: Picks up sound most effectively from the front, with rejection from the sides and rear. This is ideal for isolating vocals and minimizing background noise and feedback, especially in live settings.
• Omnidirectional: Picks up sound equally from all directions. Useful for capturing a room’s ambiance or when you want a very natural, open sound, but not great for isolating a single voice in a noisy environment.
• Bidirectional (Figure-8): Picks up sound equally from the front and the back, with rejection from the sides. Useful for duets or capturing stereo sound, but also picks up more room noise.

Pro Tip: For most singers, especially beginners, a cardioid pattern is your best bet. It helps keep your voice front and center and reduces unwanted bleed from other instruments or the room.

2. Frequency Response

This refers to how well a microphone captures different frequencies (bass, mids, treble). A “flat” frequency response means it captures all sounds equally. However, microphones often have boosts or cuts in certain areas to shape the sound.

For vocals, you generally want a microphone that has a good response in the mid-range (where the voice lives) and a gentle ‘presence boost’ in the higher frequencies to add clarity and articulation. Too much boost in the highs can make your voice sound harsh or sibilant (exaggerated ‘s’ and ‘sh’ sounds).

You can learn more about the specifics of sound frequencies by exploring resources from organizations like the International Telecommunication Union (ITU), which offers standards on audio transmission and acoustics.

3. Sensitivity

Sensitivity indicates how much electrical output a microphone produces for a given sound pressure level. Higher sensitivity means the mic is more efficient and can pick up quieter sounds or distant sources more easily. Condenser mics are generally more sensitive than dynamic mics.

4. Maximum SPL (Sound Pressure Level)</h4

This is the maximum sound level a microphone can handle before it starts to distort. If you sing very loudly or are capturing a loud source, you’ll want a microphone with a high Max SPL rating to avoid clipping (distortion).

5. Connection Type

Most professional microphones use an XLR connector. This is a three-pin connector that is standard in the audio industry. You’ll need an audio interface or mixer with XLR inputs to connect these microphones.

USB microphones are also popular, especially for beginners, podcasters, and streamers. They plug directly into your computer’s USB port and often include built-in headphone monitoring. While convenient, they typically offer less flexibility and lower audio quality than XLR-based setups.

Microphone for Singing Comparison: Top Picks for Different Needs

Let’s look at some popular microphones that are excellent choices for singers, broken down by type and budget.

Budget-Friendly (Under $150)

These mics are fantastic for getting started without breaking the bank. They offer great value and performance for beginners.

Why these are great: The Behringer C-3, while budget-friendly, offers multiple polar patterns for versatility. The Audio-Technica AT2020 is a standard recommendation for beginner studio condensers due to its clear sound. The legendary Shure SM58 is the go-to for live vocals for decades because of its durability and feedback rejection. The Samson Q2U and Audio-Technica ATR2100x-USB are brilliant all-rounders, offering both USB and XLR connections, making them perfect for transitioning from computer recording to a full interface setup.

Mid-Range ($150 – $500)

Stepping up in price generally means stepping up in build quality, sonic detail, and professional features.

Why these are great: The Rode NT-USB+ is a fantastic USB option that offers studio-quality sound and easy plug-and-play use. The sE Electronics sE2200 is a studio workhorse with a classic warm sound and useful features like switchable patterns and filters. The Shure SM7B is a legendary dynamic mic, famous for its smooth, warm vocal tone, especially favored by podcasters and rock singers. The Electro-Voice RE20 is another broadcast legend, known for its “Variable-D” technology that minimizes proximity effect, making it great for close-miking.

High-End ($500+)

For serious professionals and dedicated home studios, these microphones offer the pinnacle of sonic performance and build quality.

Why these are great: Neumann is a benchmark for vocal microphones, and the TLM 102 offers their signature sound at a more accessible price point. The AKG C414 is an incredibly versatile studio microphone with nine polar patterns, making it suitable for virtually any recording task. The Sennheiser MD 421-II is a classic dynamic mic, revered for its punchy sound and ability to handle aggressive vocals and many instruments. The Manley Reference Cardioid is a boutique microphone known for its incredibly rich, detailed, and flattering sound on vocals.

Setting Up Your Microphone Like a Pro

Once you have your microphone, the setup is key to getting the best sound. Here are some pro tips for singers.

1. Microphone Placement

Distance matters! For most vocal recording, aim for about 6-12 inches (15-30 cm) away from the microphone. This range typically captures a good balance of detail without too much proximity effect (the bass boost you get when close to a mic).

• Too close: Can lead to excessive plosives (puffs of air from ‘p’ and ‘b’ sounds) and proximity effect.
• Too far: Can pick up too much room sound and sound distant or thin.

Pro Tip for Plosives: Use a pop filter! This is a screen placed between you and the microphone that breaks up those harsh plosive sounds. They are inexpensive and incredibly effective.

2. Using a Pop Filter or Windscreen

As mentioned, a pop filter is essential for studio vocal recording. For live performance, some dynamic mics have built-in windscreens that help reduce plosives and wind noise. If your mic doesn’t, there are external foam windscreens you can add, though they might slightly alter the tone.

3. Microphone Stand

A sturdy microphone stand is non-negotiable. It holds your mic securely in place and prevents vibrations from traveling up the stand and into the microphone.

• Boom stands offer more flexibility in positioning your mic.
• Desktop stands are good for quick setups or podcasting but can be more prone to desk vibrations.

4. Dealing with Room Acoustics

For studio recording, the room you’re in significantly impacts your sound. Hard surfaces like bare walls, windows, and floors reflect sound, causing echo and reverb. This is called room coloration.

• Best-case scenario: A professionally treated room with acoustic foam or bass traps.
• Budget solutions: Record in a walk-in closet filled with clothes (they’re great sound absorbers!), hang blankets on walls, or use a portable vocal booth. Even simple things like placing your mic in a corner (away from direct reflections of sound) can help.

Learning about acoustic treatment can make a huge difference. Resources from acoustic engineering societies or university acoustics departments can offer deeper insights into sound absorption and reflection principles.

5. Phantom Power (+48V)</h4

Remember, condenser microphones need phantom power. This is usually a button on your audio interface or mixer labeled “+48V” or “Phantom Power”. Make sure it’s turned ON when you plug in your condenser mic, and turn it OFF before unplugging it. Dynamic mics do NOT need phantom power; in fact, applying it to some older or improperly wired dynamic mics could potentially cause damage, but most modern ones are protected.

Dynamic Vs. Condenser for Singing: A Quick Comparison Table

To summarize the key differences: