VO Microphones Pt. 6 – Recommended XLR Mics

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.

Last week, we focused on USB-direct-connected microphones for voiceover. Here, I want to go through options for 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:

1. 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.
2. 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? 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

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. 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.

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.

VO Microphones – $600 and Up (to the neighborhood of $1K)

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 through these articles. While we have by no means exhausted the subject, I hope that this has been helpful.

A note regarding links in the article –

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.

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

Microphone Basics – Microphones Pt. 1 – can be found here.

Types of microphones – Dynamics, Ribbon, & Condenser – Microphones Pt. 2 – can be found here

Condenser microphone capsule designs – how that influences sound quality – Microphones Pt. 3 – can be found here.

What exactly makes a “good” microphone for VO? – Microphones Pt. 4 – can be found here.

Recommended USB Microphones for VO – Microphones Pt. 5 – can be found here.

Recommended XLR Large Diaphragm Condenser Microphones for VO – Microphones Pt. 6 – can be found here.

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