What microphone should I get?

[ICallHax]

I am looking to buy a new microphone. I want to get something that I would be able to use while gaming to talk to my friends and also to record voice-overs for videos. My biggest concern about getting a new microphone is that it would be too sensitive and would pick up a lot of background noise such as my keyboard, sounds from another room, or just a general humming noise. This concern comes from the fact that I have already gone through two different microphones without any satisfaction.

My first microphone was the Blue Nessie. While the sound quality it recorded was great, it picked up a HUGE amount of background noise. It picked up everything from a really loud hum, to a glass making a quite clinking sound in the other room. My friends also kept complaining that they could hear my keyboard strokes while I was playing.

My second microphone was the Neewer NW-700 which was actually pretty decent and did not pickup almost any background noise excpect for the occasional keyboard strokes. The problem with the neewer was that even with Phantom power I would get a weird quite loud noise/static when recording and using a VOIP services such as teamspeak and discord.

I have been looking at getting the Audio Technica AT2020 Cardiod Condensor microphone and purchasing a budget audio interface and or getting the focusrite scarlett solo studio.

So TLDR: I am looking for a microphone to get that I can use with teamspeak or discord to talk to my friends and also to do voice overs without worrying about loud background noises or static.
I don't understand much about microphones and audio so any help would be appreciated.

 

[arcaxis]

Condenser mics are inherently sensitive and tend to pick up sounds around the room easily. A Shure SM7b dynamic mic would likely pick up less room sounds (may not completely eliminate it) as you would be speaking fairly close to it. The SM7b is a low output mic that will need an interface with preamps that have a good amount of gain. An inline 'booster' like a Cloudlifter or FetHead powered by the interfaces phantom power give the SM7b a boost that will make it usable for budget interfaces.

Shure SM7B Dynamic Vocal Microphone | Sweetwater
Cloud Microphones CL-1 Cloudlifter 1-channel Mic Activator | Sweetwater
Triton Audio FetHead | ZenPro Audio

This might give you an idea of the SM7b (plus a couple other dynamic mics) with a inline booster...

 

[Mack Caster]

Welcome. I would suggest the Shure SM57 dynamic mic combined with the Alesis 4 Channel FX USB Mixer. You can use this setup for both gaming as well as doing VO work. I own both of these and my background noise is around a -75dbs. If you keep the 57 close to your mouth, your key strokes will be reduced to a minimum. If you want them removed completely, you may need to add something like a dbx 166xs. It is an external gate. It runs around $149.00 and also has a compressor and peak limiter in it as well. It is used by many for live performances and that is what you are doing, when you are gaming.

If you are savvy using DAWs, you can also route your signal and apply a gate, compressor and eq, before it hits the VOIP system. I know Reaper will do this. VOIP systems suck when it comes to recording. It is mostly due to high compression rates. Total price for the mic and mixer, around $190.00 and IT WILL make your voice sound professional.

 

[keith.rogers]

I'd probably vote for an SM57 too, and get a good, but basic, foam windscreen (or 2) and either use a floor stand and boom, but if you must use a desk stand, I'd get get a universal suspension/shock mount.

 

[ecc83]

The SM57 gets my vote as well. Pop shield is a MUST. But!

I am going to put a feline in amongst the sparrows and suggest a Small Diaphragm Capacitor (Google AKG p170 for an example) Get one with a 10 or 20dB attenuator switch. Thus you would have a mic with a very smooth, flat response, ideal for acoustic instruments should the humour take you but click in the pad and the mic becomes AS insensitive as a dynamic and will give the close talking room 'rejection' that peeps say dynamics do (they don't BTW. All mics are equally stupid no matter what the operating principle)

Most SDCs are also very neutral in their sound, unlike most of the big, side address jobs (and dymos!) so you will sound like you! The mics cost about the same as a GENUINE SM57. DON'T buy the Solo. It' little more than a toy IMHO. Don't quite know why Mack has suggested a mixer over a good AI but better than the one lunged horror!

Dave.

 

[rob aylestone]

I'm not sure why we're all suggesting mics, when the real problem here is microphone placement. We have one real microphone variable that can impact - and that is directivity, Omni, cardioid, hyper-cardiod and few others that change the physical angle at which the mic is sensitive. The extra gain a condenser has is immaterial with a voiceover if the level from the mic is sufficient to get you where you wish to be on the scale. If it's a bit too high, you knock it back, and if it's too low, with a decent preamp, you turn it up.

If your friends here the glass tinging across the room, the ration of wanted sound to unwanted sound is too low. You move the mic towards the sound source, and then the inverse square law works for you and you turn the gain down, as the source got louder, but the unwanted sound goes down. If you hear the keyboard, then again, distance is the most likely problem, but the mic could have side or rear lobes of extra sensitivity and the noisy keyboard is in them.

In theatre, we use omni headset mics, and with these only an inch from the mouth, the gain before feedback is considerable, and being so close means everything else simply isn't! Swapping an SM57 for an omni on stage usually guarantees feedback - because the distance from the mouth means the singer is quite quiet, but increasing the gain brings up the room sound, and the PA goes berserk! An omni on the side of the mouth is fine, once EQ'd.

You see loads of gamers rather than musician types using mics too far away, or very close in but aimed badly, or some have very big rear lobes, and the way they mount them, they point straight at the unwanted sound source. You should find out why your system doesn't work for you first, then once you have mastered this, maybe then think about a mic swap - to improve the tone. This is where if the tone is dark and murky, you'd swap to a condenser, or maybe if you have the right voice, one of those broadcaster mics that don't have proximity effect? It just depends.

 

[Steenamaroo]

My first microphone was the Blue Nessie.............It picked up everything from a really loud hum, to a glass making a quite clinking sound in the other room. My friends also kept complaining that they could hear my keyboard strokes while I was playing.
So TLDR: I am looking for a microphone to get that I can use with teamspeak or discord to talk to my friends and also to do voice overs without worrying about loud background noises or static.
I don't understand much about microphones and audio so any help would be appreciated.

I know you've moved on but what was this hum?
If it's a hum in the room that you can hear yourself then fine, but if it was picked up as interference then you've got bigger problems.

I'm not sure why we're all suggesting mics, when the real problem here is microphone placement. We have one real microphone variable that can impact - and that is directivity, Omni, cardioid, hyper-cardiod and few others that change the physical angle at which the mic is sensitive. The extra gain a condenser has is immaterial with a voiceover if the level from the mic is sufficient to get you where you wish to be on the scale. If it's a bit too high, you knock it back, and if it's too low, with a decent preamp, you turn it up.

Take this entire post to the bank.
There are really two things which will have a meaningful impact on the recording of background noise, apart from physically eliminating or blocking the noise.
Those, as said, are polar pattern and microphone position.

If I talked to you across a crowded room you'll struggle to hear, but if I come right up close to your ear you'll hear every word even if I whisper.

I've increased the ratio between my voice (signal) and the rest of the room (noise).


I always reach for a 57/58/7b/re20/421 for spoken word in my environment but the model number isn't the important thing.
The fact that I stay about 1" from it is.

As an additional point, all of this should help with keyboard noises but if you have a tabletop solid mic stand you're always going to get the deep thud noise from key strokes regardless.
Consider decoupling by using a floor/wall mounted stand, or an elastic suspension mount.

 

[Mack Caster]

Don't quite know why Mack has suggested a mixer over a good AI but better than the one lunged horror! Dave.

Hey Dave, the mixer is a AI as well. I only recommend Alesis 4 and 8 channel USB FX mixers as I own both models and they are fantastic. I may just convince you to get your hand on the 4 channel, the next time you need to replace your AI.

Pros:

1. You can run 4 signals at once. It has its own dedicated ASIO file that will give you a left and right channel for recording two separate tracks at once.

2. It comes with a 3 band eq, 12 FX selections, RCA ins and outs, sends, returns as well as separate outputs for mons and mains with separate volume controls as well.

3. The pres are wispier quite and the headphone amp will make your ears bleed.

4. It has a separate switch for the main power and the 48v phantom power. If using condensers, place on channel 1 and 2.

5. It supply's 40dbs of ultra clean gain. If you want to use the SM 7, grab a CL and you now have all you need, then some.

6. All the xlr inputs have 80hz low cut buttons as well as guitar buttons to control high z.

7. It has separate input controls for aux pre and fx post, not counting the master controls for each.

For $99.00, and knowing what you know, which one would you choose?

I'm not sure why we're all suggesting mics, when the real problem here is microphone placement.

I can't speak for anyone else, but for me, that was the question asked by the OP. Last paragraph of his post. "I am looking for a microphone to get that I can use with teamspeak or discord to talk to my friends and also to do voice overs without worrying about loud background noises or static".

 

[Steenamaroo]

I can't speak for anyone else, but for me, that was the question asked by the OP. Last paragraph of his post. "I am looking for a microphone to get that I can use with teamspeak or discord to talk to my friends and also to do voice overs without worrying about loud background noises or static".

Heh. No point recommending spoons if he's going to stick the handle in the soup.
No disrespect intended to the OP.

 

[ecc83]

Methinks thou doth protest too much Mack! I was merely querying your mention of a mixer when the VAST majority of the top blokes here (I am not in that club) recommend an AI unless there is some good reason such as a band member who needs a gigging mixer and an AI to do double duty.

One or two of said Top Blokes are positive mixerphobes and decry their use on almost every occasion. I am not one and I understand the use of mixers and your listing describes the advantages very well.

However, it has to be said that USB mixers have really only recently 'come of age'. The first generation were 16 bits and would only record a stereo mix (tho' the adpuff often blurred this fact!)
The USB implementation was poor, noisy and prone to whistles, especially on the return monitor path.

New AI Mack? What would I record? In any case I already own 3 AIs and a 2496. Had I the need I could easily cobble together a 6 track system (plus MIDI and I don't know of a USB mixer with that?)

Dave.

 

[Steenamaroo]

One or two of said Top Blokes are positive mixerphobes and decry their use on almost every occasion.

Not claiming to be one of the top blokes but I'm certainly first in line to steer away from a mixer on most occasions.
The reason isn't really any different than the reason for steering away from USB microphones, though...The format is limited to one/two discrete inputs.
I don't like recommending that sort of gear in scenarios where the OP's likely to need multiple discrete channels not far down the road.

That said, this is one of the few occasions where I'd run with it, particularly if that mixer has compression+noise gate in the built in effects.
If the OP only ever intends to stream his own voice, having a fader, eq, comp, and gate at the finger tips would be really useful.

I think I'm the only guy who turns up on teamspeak with an re20, broadcast preamp, and rack eq+comp. lol.
Tbh a little mixer would be handy.

That said, if background noise etc is the primary issue, I think Rob's the first guy to take notes from here.

 

[JefferySmith]

I suggest the Heil PR-40, close miking, and perhaps speaking a bit off-axis. BSWUSA often has these as a discounted kit, with Heil boom and a pop screen.

 

[arcaxis]

It really would have helped if the OP had mentioned '$$ budget $$' up front, thus the reason I suggested an SM7b. If the OP is on a tight budget the SM57 would be fine. If he's a gearhead with some extra bucks, then stepping up to the SM7b might be a better choice with its better low end and added HPF and Presence Boost switches if needed.
Podcasting Microphone and Gear Recommendations
Ultimate Podcast Microphone Shootout | recording hacks

Slightly different frequency response between the the SM7b and SM57. For spoken voice I've found the SM57 just a bit more sibilant and less 'beefy' than the SM7b.

 

[Mack Caster]

Not claiming to be one of the top blokes but I'm certainly first in line to steer away from a mixer on most occasions. The reason isn't really any different than the reason for steering away from USB microphones, though...The format is limited to one/two discrete inputs. I don't like recommending that sort of gear in scenarios where the OP's likely to need multiple discrete channels not far down the road.

I would hold your line of thought as well, except for the fact that from what I read constantly in this community, when someone is looking for gear to record their vocals, guitar or keyboards, it seems everyone always recommends the same thing. A one or two channel AI that has no room for expansion whatsoever. Record your guitar into your DAW. Now listen to your guitar in your headphones as you lay down your vocal track. Now plug in your keys and lay down that track, etc. It is the only thing you can do with a one or two channel AI.

A mixer that can get that same sound into his PC or digital Recorder, will at least allow him to do some live gigs in small venues if the need should arise. As far as the midi goes for the keys, use a simple 1/4 inch to 1/4 inch cable and the problem is solved. Add a bass and guitar and you are good to go. They can still come out of the mains for the crowd and come out of the mons to the digital recorder. Even the most expensive two channel AI can not accomplish this.

That said, this is one of the few occasions where I'd run with it, particularly if that mixer has compression+noise gate in the built in effects. If the OP only ever intends to stream his own voice, having a fader, eq, comp, and gate at the finger tips would be really useful.

Your advice is not only dead on, but it addresses the OPs only two concerns. The set up I recommended was due strictly to the two things the OP wanted to accomplish. Audio Books and Gaming. While you can use a condenser under strict conditions to meet the requirements for the ACX, it is a very bad choice for gaming. To say otherwise is, well, IMHO, unprofessional as well as bad advice.

Methinks thou doth protest too much Mack! I was merely querying your mention of a mixer when the VAST majority of the top blokes here (I am not in that club) recommend an AI unless there is some good reason such as a band member who needs a gigging mixer and an AI to do double duty.

I tell you what Dave, have some of these top dogs chime in on this thread and state publicly, that they recommend an AI only over the mixer that I recommended, to fit the needs of the OPs request. I mean this sincerity. If they suggest that the OP uses a condenser mic, located 8 inches above their keyboard, that goes into a AI, than I would like to know who they are. That way I can avoid any advice they may give in the future concerning mic choices!

 

[Steenamaroo]

I would hold your line of thought as well, except for the fact that from what I read constantly in this community, when someone is looking for gear to record their vocals, guitar or keyboards, it seems everyone always recommends the same thing. A one or two channel AI that has no room for expansion whatsoever. Record your guitar into your DAW. Now listen to your guitar in your headphones as you lay down your vocal track. Now plug in your keys and lay down that track, etc. It is the only thing you can do with a one or two channel AI.

I try to ask, when I remember. I know a lot of other guys do too.
Those limitations you describe apply to two channel AIs and small mixers equally though.
If someone intends to pursue multitrack recording, I'd recommend neither.

A mixer that can get that same sound into his PC or digital Recorder, will at least allow him to do some live gigs in small venues if the need should arise. As far as the midi goes for the keys, use a simple 1/4 inch to 1/4 inch cable and the problem is solved. Add a bass and guitar and you are good to go. They can still come out of the mains for the crowd and come out of the mons to the digital recorder. Even the most expensive two channel AI can not accomplish this.

That's cool and all but there's no suggestion that our OP is interested in music.

Your advice is not only dead on, but it addresses the OPs only two concerns. The set up I recommended was due strictly to the two things the OP wanted to accomplish. Audio Books and Gaming. While you can use a condenser under strict conditions to meet the requirements for the ACX, it is a very bad choice for gaming. To say otherwise is, well, IMHO, unprofessional as well as bad advice.

As long as it's made clear that distance and polar pattern are of paramount importance under less than ideal conditions, there's no reason a condenser can't be used.
I generally choose, and recommend, dynamics because they're usually more forgiving with plosives and let you get close. That's about the only reason.

 

[Mack Caster]

As long as it's made clear that distance and polar pattern are of paramount importance under less than ideal conditions, there's no reason a condenser can't be used.

I simply just can not agree with that concerning the OPs situation. He has to have the key board directly in front of him. Even if he uses a desk mount boom arm, which he should, the mic must be close to his mouth regardless if it is hanging over head or at a 90 degree angle from the side.

The only way he can achieve distance from the noise of the key board to the mic, is to move it away from him to a distance, that has now become impractical for gamers, who set at their desks for hours at a time. I am 6' 2" and my desk top is a standard 30 inched high. My mouth is approximately 48 inches from the floor. That gives me a span of 18 inches between my key board and my mic.

Are you suggesting that a condenser mic can be used that will block a noise source coming form a key board, that is 18 inches directly below the mic, without getting picked up as the OPs is requesting? If so, please let me know how this can be done using an AI and a condenser mic.

I am going to set up my AKG P-120, pad it at the source by a -20dbs, close mic it to 1 or 2 inches and run it through my Tascam US 16x8 and record the audio. I will edit this post with the video as time permits. If I am doing something wrong, I encourage any advice to help me out but as far as I know, this is impossible for the OPs situation using a condenser mic with a AI.

​

 

[gianluca68]

It's a commonplace that a cardioid condenser microphone should pick up every ambient noise. Instead, it happens because the most of condenser mics are made for studio recording, in a silent room, not specifically for close miking. If you use them very close to the mouth they don't pick up ambient noise but, without a foam filter, they pick up pops and breath noise. If you use at 20~30cm or more, they pick up noise. Noise will be lower if you speak/sing loudly, because you will lower gain.

Some condenser mics are made for live use: they have a very efficient pop and wind filter inside and they can be used for close miking without an external pop filter. You could try a Rode M2, but also a classic dynamic mic would be fine for you: you could use a SM58 (with integrated pop/wind filter, instead of SM57! SM57 is made mainly for instruments) or a Rode M1 or a Sennheiser E838/E840/E845. The E845 is super-cardioid, then it pick up less ambient noise than the others.

 

[ecc83]

It's a commonplace that a cardioid condenser microphone should pick up every ambient noise. Instead, it happens because the most of condenser mics are made for studio recording, in a silent room. If you use them very close to the mouth they don't pick up ambient noise but, without a foam filter, they pick up pops and breath noise. If you use at 20~30cm, they pick up noise. Noise will be lower if you speak/sing loudly, because you will lower gain.

Some condenser mics are made for live use: they have a very efficient pop and wind filter inside and they can be used for close miking. You could try a Rode M2, but also a classic dynamic mic would be fine for you: you could use a SM58 (with integrated pop/wind filter, instead of SM57!) or a Rode M1 or a Sennheiser E838/E840/E845. The E845 is super-cardioid, the it pick up less ambient noise than the others.

Nothing to do with 'studio design' or operating principle. A typical LDC will have a sensitivity of 20mV/Pa which is more than 20dB better than a 57. Do the numbers. If you have an AI with a pre amp with 50dB of gain and USE that on said LDC you have a total of 70dB of gain. Put that much amplification (over 3,000 times!) behind an SM57 and you will also pickup a bee farting in the window!

You should use a pop filter/wind gag on ANY microphone for close vocal use. The Perception SDC I mentioned has fairly good pop protection built in but an external shield is always desirable. The SM57 in particular 'pops' when I use one naked (the MIC that is!)

There seems to be a desire on newb recordists minds that they want to keep 6inches/150mm off the mic, crank the gain and get clean recordings. Not going to work chaps! You HAVE to be practically kissing the thing to keep noises off out. Does not matter if it is a dynamic, a voltage polarized capacitor, electret, Senny RF job or a carbon resistance mic, get close and keep the gain low.

Dave.

 

[arcaxis]

If the OP is going to game with a keyboard and use any mic, he needs to address some of the sources of noise. The keyboard would be a place to start, a silent one.......
Amazon.com: Corsair Gaming STRAFE MX Silent Mechanical Keyboard, Backlit Red LED, Cherry MX Silent: Computers & Accessories

 

[Steenamaroo]

Are you suggesting that a condenser mic can be used that will block a noise source coming form a key board, that is 18 inches directly below the mic, without getting picked up as the OPs is requesting?

Nope.

I'm suggesting

Does not matter if it is a dynamic, a voltage polarized capacitor, electret, Senny RF job or a carbon resistance mic, get close and keep the gain low.

Dave.