What microphone should you get for VO? It’s generally the first question that a new voiceover student asks. It’s a fair question, and in this resource I will discuss what a microphone needs to do in your VO studio, describe the different types of microphones you are likely to encounter, and make specific VO microphone model recommendations.
I’ll also mention, that it’s really not about the mic. Yes, the microphone is the key piece of equipment in the home voiceover studio. However, buying a VO microphone is a reasonably small part of the equation. If you are looking for specific model recommendations, scroll to the end of this resource. I list multiple microphone models appropriate for voiceover studio use.
However, before you invest in a microphone…
Before you invest in a microphone and an audio interface to connect your studio computer, my strong advice is to make sure you have considered the big picture.
First, a microphone will never sound better than the space it is in.
Take a moment to consider your recording environment. The sounds of the world around you are tough to block out. Furthermore, the type of microphones most commonly used for home voiceover recording are sensitive. That’s their job! They are designed to capture the nuances of your voice. That means they will also do a great job of finding all the flaws in your recording space. They will reliably pick up the fan in your computer, the hum of the refrigerator on the other side of your wall, the footfalls of your upstairs neighbor, the vibration or air conditioners and heaters, and of course the traffic on the nearby roadway. You will need a quiet space.
Second, a microphone will reliably capture a horrible performance.
My strong recommendation is to set aside some part of your budget for coaching, whether self-paced, group classes, one-on-one sessions, or focused workshops. Everyone I know who has had consistent success in voiceover invests in their training and continues to refine their craft.
All of that is to say whatever you plan on investing in your setup, keep a bit in the budget a bit to treat and isolate the space, and to invest in developing your voiceover skills.
My list of recommended microphone models appears at the end of this resource.
Please scroll on down if that’s what you are looking for!
Microphones for your Voiceover Studio – The Basics
I find myself talking about microphones a lot. The most common question is “What microphone should I get for my voice?” That’s a reasonable question to ask, but a slightly tricky one to answer. While I do recommend certain microphones, there are other factors to consider. For a voice actor contemplating microphones, it’s helpful to understand a few core variables, so I want to start there.
Microphone Placement Matters
When I was first learning recording, the studios I worked in had only a single mic, or at best a small number of options. “Mic Locker” was not an appropriate term. That limited choice meant we had to get creative. Mostly through trial and error, I learned that both microphone placement and distance from the source have a strong capacity to change the texture and quality of the sound. Through experimentation, I would find things that worked. Simply put, how you position the microphone matters.
When recording voiceover, while there are a few basic tenets of position and distance those should be viewed as a starting point. Making slight specific adjustments are how we get the best out of our microphone and our voice.
Voices Are Similar Instruments
Consider the the source material we are recording in our VO studios. The actual range from the deepest window-rattling bass to the highest pitched speaking voice you can think of actually fall pretty close to each other in the overall scheme of things. Capturing the pitch differences is not that great a challenge. A common fundamental frequency range for both male and female voices is from 80 to 255 Hertz (Hz). Any decent vocal mic should be able to handle that range.
But what makes your voice sound different than mine? In this case we are talking about the timbre of a voice – its characteristic tone. Those differences are created by the overtones – the waves above the fundamental frequency. Those overtones combine together to influence the overall sound through interference between the waves. It’s how a church pipe organ creates very complex sounds when you pull out all the stops and add in the overtones. You’ll hear a characteristic vibration which adds character to what would be a very simple sound. Those little micro beats you hear are from that wave interference.
Human voices generate much more complex waveforms than a pipe organ, but the texture also comes from those parts of the sound which occur above the base frequency. If a microphone captures all of that sonic information accurately, then the recording is representative of the source.
Microphones Are Basically Filters
Microphones are actually a type of filter. By that, I mean that they don’t necessarily respond to all frequencies the same way. Some models tend to capture the higher frequencies more readily, while others tend to respond less to those pitches, favoring the low “notes”. You can get a sense of that by looking at the Frequency Response Curve for a given microphone.
Keep in mind that we’re never really recording just the voice – we record the voice in a specific space. Every physical space has a tendency to emphasize or attenuate different frequencies as well. It’s why I often remind students and clients that a microphone will never sound better than the space it is in.
Three Basic Types of Microphones Explained
Microphones have a simple task.
That’s probably one of reasons I like them. I appreciate simple tools: a single speed bicycle, well crafted steel bicycle frames, machines which lack complexity – not because they are simplistic – but because they are focused and precise. Honed for a specific task.
We tend to take sound for granted. It’s a much more complex phenomenon than we might realize. What we perceive as “sound” is actually an increase and decrease in pressure. Sound needs air to transmit that energy to your ears. When we pluck the string of a guitar, it makes the air around it move in the same manner. How fast that air vibrates determines the pitch.
It works in other mediums as well – that’s why you can hear certain sounds when you are underwater -the water will still act to move that vibrational energy to you. (It’s also why in the vacuum of space no one can hear you scream).
The Job of the Voiceover Microphone
To be useful, a microphone needs to capture that vibration accurately. It does this by having a component inside which reacts to that change in pressure. This is the microphone’s “diaphragm”. All microphones have some sort of part which does this. When a change in air pressure enters the mic, the diaphragm of the mic moves along with it. That’s literally the microphone’s “ear.” The diaphragm does the same thing that our eardrum does when sound first arrives. It mimics and transmits that pressure change.
Of course, a microphone lacks a brain to interpret those signals, so it transmits that information through its circuitry. When the change in air pressure causes mechanical movement on the diaphragm, it gets translated into a voltage signal – electricity traveling down wires. The voltage represents the change in pressure, so it increases and decreases in the same way. Since the voltage is now traveling down a wire, we can start to do things with it – making it louder, for example. Or, we can convert the voltage into digital information that your computer can deal with. Both of those occur in your voiceover studio as the signal moves through your input chain.
But, let’s keep focused on the microphone. The way a mic captures that change in pressure and what happens to the voltage is one of the places where microphones differ from one another.
While there seems to be a wide variety of microphone shapes and sizes, they can be divided into three general categories (at least the ones we are likely to encounter).
Dynamic Microphones
Dynamic microphones have a “moving coil” design which reacts to the change in pressure. They are largely mechanical devices using a magnet and moving coil to generate a small amount of voltage. It’s actually the opposite of the way that a speaker produces sound by moving a cone. Dynamic mics do not require power, as there are no active electronics inside of them. This means they also tend to produce a low output signal. Most stage performance or handheld microphones are Dynamic designs.
Ribbon Microphones
Ribbon microphones are similar to Dynamics in that they use magnetism to transmit the signal. The difference is that the diaphragm in a Ribbon mic is a thin piece of aluminum foil which is suspended in a magnetic gap. Ribbon mics were one of the first microphone designs (those big square RCA mics you see in the set photos from radio dramas were typically ribbon models) and they have some interesting characteristics. They also have an inherently lower output (though there are newer models which contain amplifier circuitry and are called “active” ribbon microphones).
Condenser Microphones
Condenser microphones work through capacitance rather than magnetic response. To keep things simple, think of a capacitor as two pieces of metal in close proximity to one another that produce varying amounts of electricity as their position changes. In a Condenser mic’s capsule, the moveable diaphragm is actually paired with a non-moveable back plate.
When sound hits the diaphragm it gets pushed closer to the back plate, which changes the amount of charge produced. This varying charge provides the output signal. Because the capsule and electronics inside these need power, Condenser microphones require voltage. They tend to be much more sensitive to changes in the sound source and have a higher output signal.
That sensitivity and robust output translates into greater detail and less need to amplify the signal. The potential downside is that It does create a more fragile device. However, most of the recordings we tend to do for voiceover take place in an indoor location under relatively controlled circumstances.
Which Microphone Type is Best for Voiceover?
Given those choices, the type of microphone generally chosen for voiceover work is a Condenser microphone. Further, we tend to prefer a Large Diaphragm design for its ability to accurately capture the nuance of spoken word performances. In other words, a Large Diaphragm Condenser (LDC).
“Under the Hood” of a Voiceover Microphone
Between the three common types of microphone designs – Dynamics, Ribbons, and Condensers – the Large Diaphragm Condenser provides a strong combination of detail and sound quality, which makes it an attractive choice for recording voice.
The sensitivity of Condenser microphones is both a blessing and a curse. On the plus side, they will pick up more subtle nuance in our voice allowing us to capture depth in our performance. However, a sensitive mic will also tend to faithfully find all the flaws in our space – both background sounds/noises and acoustic issues in the space itself. It is a very common result to upgrade your microphone and have things sound initially worse.
A more expensive mic suddenly “hears” all the imperfections in your recording area. As I stress in my VO recording classes, getting good sound is an iterative and ongoing process. Anytime you change one thing, it can make other aspects of your sound more obvious.
Just to say it one more time:
A microphone will never sound better than the space it is in
Large Diaphragm Condenser Microphones are Sensitive – that’s their job
A mic with such sensitivity also means two additional things – first you will need to mount the microphone in some sort of a stand. Condensers are not hand held. The other point is what i talked about above: placement and position matter. The position of the microphone in the room, the distance and height from the sound source (in this case, our mouths), and the angle and direction are all variables in the equation of getting the best results from your setup.
A great microphone can sound really bad, if even one of those core variables are off.
It’s why some people fall in love with a certain mic model – a certain microphone sounded great in their space, when all the particulars lined up in their favor. There’s nothing wrong with that, of course. It’s why people double down on the “…best mic EVAR” claim. But, most decent quality mics can be made to sound good by working on those simple, core variables.
What makes a certain Condenser microphone desirable?
Some of it is contemporary fashion. The sound of crooners from the 1950’s tended to be kind of mellow and warm, so the popular mics from that era tended to have that type of sound. As we shifted to digital recording systems, there was a shift toward brighter sounding mics.
A big part of how condenser mics differ starts with how they capture the sound. As you recall from the previous article, a Condenser microphone capsule uses a capacitor to capture sound. When the wafer-thin diaphragm moves in relation to the solid backing plate, it causes fluctuations in the electrical current which represents the acoustic information.
Condenser Microphone Capsule Design
There are arguably 4 basic capsule designs used in Large Diaphragm Condenser microphones. If you look through the grille of your microphone, the details of that capsule may be visible to you. For example, if your microphone has a visible wire attached to the center, it’s probably based on a Neumann design – either a K-47 or a K-67 if you need the nerd-numbers. These are “center terminated” designs.
If you see no visible wire (like the capsule in the Vanguard V4 photo above), then it’s likely a version of the AKG CK-12 capsule, which is “edge terminated”. Most of the current condenser capsules are proven designs which tend to work well (assuming the company has quality materials and manufacturing).
Each of them differ in their frequency response. Remember when I said that microphones are filters? This is where that happens. Each different capsule design tends to emphasize different frequencies as it captures the sound. The capsule type is factor #1 in providing a microphone with its characteristic sound. Of course, it’s not the only variable in the end result, but if we begin with the same type of capsule, there is a potential for two different manufacturer’s mics to sound somewhat similar.
Once the sound enters the microphone circuitry through the capsule, there are different components inside which influence the sound. In some cases, the manufacturer uses signal filtering to correct for what the capsule provides. The way the microphone handles amplification also influences the sound. Condenser microphones amplify the signal before sending it out through the cable, either by using a Tube (“Valve” in the UK) or a solid state amplification circuit.
Again – this influences the sonic texture of the signal. We might describe that signal as “warm” (sort of mellow and fuller in the lower frequencies) “bright” (where the higher frequencies might be emphasized) or “neutral” (not emphasizing any particular frequency). If the sound quality is less flattering, warm could be “muted”, “muffled”, or “bass-heavy”, bright could be “harsh”, “sharp”, or “jagged”, while neutral might be perceived as lacking presence.
But overall, a neutral microphone which has good detail will provide audio which can be further shaped by an engineer to have just the desired sonic impact. This is the “Flat Response” which audio engineers tend to like. If this were light, it would have all the colors in the visible spectrum, where a less balanced “filter” would only provide orange, red and yellow. This is why it can be helpful to look at a graph of a microphone’s frequency response. For example, if you have a ton of bass in your voice, it would be counterproductive to get a microphone which adds to that by being biased towards the lower frequencies. It would make the bass more bass-y.
A microphone which adds a lot of “character” or “coloration” to your tone might sound interesting, but it would be similar to using a lot of EQ on your signal. Since the microphone itself is adding that to your audio input signal before it is recorded, that is not something which can be easily removed. Too much extra tone can get in the way of the production workflow.
While it can be useful to offer different colors in our audio palette, it benefits us to have a neutral, detailed option as our “go-to” sound.
Why do some Voiceover Microphones cost so darned much?
Let’s start with a couple of reasonable questions:
What are you paying for when you purchase a good quality microphone for voiceover?
And how much does “good quality” actually cost?
We now know that the characteristic sound of a Large Diaphragm Condenser (LDC) microphone model begins at the capsule. This is the disk-shaped object you see through the microphone grille, which contains the diaphragm – a super sensitive, wafer-thin membrane which reacts to the changes in air pressure from our voice. The funny thing is that there aren’t that many basic capsule designs. In fact, the capsule in any given microphone is probably one of four common (and proven) styles.
It’s hard to argue that any one of those are “better” than the others (though one of them tends to age less well and is the least commonly found in most current models). Without going deeper into the mic-nerd well we’ve been digging, let’s just realize that each have a characteristic sound. Microphone designers could be seen as trying to correct and balance the signal received from the capsule they have chosen, so that it records incoming sound accurately.
As audio makes its way through the electronics inside the condenser, that signal gets filtered and processed and amplified so that it becomes usable.
Why do some mics cost so darned much?
As a working voice actor, your microphone needs to operate flawlessly every day.
In this case three key things you are investing in are:
- Quality of components
- Tolerance of material spec
- Customer support
What makes a microphone bad?
Some inexpensive microphone models may have simply reverse-engineered a high quality mic and tried to reproduce it – arguably, there are companies where “R&D” stands for “Replicate and Duplicate.” For example, some years ago a bunch of cheap microphones showed up on the market trying to emulate a Neumann design. But those designs neglected to include the filter circuit which balanced the tonal result of that capsule design. This resulted in microphones which had a very harsh and overly bright sound.
There are definitely some very “sparkly” looking mics which sound pretty bad. They usually have inexpensive amplification circuits which add high levels of audible noise to your signal. The circuit needs to be quiet – a quality mic will have reasonably low “self noise”. Cheaper mics may also be a bit “hyped” in their frequency response, overemphasizing the upper mid vocal frequencies to make them cut through. They sound very “present” at first, but that edginess is not a compelling feature for voiceover.
Those are two common issues with cheaper LDC models: noisy signal and a harsher tone.
How much Mic do I need for VO?
We live in a time of riches for equipment. A few decades ago, most usable recording equipment demanded a pretty significant investment. But these days, if you can budget somewhere in the $2-300 range for a Large Diaphragm Condenser, there are a number of models which can take you a long way in your VO career.
As with anything, you can certainly spend more. A higher price generally means that the components are better, the manufacturing tolerances are tight and that the company looks out for their customers. Quality components last longer and are more reliable. That means your sound won’t change over time and the mic shouldn’t suddenly fail. Higher tolerances in the parts means that there’s more consistency between production runs. The mic you buy should sound similar in quality to another of the same model. Finally, support matters. The last thing you want to find out is that the company which made your mic cannot (or will not) stand behind it through warranty repair or replacement.
It’s also unlikely to be the last microphone you ever purchase, which means that working from a realistic budget is never a bad choice. As I wrote in the Winter of our Microphone Discontent, there’s nothing wrong with owning equipment which makes you feel like you are rocking the VO world. But, if you need to book a gig in order to finance the microphone you bought on credit, it might add just a tinge of desperation to your audition reads…
Everyone has a slightly different tolerance to what defines “expensive”. When you have never booked any VO work, even a modest investment in equipment can seem like a heavy burden. It’s reasonable to get the best you can afford now, and upgrade when it’s appropriate.
USB Microphones for the Voiceover Studio
With all this talk about condensers, different capsule designs and such, I’ve neglected to mention precisely how to plug the mic into your computer, which brings us to…
The Great USB Microphone Debate
First, I want to put on my computer nerd beanie and point out that nearly every mic connected to a computer could be described as a “USB Mic.” The audio coming into the computer for most voice actors has been digitized and enters through the USB port*.
*(Except for all of you using an Apollo interface connected to your Mac’s Thunderbolt port.) (Annnnnnndddd….. both of you still using a Firewire interface. Which I’m not mocking by the way. As long as it works. I’ll just point out that the last Apple Macintosh model which included a Firewire port came out in 2012).
The step of converting the Analog voltage (A) to the Digital ones and zeroes (D) allows us to play with digital audio inside our computers. I touched on this conversion step of the audio input chain up above. I also have a separate resource on Audio Interfaces in the Voiceover Studio. The “A to D” conversion must occur no matter what microphone we speak into.
What Does “USB Mic” Actually Mean?
People use the term “USB Mic” as shorthand for an all-in-one unit where there is no separate preamp and interface. That type of microphone can be attached directly to the USB port of your computer because all the amplification and conversion to digital occurs inside of the mic itself. I like the term “USB direct-connected mic” but it’s kind of a clunky phrase. Clever designers have crammed these additional circuits within the microphone body.
This may seem like a trivial distinction, but it means there is no separate audio Interface on your VO input chain. An audio interface generally contains both an amplifier (usually referred to as a “pre-amp” at this stage) and an analog-to-digital conversion circuit. There are also output circuits for your headphones or speakers. In a USB direct-connected microphone, all those electronics are contained in the microphone itself.
We’re still talking about a Large Diaphragm Condenser microphone type – though some of the more compact USB-direct-connected mics are more accurately “Medium” Diaphragm Condensers, which is why they sometimes behave a little differently. One indicator of quality: decent USB mics cost $130-170, while a simple audio interface is in that same price range. While gear continues getting better and cheaper, simple cost analysis would tell you that the separate audio interfaces are likely using higher quality components to handle the signal.
In most VO-groups, folks tend to have strong opinions about whether a USB microphone is appropriate for VO.
Reasons to buy a USB-direct-connected microphone
- Your absolute budget for your VO input chain is less than $200.
- You travel enough that supreme simplicity is a high priority.
- You are still not sure about VO as a career, and are trying to limit your expense.
- You are frequently asked to provide immediate audition recordings, and you are often away from your main studio.
Reasons NOT to buy a USB-direct-connected microphone
- Cheap USB mics sound pretty danged bad.
- Most USB mics use 16 bit converters, while most separate audio interfaces are shifting to a 24 bit converter.
- XLR cables can be really long. USB cables must be kept short. If you are using a USB-direct-connected mic, you will have trouble getting far enough away from your computer.
- You are frequently asked to exactly match the sound of your home setup which uses a different mic.
- You work in an area of VO where they specify a certain style of microphone.
- You want to use a variety of microphone models in your VO studio.
- You regularly need to play back your audio over speakers. USB microphones generally only have a 1/8″ headphone output connection.
Three more thoughts about USB-Direct-Connected Mics
- Most USB mics have traditional cardioid pickup patterns which makes them more likely to sound bad in a poorly treated or isolated space. So, it’s worth considering whether the person listening to the audition can hear “past” any issues in recording quality.
- If you start with a USB mic, there will likely be a point when you “outgrow” it and upgrade to an XLR-connected option and separate audio interface. Price and quality-wise, USB direct-connected mics are largely aimed at the consumer market. The Sennheiser MK4 Digital was an outlier at around $400, but it has now been discontinued. Currently (late 2021), it’s hard to spend even half that on a USB microphone.
- Client expectations have been changing as well. Before the pandemic, there was a clearer division between self-recorded and studio-recorded sessions, and it was not common to be asked about recording hardware. With more voice talent now working from home and being asked to deliver quality audio, that line has blurred tremendously, While your actual sound quality may be entirely acceptable with your USB microphone in a well-treated space – it might be simpler not to have to convince someone of that fact in the first place.
In the Context of those caveats…
Recommended USB Mic Models for Voiceover
There are two USB-direct-connected microphone models which I currently recommend. In both cases, the manufacturer definitely got the details right and these have delivered quality audio consistently for many of my clients. Importantly, they can be mounted in traditional mic stands which is always a better option than a tabletop setup, and they are similar in size and weight to XLR-connected models, unlike certain mics named after abominable snow creatures.
Audio-Technica AT2020 USB+
https://www.audio-technica.com/en-us/at2020usb
This model has been around for years, and there are a lot of variations you might encounter. The current “Plus” model has a headphone output which allows for direct monitoring at the source. While it does come with a USB cord, you will need to purchase a pop screen separately.
Rode NT-USB
https://www.rode.com/microphones/nt-usb
Newer electronics and unique integrated metal mesh pop screen make this a solid choice. Add to that the generously long USB cord which Rode supplies and you’ve got a good setup to get up and running. I can personally attest to it’s rugged nature, as mine has been my “travel” rig for years – often knocking around my backpack for classes and trips.
Both of these use a ring adapter that you might have to re-rig if you invert the microphone on a floor stand. Both manufacturers state that the capsules are internally shock isolated, and I find that these don’t tend to transmit vibration as easily as many XLR LDC’s, so while they don’t have suspension shock mounts, that does not seem to be as much of an issue.
Updated Models: Rode NT-USB Plus and the NT-1 Generation 5
As of early 2023, Rode has brought out two interesting updates to their USB direct-connected microphone lineup. The first is the Rode NT-USB Plus which showed up at the same price as the older NT-USB described above. The Rode NT-USB Plus has upgraded the A/D converters to 24 bit and added simple On/Off options for processing at the microphone. It uses the same rugged body and integrated pop screen design. Available through Sweetwater or Amazon.
The NT-1 Generation 5 combines a standard XLR output mic model with the ability to switch over to a USB-direct-connected setup. Yes. It does both. It utilizes 32-bit floating point processing which may provide coverage for high dynamic range performances. Brand new as of February 2023, but worth taking a look at. And the retail price is less than the original NT-1…gotta say, that’s a bit of a jaw-dropper. Sweetwater or Amazon.
Other USB Microphone Options – A “Hybrid” Approach
Recently, there have been a few interesting design approaches, which seem to be geared towards podcasters. I do feel that the quality requirements still differ between voiceover and podcasting, but I’m keeping my eye on these “hybrid” systems. These combine USB-direct-connected simplicity with more sophisticated software/firmware solutions to address recording issues. Depending on what your client needs delivered to them, these could provide workable solutions.
Presonus Revelator Microphone
https://www.presonus.com/products/revelator (above left)
Drawing from their StudioLive series of mixers, which use Presonus’ proprietary effect plug-ins, which have been refined through several versions of their Studio One recording software, this puts a number of effects inside the mic itself*. This approach makes me slightly nervous, as it violates Rule 1: “Thou shalt not process thy audio INPUT!” You must get the settings correct when recording. It’s also a 24 bit system. It does have multiple pickup patterns, which can be helpful (figure-8 pickup patterns have high side rejection, which can make some spaces sound much better).
*What’s more interesting to me is that Presonus has created an interface which uses these tools in the firmware of the interface, which allows input from an XLR mic to be processed in realtime. I’m investigating this interface currently and will be sharing feedback on it.
UPDATE – I’ve now posted some initial videos going through the features of the Presonus Revelator io24 Interface – Under the Hood: Presonus Revelator io24 USB-C Interface on my JustAskJimVO youtube channel.
Tula Microphone
https://www.tulamics.com/ (above center)
It’s hard to not have an opinion about this mic – it just looks completely cool. What’s interesting is that they’ve partnered with Klevgrand, a Swedish plug-in developer. This has allowed them to install a firmware version of the highly regarded Brusfri noise reduction software. It also will work as a standalone recorder with an 8 GB SSD drive, and supports a Lavalier microphone connection through the headphone jack. With all that cool stuff, it does use a 16 bit converter, and I wish they would have upgraded that and made us supply SD cards (which I’m sure grossly simplifies the tradeoff…)
Apogee HypeMiC
https://apogeedigital.com/products/hypemic (above right)
Personally, I’ve never been a fan of the Apogee MiC series. I bought one of the early models and found it excessively susceptible to plosives. Apogee uses a smaller diameter capsule which seemed to have a sweet spot I could never quite find. However, I have a number of clients and VO colleagues who own and like this series. The HypeMiC adds a compression circuit to the basic MiC model which could be useful if you are doing performances with high dynamic range.
Note – the three microphones mentioned above use onboard processing which could negatively impact your audio. If you are relying upon those features, take the time to get things right before you press “RECORD” Once recorded, you cannot separate the ingredients.
XLR Microphones I recommend for voiceover
Since you have made it this far, I hope it’s clear that the quest for a “Perfect” microphone has a lot of variables. That’s what ultimately makes it difficult to recommend any one specific microphone as “THE Microphone For VO”. By now, I hope you’ll have a more nuanced understanding of what makes a microphone appropriate for your voiceover needs. There are a lot of good ones to choose from.
The microphone models below are all Large Diaphragm Condenser microphones which have an XLR connection. This three-pin connector takes the analog voltage signal from the electronics of the microphone and passes it along to a separate audio interface – which then takes care of the Pre-Amping and Analog-to-Digital Converting necessary to get it into your computer.
You will need an audio interface for any of these microphones.
A Microphone with an XLR connection is helpful for at least two reasons:
- You can run audio through a long XLR cable without any audible degradation of the signal. It’s not a problem to have a 50′ or 100′ XLR cable (though it will make for a long walk to your recording space). This can simplify locating the recording space away from environmental noise or loud computers. I’ve been upgrading my XLR cables to the WBC models on my gear page, but the ProCo from Sweetwater or even the Monoprice XLR cables are good.
- Higher quality components. Since you are not paying for the preamp and converter circuits (which now live in your separate audio interface), you get more for your investment. You spend the money on the microphone.
It’s also simple to switch microphones in your booth. This can be beneficial if you have one client that decides they love the sound of a certain model, or you can have sonic options for different types of VO work. Just turn off the phantom power, switch some hardware around, and you are up and running in no time. There are also many interfaces which allow you to run multiple microphone inputs to record two people at the same time.
Just to Return to VO Recording Base Principles:
Space first: As a reminder, NONE of this matters if your recording area isn’t dialed in. No mic will sound better than the space it is in.
Keep things in perspective: It’s very easy to incorrectly translate this list of “here are some good microphone possibilities” to “I need this specific mic to be successful” or even “unless you have that mic, you can’t be competitive in VO”. Run what you brung. Your “next” mic does not have to be the last microphone you ever buy for your voiceover studio. If you don’t like a mic, you can always sell it.
Skills matter: Neither external gear nor specific hardware can substitute for training, creativity, and focus when behind the microphone.
Microphones for VO – XLR Models
This list of VO microphones may have a number of models which you’ve heard before. There’s a reason for that. As voice actors, we rely upon our equipment every day – for auditions, remote sessions, and getting work out the door. These microphones have proven to be reliable and generate consistent audio results. And it’s never a bad thing if your mic just makes you smile when you line up on it. We’ll hear that in your read.
Key Features for a good VO Microphone
Low Noise
Given how many reasonably priced Large Diaphragm Condenser microphones are out there these days, you should be able to find one which doesn’t produce audible noise on its own. As I mentioned earlier, LDC microphones contain a capsule which captures sound pressure changes and generates a change in voltage, as well as amplifier and filter circuitry which boosts and shapes the sound signal. Those electronic bits inside the microphone should be of high enough quality that the microphone doesn’t add noticeable amounts of noise to the signal its trying to capture.
This is referred to as “self-noise”. This can be confusing as manufacturers sometimes use different measurements to describe the same thing. Self-noise can be expressed either as a simple value (the Neumann TLM 103 for example proudly lists a 7 dB(A) self-noise rating), or Signal to Noise Ratio (SNR). The value is a simple measured value of how much noise the microphone makes, expressed in decibels. The SNR value for microphones is the result of subtracting the microphones self-noise rating from 94dB (which equals a sound pressure of 1 pascal – aren’t you glad you asked). That means that the Neumann TLM 103 could also be described as having a SNR of 87 (94 dB minus the 7 dB of self-noise).
Either way, we’re looking for self noise of 19 dB or less – or a SNR value of 75 or higher. More noise than that would generally make the mic a non-starter for VO use.
Balanced Frequency Response
All microphones have a characteristic sound which results from the capsule they’ve used and the way the circuitry has been designed to amplify that signal. For VO, we’re aiming for a balanced tone. One of the ways I like to explain it is that the microphone does not distract from the voice. We should hear the performance, not the tonality.
Clarity and Detail
The nicest vocal mics just kind of get out of the way of the voice – you hear the details and it feels like the person is right there with you.
“Warmth” and “Air”
We hear about certain mics being “warm” – which is tonality rather than temperature. The other side of this coin would be “harsh”. A “warm” microphone might tend to emphasize the lower overtones, possibly by judiciously cutting some of the upper mid-range. It’s often easier to identify microphones which have a bit more “air” in them than it is to recognize those without. Here we are really talking about the presence of upper frequencies in a way that doesn’t sound harsh or noisy.
Which Mic Should I Choose For My VO Studio? Opposites Can Attract
If I start with a mellow, warm voice, and choose a microphone which emphasizes warm tone and lacks detail, you’ll likely hear an overemphasis on the lower frequencies. It will sound a bit “muddy” – indistinct and heavy on the bass notes. Kind of like listening to music playing through a wall.
If I begin with a bright sounding voice and use a highly detailed microphone with a lot of “cut through”, the result will be hard to listen to for a different reason. We’re going to notice those upper-frequencies much more than we’d like, and likely find it tiring to listen to.
This goes all the way back to the idea that the microphone itself is a filter. In voiceover, we usually are trying to balance our tone by using a microphone that compliments our tone rather than emphasizing the aspects which are already present.
Most audio engineers will reach for one of a limited number of microphones – they know what microphone A, B, or C will do with a low voice, a high voice, or a voice that sits in the middle of things. And it gets back to the idea that most good vocal mics will sound good on most people.
VO Microphones – $200 or Less
Rode NT1 Signature Series –
This microphone is the latest in the NT1 series and is a ridiculously good value. It displaced the Audio-Technica as my budget-friendly recommendation for a VO microphone. Available in several colors. Comes with a slightly annoying shock mount that locks in the pop screen placement, but with proper microphone positioning, you may find you don’t need one.
Link to Sweetwater.
Audio-Technica AT2035 –
This is the least expensive XLR mic I recommend – it still has a balanced sound and is not overly harsh. Link to Sweetwater.
SE Electronics X1S Vocal Bundle –
SE makes so many microphones that this one often gets lost in the shuffle. This package comes with a shock mount and pop screen. Link to Sweetwater.
TechZone Stellar X2 –
TechZone came onto the scene a couple years ago. This is a mic I’ve heard over a large variety of voices, through mic night comparisons and individual studios. It sounds uniformly good. They have also held up well to this point. Techzone site. Also available through Amazon.
VO Microphones – $200 – $500
Rode NT1 Package –
This kit comes w/ cable, pop screen, mic & shock mount at a nice price point. I think this mic would get more respect if Rode doubled the price. It’s a solid choice with nice, flat response. Note – this is not the same as the Rode NT1-A, which has different sound characteristics. This may be phased out in favor of the newer Rode NT1 Signature shown above and the Gen5 with USB and 32 bit float options described below.
Link to Sweetwater.
Rode NT1 Generation 5 – (USB and XLR connectivity!)
This microphone came out in mid-2023 and it has become my most-recommended microphone in this price range and has a very clean sound. It’s kind of ridiculously underpriced at ~$250US. Why? In addition to having and exceptionally low self-noise rating, it sounds great, comes with a cable, pop screen, mic & shock mount (like the standard NT1), and you can connect it directly to your computer through it’s USB-C connector (shown below). In addition, when used in USB-C mode, it is able to record in 32 bit floating point mode. That means that you can actually set the input gain after you record. No that’ not a typo. More about 32 bit floating point in this resource.
In XLR mode? Well, I picked one up to test, hung it in my booth, and after several months have not had a reason to go back to my more expensive LDC microphone. Link to Sweetwater.
Audio-Technica AT4040 –
This is a solid mic for the money. Been around for years and there are a few different versions you might have encountered. Nothing flashy, just a nice balanced sound. Link to Sweetwater
SE Electronics 2200 –
Another SE offering with a bit more detail and reliably consistent sound. Link to Sweetwater.
Roswell Pro Audio Mini K87 –
I have to say that this is an exceptionally good value in VO microphones. Matthew McGlynn is the founder of Recording Hacks (deep microphone nerd resource) and Mic-Parts.com (build and hot-rod your microphone resource and knows how to make a useful microphone. Since I purchased mine, I have been impressed by how good it sounds on all types of voices. Well worth considering. This mic easily compares to models costs twice as much. Link to Roswell Pro Audio
VO Microphones – $600 and Up (to the neighborhood of $1K)
Vanguard Audio Labs V4 FET –
(The Vanguard V4 appears at the top of this email – they are snazzy looking mics). This microphone got one of the highest general ratings at the “Mic Night” event which I hosted with over 35 voice actors. It held its own against more expensive microphones. Multiple pickup patterns and a very “musical” sounding mic. The shock mount is a bit heavy, so make sure your stand is up to the challenge. Link to Vanguard Audio Labs.
Mojave MA201 FET –
Smaller SoCal company which makes excellent microphones. Very complimentary sound. Well respected by engineers and I don’t think I’ve ever heard anyone sound bad on this mic. Personal favorite. Link to Sweetwater.
Audio-Technica AT 4050 –
These seem to have a nice upgrade in richness and fullness compared to the AT4040, but it’s a healthy notch up price wise. Link to Sweetwater.
Shure KSM44A –
I tend to forget about Shure LDC mics, but I’ve had more than a few clients who have chosen this mic and get great results. Nothing flashy, but just smooth, clean and solid. Multiple pickup patterns. Link to Sweetwater.
Neumann TLM-103 –
(By the way, it is pronounced “Noy-mahn”) Popular with voice actors. Often recommended. These can have a tendency towards sibilance, so you might want to try one first. Note also that the Neumann shock mount is typically an accessory and is not inexpensive. Link to Sweetwater.
Gefell M930 –
If you are shopping in this neighborhood, it would be worth checking out this model. Many prefer it to the TLM103. It’s also ridiculously cute – much smaller than any other high quality LDC. Link to Vintage King.
Austrian Audio OC818 –
This company grew out of the AKG microphone design group, and they have combined a great sounding mic with very interesting software control of pickup patterns. Worth considering if you are in this range. Link to Sweetwater.
Neumann TLM193 –
This Neumann model is less commonly referenced, and it’s a solid notch above the “$1K” category. But, I’ve been mic’d on this and have heard many other VO’s recorded through it. Unlike a lot of more boutique mics, it also seems to behave well in a smaller space. Link to Sweetwater.
Want to spend more on a Mic?
Certainly, that’s not difficult to do. But once you move past these models, I’d probably pursue deeper and more individualized research. That might mean renting a mic to see how it behaves in your setup, or investing in studio time where you can have an audio engineer record you on different mics (including of course, your current microphone to provide a reference in the same space).
As with any equipment, the differences grow exponentially more subtle as you increase the budget.
Thanks for your attention. While we have by no means exhausted the subject, I hope that this has been helpful. Please feel free to share this article – https://JustAskJimVO.studio/microphones
A note regarding links in this resource
I always recommend you patronize your local retailer if there is one nearby, and have provided the above links as quick reference only. Personally, I’ve been exceptionally well-treated on all my purchases through Sweetwater.com. They train their team members well and are extremely knowledgeable on all things audio. If you need a good sales contact, I’ve worked with Dave Brow for years. He’s very microphone-knowledgeable and VO-savvy.
It has always felt like an incomplete answer to simply supply a list of microphone models when a voice actor asks “what mic should I get?” There are a lot of good options out there – as I say, we do live in a time of riches for recording equipment
Knowing a bit about what goes on inside of a microphone can keep things in perspective and let you adapt as trends and tastes change over time.
It also lets us focus on the stuff that matters: the choices we make when in front of that microphone.
Moving forward, remember that you can always make your microphone sound a little better than it does today. Over the years, I’ve made a myriad of tiny little microphone placement adjustments, and have gained a more nuanced understanding of how to “play” the mic – what it likes and what it does not. Since your voiceover “instrument” will always include the space in which you record, It takes some amount of time to dial in any new microphone in the most familiar of rooms. Experimenting and listening to the results can lead to better results.
When you do set up a good space and get your microphone, please feel free to send a sample for a free audio review. More information about that can be found here.
For more technical details, the manufacturer’s websites are listed below. You can search for even more information on the individual microphone models there.
- Audio-Technica
- SE Electronics
- TechZone Audio Products
- Rode Microphones
- Mojave Audio
- Shure Microphones
- Neumann
- Microtech Gefell
- Austrian Audio
Related Microphone Resources on JustAskJimVO.studio
I have published several other resources on microphones in the home voiceover studio recording environment. You can find them by using the SEARCH function on this page, or by clicking through the links below.
What is Frequency Response in Microphones?
Microphone Pickup Patterns – What Does That Shape Mean?
Inverting a USB Microphone – There’s Likely a Trick to It!
Microphone Placement and Position
Do you receive my Tuesday Tech Tip emails?
Some of this information originally went out directly to my email community.
If you would like to join in to receive those emails the day they publish, please take a moment to share your contact information through this sign up form.
