The ATR2100x-USB is unashamedly an entry-level mic with a price-tag to match. In short, this is a great mic to consider if you’re just starting out as a vocalist or podcaster and only have a modest budget to play with. Alternatively, you can choose an active dynamic mic or one that works over USB. Cutting that rumble

Rode says that the PodMic is optimised for use with its Rodecaster Pro Podcast Production Studio, but it’ll work with any audio interface. Can anyone comment on the Telefunken M80 or AKG D7 compared to any of the mics I've mentioned? Also, would a condenser be a better option? I've been considering the Shure Beta 87a, Rode S1 and Audix VX5?

Condenser-like Performance with Dynamic Convenience

The diaphragm on the Telefunken M80 is super thin, which gives it a fast, un-colored response that captures your sound with incredible detail. Because it's not a midrange-heavy mic like some dynamic mics, it's not just for vocals. You can get great results with the M80 in front of a guitar amp, over a snare drum, or virtually any other instrument that needs a detailed, well-balanced microphone. Telefunken M80 Dynamic Microphone Features: Despite its 'stage vocal' look, the M80 hasn't been designed with a specific application in mind. In fact the designers say that it's suitable for vocals, snare drum, guitars and horns, both in the studio and on stage. They also say the its rubberised body and rugged chrome basket should keep the sensitive components safe and sound, even after serious abuse! Let’s consider some musical genres and how they might influence your choice of mic. Most people would agree that, in terms of ‘noise’, a singer-songwriter performing alone with just an acoustic guitar is poles apart from a five-piece death metal band playing like they mean business. Cardioid ส่วนช่วงรับเสียงจะอยู่ที่ 30 – 18 kHz และมีค่าความต้านทานมากกว่ากว่าตัว M81 ทำให้มีเสียง Output ที่ค่อนข้างเบากว่าไมค์ทั่วไป

Matt Telford is currently working with Postmodern Jukebox, with whom he has gone through a number of different mics in search of sonic perfection.Matt Telford, like a growing number of engineers today, has a foot in both live and studio camps. He has been handling both with Postmodern Jukebox for over five years and has toured the world many times. This is a keenly priced, no-nonsense mic that loves a good performance. Its all-metal construction will shrug off years of onstage abuse, letting your vocals take centre stage show after show.

Pros

I do tend to recommend specific microphones to artists more often than not. When working with artists in a live environment, a pretty common issue on stage is that vocalists say that they’re not able to hear themselves once they’re in the mix. There’s that age-old saying, ‘A bad workman always blames his tools,’ however in this case I’ve always found this level issue literally boils down to the vocalist having the wrong tool in their hand. Sometimes engineers say the floor wedges or in-ear monitors just aren’t good enough in the venue, or maybe the engineer’s skill level is poor, and in a couple of scenarios that might actually be the case, but it’s almost always the case that the vocalist will have the wrong microphone choice in their hand. Think of it like using a flathead screwdriver for fastening a Phillips screw into a wall. Yes, it’ll work, and yes, you’ll get the screw in, but you know it’s not quite right for job — it’s exactly the same with microphone applications, but vocals most importantly!

That’s why Shure developed the SM27, a ruggedised condenser that’s fit for life in front of an audience, no matter how hostile. In fact, Shure’s entire SM range, including the 27, is designed to take the kind of punishment that live performance inflicts. Ordinarily, condenser mics are very susceptible to handling noise, so this is a brave endeavour from the German pro-audio brand, but no doubt a bold move commercially. So, if you’re miking up a well-mannered vocalist on a stage with a low SPL, and every detail of the performance is important to your audience, it may be worth considering a condenser mic – especially those designed for stage use, such as the Sennheiser e 965 or the DPA d:facto 4018. But if volumes are going to get gnarly and you’re pushed for setup time (who isn’t?), a dynamic mic will make much more sense. Is anyone in the audience really going to notice the difference? Probably not, because in most genres sound is only part of what makes a great performance. Getting the right responseThe Shure Beta 58A was designed as an upgrade to the industry-standard SM58, with an extended high frequency range. It has a lot of similarities to the Telefunken M80.