Used 87s can go for as low as $1800 in some markets. I had a similar deal pop up and pilled the trigger on it. What surprises me most about it that I was not expecting based on similar microphones by other companies priced above and below it is the gorgeous frequency response from the lows, mids, to the highs. It's just fantastic. So much detail in the mids and the right amount of low end thump and top end shimmer for pretty much most things I record with it. Cannot recommend it enough. 90% of the sound of a microphone is the capsule, and in my opinion, Neumann is still the reigning king of capsules.
It's true but Soyuz is dragging around a big azz stick with their S17 and S23 capsules. Hand machined brass capsules with a tolerance of .2 microns. The former based loosely on the K67 capsule and the latter more closely based on Lomo's redesign of the CK12 capsule.
So, without trying to brag, my first record has tens of millions of listens on Spotify (Whitley - The Submarine)...my second has far less, my third even less. I've used a U87 on every record except the first. What did we use on the first? A Rode NT1A, all with the exception of the most successful song on that album which was a Rode NT3 I plugged into a tape 4 track Portastudio. Seriously - the gear don't matter kids. I've learned that.
Again another excellent video about mics,,,,Mike. The Neumann U 87 is the Holy Grail of studio microphones, but well out of reach for mere mortals. I use a Studio Projects C3 (No longer made) and have for years with great results. But someone once said "All unhappiness comes from comparisons" :-)
I've got the RØDE NT-1 (nice and warm), NT-1A (for acoustic guitars) and the NT-1000 it's sits nicely between the two others and it fits my voice well, all at a very reasonable price 😉
Excellent video, Mike, thank you. I have been using a matched pair of SE Electronic SE8 small diaphragm condensers when recording acoustic guitar, and had really great results. A couple of days ago, though, when I was in a hurry to capture a chord progression before I forgot it, I grabbed the mic I had been using an hour earlier to record a voiceover - the SM7B. I was stunned at how fantastically rich and detailed it was and I've actually used that hasty recording in the final mix. I highly recommend people try out whavetever microphones they have on every source they ever want to record - the results can be unexpected (quite possibly in a bad way as well as a good way, but at least you'll know lol!).
Thank you Mike.... Felt like you were speaking my mind.... I already own an SM58 and AT2020 and next on my list is Rode NT1A 5th Gen.... Keep up the good work.... GOD bless always !!!!
I recorded my singer for years through a large condenser. I did a quickie recording on an IPad using an SM57 hand held ..best vocal sound I ever got it just matched her voice perfectly with almost no EQ, I just dropped a bit of the lower mids, sparkled it up a bit and lightly compressed
Another nice halfway point is the TLM103 by neumann, which used the U87 capsule without any of the polar pattern switching. as you said, most people will get away with cardiod for pretty much all applications
Sorry to disappoint you but the 103 does NOT use the U87 capsule! But something ‘similar’. Who would buy the U87 if that were so! It’s caller marketing, or more accurately ‘misleading’🤔
@@John-oi8mt I take your point, I didn't know they were just designed to be very similar and weren't actually copies. also, "sorry to disappoint you" and "it's called marketing" is SO condescending. maybe.. learn a social skill.. or three.
I have an NT1a that is nice and I've just upgraded the guts to an old MXL990 for cheap and it's amazing now. I've only begun using it in the last few days and I'm glad I sacrificed the 990.
FUN FACT ! The capsule in the SM7b is almost identical to the sm57 and sm58 I believe the only diff is a transformer or a capacitor inside to improve bottom end response.
I have been recording songs in my home studio for 30 years now and it gad to be done on a limited budget like most people have. Røde NT1 was the first for me, always good results. As mics became cheaper I used some others but eventually I bought a Røde NT2-A, this mic gecame my workhorse for years, it was money really well spent. Recently I have invested in a mic for live vocals a Røde M2, brilliant. And a Røde NTK valve condenser, which is superb. As you can see Ii like Røde. Best value, very reliable, not made in China and therefore good quality control.
Had the NT1a sold it and picked up the Neat King Bee2 better suited to my voice. So many quality mics to chose from based on budget, how ever it all comes down to what type of voice you have and the mic that will best suit your voice. Great video thankyou.
Great info about mics from Mike. I wouldn’t mind having any mic from Neumann, however I am very much aware it’s not required. For the price of a U87, I would be able to replace my current live mixer and all the mics with ones representing a step up in quality.
Great video and on the money regarding expense/results. A couple of notes that I've found: Having a range of mics on hand and spending the time to match to the source can result in a ever so slightly better recording which results in less work mixing. Not the same as garbage in/garbage out (which is the result of bad instruments, bad playing, etc) but a higher quality mic generally doesn't require as much finessing in the mix. But sometimes at 58 on vocals IS the right choice - it's all in choosing the right mic for the job. The AT2020 is a little bit exaggerated in the top end similar to the RODE NT1a but I found it spectacular on women's voices - not so much on my own (baritone) voice. The NT1a was also disappointing only my own voice, but I'll bet it shines on many women's voices. The RODE NT1 (for only a little bit more than the NT1a) is a worthy addition to most home studios. But, as much as the mic choice can yield better results - the room itself can make a huge difference on recording vocals and acoustic instruments. I'm working with the singer in a band I play in and set up a recording studio in his garage. The walls and ceiling are all wood planks and the space sounds amazing. I put a RODE NT2 in figure 8 pattern about 3 feet in front of him and an acoustic guitar to record a demo for a song and quite a few professionals we know commented on how great the resulting sound is. They were shocked we recorded in a garage. In a good space for recording, putting a mic on OMNI mode instead of Cardioid can be a really nice way to record vocals because you can get intimate close results and strong 'belting' vocals a little further away without getting proximity effect changing the overall sound of the vocals because of small differences in distance. But if your space doesn't sound great, recording in OMNI will sound terrible. There are some fantastic deals that are really surprising out there. I found an ART T4 Tube Mic used for a few hundred dollars - I bought it and in researching the mic, it seems the mic was based on a so-so copy of a Telefunken tube mic, which a lot of people modded to become an actually good mic and then ART took the modded version as the base for their release. And yes, it is a wonderful mic comparable to many much more expensive mics I've used in other studios. If you're good with electronics soldering, there's a lot of people explaining how to mod mics and selling the upgrade parts.
I have 2 mics, the NT1 (not the NT1-A) and I think it is awesome with my deep male vocals or voice-overs...I also use an SM7B. Both of my mics I run through my Cranborne EC1 preamp (this thing is a beast) and then into my Motu M4. These 2 mic imo are the only mic's I'll ever really need for my home studio. I have an ART Voice-Channel but the preamp in the EC1 is so good I rarely use it.
@@who_is_dis almost everyone i know in the industry. in fact i was talking to joe barresi and ross hogarth today about what to do with the tlm 103. Overheads or trashcan was the answer....
I would agree with all these good words. However, to my ear u87ai is the only mic that keeps your vocal note at the ceiling of the span of the note width at all time. It will keep your vocal tone intact at all time. Unlike all other mics where you insert a ball and get an egg at the other side.
Shure KSM 32. Save up the $600 and get it. Here's what happens when you buy $100 condenser mics. You buy one, then you buy another, then another . . . then you have $500 worth of $100 mics that quite frankly suck. The $100-$200 mics are all hyped in the highs to try and sound 'airy.' What happens is that when you start stacking tracks, it's like razor blades in your ears. What you want in a condenser mic is as NEUTRAL sounding a mic as possible. Every mix engineer worth their salt just wants clean, well recorded vocals that they can process however they want without having to do a ton of surgery. Lots of engineers have a Rode NT1 kicking around. They use them for hallway mics when recording drums. The SM7B is a classic as well, but it won't be enough if you're recording all different kinds of vocals. There is always a good use for an SM7B though.
So well put. The microphone is way way less important than so many other variables. Going over budget can induce stress than is a creativity killer. I get anxious when I drag out a 10K microphone with some talent and circumstances when I would get a better performance from a 57 and a very relaxed space for the musician.
I'm using the Neumann KMS 105 / 104 plus in an untreated room when I record for my clients with a MixPre 3 II. Even with large windows, they pick up very little to nothing from the traffic from outside. So little in fact that I seldomly need noise reduction in post. They seem to reject anything except the voice. Even the reverb is missing. Neumann recommends them for the home studio. (KMS - Kondenser Microphone Stage)
Just get the AT 4040 or the LCT 440. They are 300 dollars and do an amazing job! Eq and plug-ins will give it the final touch, and you will be on your way to have awesome quality for a mid range price.
I've had the Sure drum mic pack that has four SM57 and one Beta52. I noticed a rattle on one of the 57s and Sure's website states the problem and how to fix it. The capsule guard is the source of the rattle or vibration. They say to jamb some pieces of a tooth pick between the guard and the microphone. Also the Beta 52 stopped working. I had to have it repaired at a service center. A loose solder joint. I made the switch to Telefunken drum mic pack. At over twice the cost, the old saying you get what you pay for is spot on. Telefunken has a better sound and build quality with no problems to date.
The good old SM58…. I’ve got one I’ve had since around ‘76? Most of the paint is gone, there’s dents on the screen, there’s rust on the screen. Yea, she’s seen a lot over the decades, but still my only stage mic.
I wish influencers like you would mention the Sennheiser e935 more - its well known as the dynamic that 'sounds like a condenser'. It has great detail esp for female voice and its as easy to handle and cheap as the SM58/57. For male voice the AKG D5 has a great radio sound for the money too.
When it comes to affordable ribbon mics I have yet to meet anyone who wasn’t surprised at how good the Royer R-10 is for the money. It’s still a chunk of change (around $600 new in the USA) and no, you don’t ‘need’ one. But they are beautiful mics and at well under half the price of the legendary R-121 perform so well many of us would never be able to tell the difference. My mid price condenser mic of all work/alternative to the AKG C414/U87 is an SE 4400a. To each their own. There are several equally excellent and competitive choices out there at well under the $1K mark, generally sufficiently under that with the change you can go get yourself that SM57 you really can’t not have and still have enough left overt for a pop filter and a packet of chips!
I'm so impressed with the latest (5th generation) Rode NT1: incredibly low noise floor; 32-bit float prevents clipping and you can connect USB-C if you don't have XLR 🙂
I do just fine with my TLM102, Warm Audio 273, Klerk Teknik 1176 and Pulteq clones into good conversion. Not an expensive chain and it sounds pro. Obviously you need to be able to sing and you want to record in a space that has some kind of treatment, not a plain room.
AT2020 is a great mic. I've seen mods for this mic and heard them but stock they just sound great. Honestly, I feel they sound better stock than modded. Great mic for acoustic guitars. Great for overly boomy guitars. I've even made mics from part sourced from no name manufacturers in China. Cheap $40 circuit boards paired with a K47 capsule. got a U87 looking Shell. All totaled $130 Canadian Pesos. and a bit of elbow grease.
I have a beat up grand piano in my living room, and I record it with one sole SM57 because it's not a very precise microphone, and any more detailed mic would only pick up all the defects like rattling strings, squeaky pedal, etc...
My wife is about to step onto a plane back from Germany and will be bringing with her one of these -t.bone SC 450 (which @Mike recommended on a previous video) I’m very excited to hear the difference from the SM58 I have always used!
Ribbon mics sound fantastic for some use case, but one thing to remember: NEVER EVER send phantom power to a ribbon mic. They are usually very sensitive in this way.
Hi Mike and I hope you are well. The U87 maybe way out of line for most of us. The productions on microphones, headphones, and DAWs have been a Hugh help. I have 58s, NT1A, a T4 with multiple tubes and wonder if you ever considered a RE20. Found it very useful and if you have maybe I missed it. Keep on Producing Mike! God Bless from Nova Scotia.
AT2020 is by far one of the best budget mics around. I’ve tested many mics and for the money the AT2020 blows most mics in the $200 mic range out of the park. Get yourself a good premium mic wire and a high quality preamp and that AT2020 will produce a brilliant result. A step up from that would be something like a C414.
Two o my arsenal mics! sounds fantastic and professional.. You have to know your hardware to know their weekneses and compensate them in the mix or in the recording process.
Just want to say... Im a AT lover... For a Dynamic , my best experiences so far , that even slap the m88 etc.. id the ATM29He.... Its honestly the closest dynamic ive personally used..... (my experience) to a larger condenser mic...
Sir…I own the NT1A, the U87Ai and the 414s but for my ears the NT1A is by far not a 95% U87Ai or a 414. BTW: at 4:12 you showed the NT1 - my first large condensor and I still love and use it! Much much better than the NT1A and I recommend to save some more money and get this one instead of the NT1A. There is a big chance that it's still in use yearsssss after. Just my thoughts.
Fantastic quality video, I found the sound a bit boomy and soft in your recording of this video though, that might be my preference for dialogue though.
The problem is that even Clients, who are less at Home in the Recording World, have already heard the name Neumann. Or specifically address the U87. You can put whatever Microphones you want there, and what might even be better suited to the respective Recording Situation. A Neuman U87 is almost essential if you want to “appear” professional.
I was surprised the Rode M5's didn't get a mention. I recently started using a stereo pair with an old NT1 across the room on acoustic guitar, and it's the best recorded acoustic sound I've captured in my 20+ years of recording. I've also used a pair of NT1's with a room mic, and that sounds nice and airy, but the M5's stereo image is just more precise IMO. Love this video though, appreciate another perspective.
Yes, the M5s are nice. What blew me away, though, was a recent purchase I made from a Swedish mic builder who sells the Line Audio CM4 pencil condensers. $70 a piece, hand built in Europe, $90 total after shipping and taxes. And it plays at the same level as a Scheops or Josephson. Check them out if you haven't yet!
Great video. I do lots of voice overs and the Røde is my go to mic for years. But I also havde none some great voice recordings with a simple Shore SM 58..... so it is all posible.
The Rode NT1000 is a far better FET choice for 300 and less used. Completely different league than the NT1. Warm also makes a 47jr for the same price $300. I’d suggest looking at a used EV dynamic like the RE20 or PL20. Great all round mic. On the cheap, find a RE15 used. Fantastic mic on everything - just needs a good preamp with lots of gain.
Great video, Mike! That was super informative. On a side note, what do you think of those microphones that emulate high-end studio mics, such as the UAD Sphere?
Well done! Could you do a video on the UA/Townsend modeling microphones? Would this be a good option for a home studio being able to replicate many mics with just one investment?
My Nt1A has never been reliable, I bought it from new and it stopped within a month, I put it on the shelf for months, sent it to rode twice, had the capsules replaced and it stopped working the next day. In my opinion a terrible but wonderful mic when it works. I use an at2020 and it’s a tank. I also use a sm58a and it’s working well.
I find that you really need to use a microphone in a wide range of applications over an extended period to get to know it's strengths and weaknesses. For example, the Rode NT1a and the AKG C414xlii are both relatively bright sounding condensers. However, I find the results that I get from the AKG are almost always superior, and this does mount up when I've used it on several different instruments on the same song. Also, my recording area is far from ideal acoustically, and I find that the other polar patters, or especially combinations of them allow me, usually, to reduce off axis sound to a very low level. As an aside, when I finally bought one high end mic pre it made a huge difference to the quality of the sound I was getting from all of my mics - especially my vintage '60's Beyer M160, which had been a bit lacklustre on acoustic instruments - it improved incredibly and is now a valid option for any source.
Tbh the C414 is a lot more money. You don't *need* expensive microphone, but no one said they aren't useful. I for sure, as a live sound engineer, would choose my Shure Beta 87A over... well almost any vocal microphone used in live production. Fosho. And the C414 over it in a proper studio for vocals, almost no questions asked.
The Rode NT1 sounds far less hyped than the NT1a and is a better choice in many cases. The AT2020 sounds OK for a $99 mic but is bested by a number of other somewhat more expensive mics like the Rode NT1. If you really only have $99 to spend the AT2020 can do the job fairly well though. The SM7b is decent if you have that kind of money to spend on a mic but you can get 95% of the result with an SM57 for $99 if you know what you are doing with it.
If you care about sound quality (which most musicians these days don't care about) then you DEFINITELY need an multigrand microphone at the least. If you listen to music as MP3 yes you won't tell a difference but if you listen for sound quality, get the u87. It is an investment that will last a life time.
I already have the TLM 103, U87ai, C214 but I’m wanting to get one of the 414’s but there’s two I’ve been debating between. XL & XLS. Which is better for vocals?
For Ribbon mics, the Rode NTR active ribbon mic takes some beating but they do seem a bit difficult to get hold of now, last price I saw was around £500, a great all purpose ribbon mic that requires phantom power.
The NTR mic is an excellent mic as is the sE VR2 (and VR1). I'm a ribbon lover, and I have to say that besides the Beyerdynamic M 160 and M 130, the Shure KSM313 and sE RNR1 are beyond reproach❣ Ribbons in general are awesome.
Can confirm. After I sold my studio I got a vocal mic and wanted one that sounded as close to the u87 as possible but at a budget. After several side-by-side checks, the AT2020 was sonically the closest thing to it. The u87 had a little bit more definition, but that's about it. At the price you can't go very much wrong, in any case.
No one, I will repeat again, no one could tell you which microphone you used in your production. You can use the NT1 in one song, and U87 in another on your album, no one, I will repeat again, no one would know which song is made with which microphone. After some time has passed you will forget as well. With that being said, U87 does not offer the best technical quality, the mesh can be easily dented, the maximum pressure is only 127 db, the noise is relatively high for modern standards, and the saturation from the transformer is very audible, thus degrading technical quality. In the end it is a microphone that does not sound flattering right out of the box, many people actually dislike it after purchasing it and trying for the first time, they expect too much from it but it is objectively a good microphone overall.
I feel bad for people, especially young people and their parents going to the sure SM7B. Known in the broadcast industry as the dark horse nobody wants to ride, because it's literally sounds like the $50 Samson q2u (or $20 r21 xle only) Most broadcast studios opt for the electro voice RE27ND, probably one of the few dynamic microphones with the clarity of a condenser. And the EV RE20. The 60's classic. ... The SM7B started out as a blimp style directional. In the '50s60s, some radio DJs started sneaking in these TV mics because of their side rejection and humbucking abilities. The original broadcasting unidine looked like a metallic SM57 and picked up way too much of the buzz from all of the analog equipment surrounding the DJ. Sure found out about this and got into the radio business. They also supplied the White House with some small unidine capsule microphones we now know is the SM57 still used by Presidents. These microphones are known for a slight high-end boost so presidents could have an authoritative voice but still cut through a crowd or a noisy broadcast. As far as Quincy Jones stripping down the old SM7 (a), he wanted Michael to feel comfortable as he did with the unidine $5 capsule used on stage. If you look at the photos, the microphone is stripped down to the bone.. And do you really think that is the only microphone used? There were hundreds of photos taken, with many different microphones. Jackson laid down roughly 50 vocals per song, using all sorts of different microphones. The 47 capsules were there, the '87, the tubes... They even used percussion small capsule directionals on the floor so that they can capture Michael stopping his feet. You don't see Sennheiser plugging those, much superior, microphones. SM7 was used for some of the screaming parts, and because of its DARK, LO-FI, HISS, sound, some studios keep one around for low by background effects. Death metal singers like it. I wish some podcasters did not get the budget used SM7bs you could get for less than 100 bucks before 2018. The company got really greedy, they made the MV7, but I still see that bbd aiming and people's faces. Unless you have a particular type of broadcast, not a good look. No hate, just saying. , done, overdone. As far as the podcasters, They know people are listening through very tiny speakers. The SM7 used to help out with a horrible online compression back in the day.. today, the compression for RU-vid, tick tock, and all the rest of them process your audio to the point where it literally does not matter if you're using a good quality $20 microphone, and yes, there is such a thing. (Samson, Sennheiser, audio tech, Even some Chinese microphones like moano). The truth of the matter is, in the last 5 years, about 50% of analog quality has given way to digital processing. It doesn't really matter what you use. That's why you see all those videos with people talking to lavalier microphones or even their free headset that came with their phone. And it sounds great. That PewDiePie guy started using a cheap lavalier for this reason. Sorry to rands, but when a company charges 400 to $500 for a microphone with a noise level of 20 plus!! That has to be the rip off of the century. Remember, the material for that microphone is about $15. If you really want to, you can print one or have a guy print one for you for 30 bucks.
Great video! I've been learning a lot from your content, especially the mix and release series. Thank you very much for your help. I have one question regarding mics. I currently own and use a Behringer C1 for my small home recordings. It's not great, but it came with my audio interface and has helped me learn much about this topic. However, my room has really poor acoustics, sort of a metallic echo, and my recordings end up with a lot of unwanted harshness. I've considered buying a second mic, maybe a dynamic, to solve this issue. Since I want to record my voice, but maybe more importantly my acoustic guitar, I was leaning towards the SM57, a friend of mine said that it was an all in all microphone. My question is: will I truly be satisfied, using the Shure for both purposes? Thank you so much for your help! Also, I have some covers of my own, it would be great if you could check them out and give me your thoughts. Stay well!
Many people love the SM57 on acoustic guitar. I personally find it a little 'boxy' sounding, BUT it depends on the song/mix. You may end up having EQ out some mid frequencies, and pushing up some highs, to get a crisper feel - if that's what you want. IMHO, it will not sound as 'nice' as the C1, but will help with the room issues.
You are right. If you have never used a good microphone connected to real pre amps. You won't ever probably need a really good microphone in your entire life. Also if you are not making the amount of money you should conssider is business you should not invest in a good microphone + Pre amps. Aldo if you cannot hear the difference between a really good microphone and a cheap microphone I don't recommend you to buy an expensive microphone. You should conssider the quality level of your productions too.
If the NT1A is too harsh, the Rode NT1 is perfect. I have both and the NT1 is just magical. Although, the NT1A was my very first "real" mic and will always have a special place in my heart.
@@HOLLASOUNDS Shape audio for sure. Help it fit in the mix. But it won't fix a harsh mic and it won't make a mic sound completely different than it inherently is. If EQ could do that, we could just get the cheapest mic and eq it until it sounds like U47 or a ELAM 251. But you can't eq out saturation, distortion, resonance, and response.
@@HOLLASOUNDS I've been in the sound game for 30 years and EQ can't fix all poorly recorded (or harsh) content - not without compromises. The rule of thumb has always been to get it right at the source and not rely on plugins to fix problems during the mix stage. This saves time, money and computer processing power. The better it's recorded, the fewer plugins you'll need.
@@terrygray7465 The complaint that some users of the NT1A is that it is a bit boosted in the high end which is easily fixed with EQ in My opinion, if I can fix audio recorded with a mobile phone into something that sounds like it was recorded off of a decent studio mic then I'll have no trouble shaping the NT1A audio into the shape of the NT1 if I want. The whole get it it right at the source is mostly about audio fedelity making sure you have enough headroom for the signal to he edited as there is no way to edit of fix a distorted mess.
I find it weird how people always try to discourage others from getting the neuman when it's literally the best mic and the main mic most mainstream artist use. Quality over quantity for me.
I appreciate all the basic good information about the microphones. but an nt1a or at2020 do not sound like 90% of the u87. the nt1a is okay but doesn't pick up high frequencies that well. all microphones sound relative the same when youre on a budget. a better sound in a microphone will do 80% of a mix when mixing. I mostly get clients with these budget mics and I need too many edits for a decent sound.
Mike you have taught me so much, I just wanted to say I am grateful for your videos! So much valuable information an you pass it along perfectly! Keep it up!
The Soyuz Bomblet costs around the same as an AKG414 as do some Lauten microphones. There are some better choices out there that are much better than the U87.
"Much better" What does such stupid, uneducated and bland statement even mean. There are NO other choices and there is NO "better"out there than the U87 if sound & properties of the U87 are wanted. The only place for "better choices" sits in the world from someone who has no clue, no experience, or feels the need to justify other [probably cheaper] mics . . mostly related to the wanna-sounds-like-a-known-brand-microphone circle-jerk area in the gearspace forum i
There are lots of examples of great recordings made with cheap microphones. There are also tons of examples of really bad recordings made with super expensive microphones, pre-amps, compressors, eqs, etc.
That's what a pop shield if for. ;) I do agree that the NT1 has a nasty high around 4-5K though. It seems to be a lot of people's go-to first mic though for sure. I teach degree level audio engineering and it's extremely rare to find a class where at least one of my students doesn't own an NT1.
The NT1A isn't a great mic per se, it's nasty bright around 3.5-5K ( it's awful on a nasally vocalist ) it's just most people's first budget recording mic because it's cheap and gets the job done ( and, let's face it, looks like a U87 ). The NT1 is a lot nicer mic IMO, for the same money as an NT1 though I'd go with the Aston spirit. The original Australian made NT1's where also nice though if you can get hold of one.
@@billB101 It's definitely bright! But I prefer that more so than the NT1 which sounds dull and flat (had both). It doesn't do nasally vocalist any favors though you're right about that. If you don't have a high pitch/nasally voice, it punches wayyyy above it's price range and could be alot of people's end game mic.
