Which microphone is right for me?

Well, for a start, the DX 626 is a DJ mixer (and a cheap one). I wouldn't let it within a mile of any recording I was doing for anything serious.

Next, where are you? The SM7B (or EV RE20) produce the American "radio sound" and, if that's your market, could be a good choice. However, if you're in the UK or Europe, tastes there are for a crisper sound and most radio studios there use some form of condenser mic--some LDC, some SDC.

The 2i2 is a decent interface for the money and, unless you speak very quietly, should have sufficient clean gain for a large dynamic like an SM7B or RE20.
 
Bobbsy said:
Well, for a start, the DX 626 is a DJ mixer (and a cheap one). I wouldn't let it within a mile of any recording I was doing for anything serious.

Next, where are you? The SM7B (or EV RE20) produce the American "radio sound" and, if that's your market, could be a good choice. However, if you're in the UK or Europe, tastes there are for a crisper sound and most radio studios there use some form of condenser mic--some LDC, some SDC.

The 2i2 is a decent interface for the money and, unless you speak very quietly, should have sufficient clean gain for a large dynamic like an SM7B or RE20.
Click to expand...

Ah, right. Thanks for clearing that up.

I'm in the UK, I'd like something that would work well with my voice and from what I've seen from YouTube videos, the SM7b won't, nor does my Blue Yeti from what I'm told. What would you recommend? I would like something American Radio Sounding but something might sound better. Thanks.
 
I think you're perhaps over thinking this one - I've been involved with a number of radio stations, and for the presenter's mics, it's pretty normal for the tec managers to select an average mic that will work well for everyone - so all the usual high end brands for the big budget broadcasters, and things like Rodes in the smaller permanent broadcasters and the RSL people. High on my list are those that exhibit very low handling noise, especially when the mics are on anglepoise mounts where they tend to be moved around. I've heard 414s (with the velvet shields), plenty of Rodes, a few ATs and my general view is none do it badly. The 2i2 has a good reputation, but what are you doing that goes direct to a computer? Voice overs, ads, news?
 
Okay, I've actually managed to listen to your Youtube now (my first reply I was away from home and didn't have decent monitoring.

Before I get into microphones, I think you have bigger issues than the mic itself.

First, the acoustics of wherever you're recording are not up to radio standards. Radio studios are very dead--with music you can get away with some room tone but for pure voice work you don't want any. The studio building section here gives good advice--but remember it's aimed at music recording where you want a little room sound. You don't want any. Alternatively, if you can't build out your room, I've had good results doing voice recordings using an sE Reflexion Filter. I have the original, more expensive one but I hear the project studio version is pretty good. However, you have to be vewry careful to follow the set up instructions exactly.

Second, I don't want to seem insulting but a big part of the radio sound is your own voice. You need to practice your projection and using your "chest voice" rather than your "throat voice". Some practice in this area can make a big difference.

Now, mics.

If you really want the "American" sound but don't like the SM7B, give the EV RE20 a try. It's used in a ton of American radio stations and, being a dynamic, will also pick up less room sound even before treatment.

However, the British radio sound (as mentioned) tends to use a lot more condensers, typically:

BBC Local Radio – Neumann TLM102 or TLM103
Larger ILR \ Commercials – Neumann U87 Pres Mic & AT4033 Guest (or, sometimes, the TLM102/103 again).
Most ILR – Audio Technica AT4033 or Rode NT1A \ Rode Broadcaster.

However this is only a guide and you'll find other LDC mics in use too.

However, before spending money on the mic, I'd address the acoustics issue then try the Yeti again. It's not a bad mic for the money and even an 1800 pound mic like the U87 isn't going to yield the results you want in a reverberant space.

Hope this helps.
 
Bobbsy said:
Okay, I've actually managed to listen to your Youtube now (my first reply I was away from home and didn't have decent monitoring.

Before I get into microphones, I think you have bigger issues than the mic itself.

First, the acoustics of wherever you're recording are not up to radio standards. Radio studios are very dead--with music you can get away with some room tone but for pure voice work you don't want any. The studio building section here gives good advice--but remember it's aimed at music recording where you want a little room sound. You don't want any. Alternatively, if you can't build out your room, I've had good results doing voice recordings using an sE Reflexion Filter. I have the original, more expensive one but I hear the project studio version is pretty good. However, you have to be vewry careful to follow the set up instructions exactly.

Second, I don't want to seem insulting but a big part of the radio sound is your own voice. You need to practice your projection and using your "chest voice" rather than your "throat voice". Some practice in this area can make a big difference.

Now, mics.

If you really want the "American" sound but don't like the SM7B, give the EV RE20 a try. It's used in a ton of American radio stations and, being a dynamic, will also pick up less room sound even before treatment.

However, the British radio sound (as mentioned) tends to use a lot more condensers, typically:

BBC Local Radio – Neumann TLM102 or TLM103
Larger ILR \ Commercials – Neumann U87 Pres Mic & AT4033 Guest (or, sometimes, the TLM102/103 again).
Most ILR – Audio Technica AT4033 or Rode NT1A \ Rode Broadcaster.

However this is only a guide and you'll find other LDC mics in use too.

However, before spending money on the mic, I'd address the acoustics issue then try the Yeti again. It's not a bad mic for the money and even an 1800 pound mic like the U87 isn't going to yield the results you want in a reverberant space.

Hope this helps.
Click to expand...

Alright, thanks for all the tips. Once I have the money I will buy one of those Reflexion Filters and then record another sample. They're not that much so I should be able to get it soon. In the mean time I'll practise my chest voice.

Thanks for the help :)
 
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