You know, it’s generally accepted the fact that a microphone’s price reflects the quality of the sound it’s capable of reproducing.
Naturally, many of our readers would have questions regarding what is that this blogs intends to answer. What are the exact questions this blog would help to answer.
Having said that, this blog present to you microphones which are good for karaoke, best microphone for rapping, studio recording microphone, best microphone for YouTube and for similar purposes, various Bluetooth mic price, best mic for vlogging in India, condenser microphone price in India, microphone for recording, microphone for singing,
However, a little research will show you there are plenty of reasonably priced microphones that are capable performers in many respects. Many of these models copy the fundamental structures of a few high-end microphones.
Therefore, understanding how different types of microphone functions and what they’re intended for will help equip you to improve your live performances and enhance your recordings.
To help you find the right microphone, this guide will cover the most essential characteristics of the many different microphone types and models.
Question 1: Which Mic do YouTubers use?
Sol: They basically use USB microphone.
Question 2: How much is Rode mic price in India?
Sol: It depends which models you are enquirning about. Typically it is between 15000- 25000.
Question 3: Which is the best condenser microphone?
Sol: Glad that you asked this question!! Go to the table below and look out for the condnser microphone. You will find most in depth review about these condense microphone in this blog.
Question 4: Are condenser mics good?
Sol: For in-depth analysis go to the heading “Types of microphone” in the table below. Due to its extremely low mass, the diaphragm of a condenser microphone can follow the sound waves more accurately than that of a dynamic microphone with a (relatively) heavy moving coil attached. Condenser microphones, hence, offer superior sound quality.
Question 5: How do I choose a condenser microphone?
Sol: I will make it more interesting. I will highlight all the specs you should consider before buying any kind of microphone. Go to “Now understanding the kind of specs, you should look out for” for more insights.
Question 6: What are the 3 types of microphones? Is condenser microphone better than dynamic?
Sol: For in-depth analysis go to the heading “Types of microphone” in the table below.
How would you like to use your microphone:
The most important thing to ask yourself when choosing a microphone is how you plan to use it. Will you be using it on stage for vocals or to mic an instrument? Is it intended for home-studio recording? Or are you looking for something that can perform well in either situation?
You want to match the mic to both the environment you’ll use it in and the gear you’ll use it with. For instance, it might not make a lot of sense to spend thousands on some high-end microphone if you plan to use it for basic recording in your bedroom studio.
The acoustics will likely be less than perfect, and you’ll want to couple it with a high-end mic preamp, bringing your total cost up quite a bit. Consequently, a less sensitive and more affordable microphone might be a better choice.
If you want to find a single microphone that will serve you both in the studio and on the stage, several models will be up to the task.
Short understanding of frequency response chart
Before understanding specs let us see what is the microphone frequency response.
Microphone frequency response is the microphone’s response to frequencies. More specifically, the frequency response is a microphone’s frequency-specific sensitivity to sound frequencies.
Microphones respond to sound waves (mechanical wave energy) at their diaphragms, converting the waves into audio signals (electrical energy).
Sound waves are complex and are typically made of a range of frequencies with a variety of amplitudes. These sound waves have a frequency range of 20 Hz – 20,000 Hz.
The frequency response of a microphone represents the range the microphone is sensitive to within the audible sound frequencies. The microphone could effectively recreate the entire audible sound range from 20 Hz to 20 kHz or it could be limited to a smaller band within the audible frequency spectrum.
Within that pickup range, a mic’s frequency response also represents the frequencies the mic is more sensitive to and those frequencies it is less susceptible to.
Now reading a Frequency Response Charts
A microphone’s frequency response pattern is shown using a chart like the one below and referred to as a frequency response curve. The x-axis shows frequency in Hertz, the y-axis shows the response in decibels.
Therefore, a microphone’s frequency response diagram has two axes:
- X-Axis: frequencies (Hz)
- Y-Axis: relative sensitivity (dB)
Let us dive into each of them individually:
The X-axis of a frequency response graph shows the frequencies in Hertz (Hz).
The majority of the time, the X-axis shows the frequencies across the audible range of sound (20 Hz – 20,000 Hz) even if the microphone does not have a response across the entire range.
As you could see in the picture above, sound frequencies are heard logarithmically. In other words, we understand every doubling of a frequency as an octave above the original.
A 1 Hz difference results in a higher pitch difference in the low frequencies than in the higher rates. Therefore, the X-axis is set up as a logarithmic scale.
Each octave (every doubling of frequency) takes up the same length along the X-axis. You can see this in each of the frequency response graphs mentioned in this article. In other words, the space between one frequency value and the next frequency value get smaller and smaller as you move from the left to the right on the graph.
The Y-axis of a frequency response graph shows the relative sensitivity in decibels (dB). Frequency response graphs usually have their Y-axes set up in 1, 5 or 10 dB intervals.
Below is the generalities about how we hear level changes in decibels:
- A 1 dB difference is slightly noticeable by most people.
- A 6 dB difference is considered to be about twice (or half) the amplitude (perceived volume).
- A 12 dB difference is considered to be about four times (or quarter) the amplitude (perceived volume).
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So frequency response graphs have a set 0 dB point on their Y-axis. This provides a fixed 0 dB horizontal reference line across the chart.
- Markings above the 0 dB point represent an increased insensitivity.
- Markings below the 0 dB point represent a decrease insensitivity.
The Frequency Response Line
So, you though the discussion about the frequency response chart was over, huh!! Well, it is not.
So we know the measurements along to X and Y-axes. To complete the diagram, though, we need a line to represent a microphone’s frequency response.
The frequency response line matches frequencies to the relative output level of the microphone. It gives us a solid idea of the frequency-specific sensitivity of the microphone, or, in other words, the mic’s frequency response!
Frequency response range of the above graph is from 40 Hz to 15,000 Hz.
- At 40 Hz, it is not very sensitive (-12 dB).
- From 40 Hz to just under 200 Hz, the sensitivity ramps up at about 6 dB per octave.
- There is a slight dip in sensitivity around 400 Hz (2 dB).
- There’s an upward ramp in sensitivity from 2 kHz to about 6 kHz, where the mic becomes 7 dB more sensitive.
- Past 6 kHz, the microphone has non-linear peaks and valleys in sensitivity until about 12 kHz.
- There is a sharp high-end roll-off from 12 kHz to 15 kHz (the upper end of the SM57’s frequency response range).
Note that sometimes there will be multiple response lines drawn on the graph. Typically these will relate to one or more of the following:
- High-pass filter options.
- Off-axis response.
Now understanding the kind of specs, you should look out for:
The polar pattern is the shape of a mic’s field of sensitivity or the directions from which it accepts or ignores incoming sounds. An omnidirectional mic responds to sounds coming from all directions. A bi-directional mic picks up sounds from east and west while excluding sounds from north and south. A unidirectional mic primarily hears sounds from one direction and eliminates sounds from other directions.
Unidirectional mics are the most common type, and they come in three polar patterns: cardioid, super-cardioid and hyper-cardioid. All three of these patterns reject rear-axis, and off-axis sounds coming from behind the mic or from the sides.
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The cardioid pattern is roughly a heart shape (hence its name), which makes the mic most sensitive to sounds from straight on and from the sides, but rejects sounds from 180 degrees opposite the direction the mic is aimed.
The super-cardioid microphone accepts a little more sound from a 180-degree field but rejects more from each side. The hyper-cardioid allows yet more sound from 180 degrees but rejects more of the sound coming from 90 or 270 degrees.
Polar patterns are essential when you are working in a noisy setting. Cardioid, super-cardioid, and hyper-cardioid microphone will tend to exclude all the sounds except the voice of the singer, thus preventing the signal from becoming muddied or producing feedback.
Some microphones are multi-pattern. In other words, their polar patterns can be changed (e.g. from omnidirectional to cardioid) using a switch or by interchangeable capsules. This capability gives the microphone added versatility in various settings.
A microphone’s frequency response refers to the range of frequencies, from low to high that a microphone will pick up.
This range is referred to by its lowest and highest frequencies, measured in Hertz. A microphone with a frequency response range of around 80 Hz to 15 kHz would make the right choice for a vocal microphone.
However for miking snares and toms, you would look for a range that starts lower, at around 50 Hz, and for a bass drum mic, you will want a quiet end of 40 Hz or even lower, down to 30 Hz.
It is important to note that frequency response only tells you the overall range a mic can reproduce. How it performs at different frequencies is another matter, and this performance is what gives a microphone its character.
The shape of a microphone’s frequency responsiveness is called its response curve. Because it starts at zero on the low end and drops off to zero at the high end, it takes the form of a curve when graphed. Within this overall curve, there will be peaks and dips in certain places that give the microphone a specific character and make it more suited to specific applications
Sensitivity and SPL-Handling Capability
Sensitivity refers to how quiet a sound the microphone can detect, and it expresses using different systems. Regardless of the system, it is perhaps enough to know that the lower the number, the more sensitive the microphone is.
SPL stands for “sound pressure level” and written in decibels (dB). It describes the maximum volume that a mic can handle, so, in a way, it is the opposite of sensitivity. This is important if the mic must deal with loud instruments such as drums. An average level is around 100 dB; a high SPL is 130 dB.
Proximity effect is not given as a specification but is a critical mic characteristic which mentioned in descriptions.
Proximity effect causes bass frequencies to become more pronounced as the sound source moves closer to the microphone. is This is desirable for singers who “work the mic” to create effects. A recording engineer might select a mic with a strong proximity effect for close-miking an instrument to bring out its bass tones.
Condenser mics generally produce more proximity effect than dynamic mics.
Types of microphone
This is where you decide which one to go with!! You will get the goldmine of the different types of microphone that is out there in the market. Please note, we have also provided you with personal recommendations while you go through them.
It is only in consultations with the expert of this field that we were able to collate the information in this blog. Go through them and have a great read.
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In a dynamic microphone, the audio signal is generated by the motion of a conductor within a magnetic field. In most dynamic mics, a very thin, lightweight diaphragm moves in response to sound pressure.
The diaphragm’s motion causes a voice coil suspended in a magnetic field to move, generating a small electric current. A dynamic microphone is less sensitive (to sound pressure levels and high frequencies) than condenser mics, and generally can take more punishment. They also tend to be less expensive. Dynamics are perfect for drums and electric guitars.
When something dedicated to the source you’re after, reach for a condenser microphone. The condenser is more responsive to the “speed” and nuances of sound waves than a dynamic microphone.
This simple mechanical system consists of a thin stretched conductive diaphragm placed close to a metal disk. This arrangement creates a capacitor which is given its electric charge by an external voltage source – a battery or dedicated power supply, or phantom power supplied by your mixer.
The diaphragm vibrates slightly in response to sound pressure, causing the capacitance to vary and producing a voltage variation – the signal output of the microphone. Condenser microphone comes in both solid-state and tube variations and a wide variety of shapes and sizes – but they all function according to these principles.
Used extensively in the golden age of radio, ribbon mics were the first commercially successful directional microphones. Today, ribbon microphone is enjoying a comeback, thanks to the efforts of a handful of companies such as Royer.
Ribbon microphone responds to the velocity of air molecules moving a small element suspended in a strong magnetic field, rather than sound pressure level (SPL), which is what “excites” most other microphone types.
A recent development in microphone technology, the USB microphone contains all the elements of a traditional microphone: capsule, diaphragm, etc. Where it differs from other microphones is its inclusion of two additional circuits: an onboard preamp and an analogue-to-digital (A/D) converter.
The preamp makes it unnecessary for the USB microphone to be connected to a mixer or external mic preamp. The A/D converter changes the mic’s output from analogue (voltage) to digital (data), so it can be plugged directly into a computer and read by recording software. That makes mobile digital recording as easy as plugging in the mic, launching your DAW software, and hitting record!
Though they are electronically similar to wired microphones, wireless microphones include a transmitter to allow a greater range of movement. A battery-powered transmitter in the microphone’s body transmits the mic’s signal to a receiver unit that is connected to a mixer or PA system.
The signal is transmitted using radio frequencies. The most common wireless microphone use digital, UHF, or VHF frequencies. Affordable wireless microphone systems that deliver excellent sound and bang for the buck typically use the UHF band. The best system uses digital technology that optimises audio quality while also eliminating noise and signal dropouts that can be an issue with low-quality systems.
Interference generated by devices such as radios, wireless phones, garage-door openers, and even fluorescent light fixtures are detected and eliminated by such digital circuitry.
Another way better-quality wireless microphone deal with reception problems is through diversity technology. Receivers that have what is referred to as true diversity contain two separate radio modules, each connected to its antenna. When interference is detected, a circuit compares the signal received by each module/antenna and uses whichever one is cleanest.
It’s important to note that receiver microphone frequencies must match. This is not an issue when you purchase a full system since the manufacturer has matched the frequencies. But if you are buying microphone and receiver separately, be sure they operate on the same bandwidths.
Wireless vocal microphone come in several formats including hand-held models, clip-on lavalier mics, and head-worn mics that have a headband. Some manufacturers also produce plug-in transmitters with which you can convert a standard wired mic to wireless operation.
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The Determining Factor (Most Crucial)
Now this the most crucial part in this complete buying guide for the microphone. We need to understand the factors affecting the frequency response in a microphone.
Frequency response is the most significant determinant of a microphone’s characteristic sound. It is a function of many variables both inside and outside the microphone itself.
The following factors influence the frequency response of a microphone:
1. The Weight Of The Diaphragm
The weight of the microphone diaphragm is a limiting factor on the high-frequency response.
The inertia of a heavy diaphragm makes it less sensitive to smaller wavelengths of sound (higher frequencies). For this reason, the relatively heavy moving-coil diaphragms have more inadequate high-frequency sensitivity than their lighter condenser and ribbon counterparts
2. The Size Of The Diaphragm
The diameter of a circular diaphragm plays a significant role in determining its microphone’s high-frequency response.
If a sound wave has a wavelength equal to the diameter of a diaphragm, it will apply equal amounts of both positive and negative pressure, effectively cancelling itself out.
Sound waves shorter than this wavelength get quite “phase,” especially when both sides of the diaphragm are exposed to external sound pressure. This further reduces the clarity of the high-frequency response.
The shorter the wavelength, the higher the frequency, and so smaller diaphragms are physically able to reproduce higher frequencies than large diaphragms.
3. The Shape Of The Diaphragm
The shape of the diaphragm is one factor in the resonant frequencies of the microphone.
Conventional moving-coil and condenser diaphragms are circular and therefore are susceptible to resonant frequencies.
A wavelength having exactly twice the length of the diaphragm diameter causes a sort of standing wave on the diaphragm, where the nature of the diaphragm shape slightly accentuates this wavelength’s frequency. Integer multiples of the wavelength behave interestingly on the diaphragm, causing either self-cancellation or resonant standing waves.
The ribbon microphone is different. Their long, corrugated ribbon diaphragms typically do not have strong resonant frequencies due to their irregular shape!
Moving-coil diaphragms often have leaf slots and indents where the coil attaches. This irregular shape also affects the microphone’s frequency response.
4. The Tension Of The Diaphragm
The tension of a diaphragm affects the inertia of the membrane and the frequency response of the microphone.
The tighter a microphone diaphragm, the higher its resonance frequency due to tension. Just don’t hit microphone diaphragms with drumsticks!
In small diaphragm condenser microphones, this tension may cause resonance way above the audible range of human hearing.
Large-diaphragm condensers will usually have a high-frequency boost due to diaphragm tension.
Ribbon diaphragms are often loose enough for their resonant frequency (due to tension) to be in the sub-bass region or even below the audible range of human hearing.
5. The Damping Material And Space Around The Capsule
Microphone typically has protective grilles around their capsules. Within the grille and around the capsule there is often dampening acoustic foam. There is a space between the grille, foam, and capsule.
The damping material dampens help protect the capsule from plosives while damping higher frequencies.
The space within the microphone has the potential to promote short standing waves.
Although minor and complicated, these seemingly small factors are all serious parts of microphone design and frequency response.
Generally speaking, diaphragms are damped at −6 dB per octave to produce a natural-sounding frequency response.
6. Directionality Of The Capsule
Yes, even the directionality of a microphone affects its frequency response. This is particularly true when moving off-axis from directional microphones.
In a directional microphone, the capsule is designed keeping in mind specific “path” that sound must travel to get from the front of the diaphragm to the back of the diaphragm. This distance affects the high-frequency roll-off of microphones.
The frequency roll-off starts at a peak point. At a frequency with a wavelength twice that of the path length from front to back of the diaphragm. At this frequency, there is a maximal pressure difference between the two sides of the membrane, causing a peak in frequency response.
Note that microphones are more directional at high frequencies and become increasingly Omnidirectional at low rates.
Therefore, the off-axis frequency response of a directional microphone will have relatively fewer highs and more lows compared to the on-axis response. As we move the sound source further off-axis, the microphone becomes worse at reproducing high frequencies.
7. Resonant Frequencies Of The Microphone Body
All physical objects have resonant frequencies (think tuning forks). Microphones are no different.
Quality microphone bodies are designed with this in mind, and special care is taken to minimise the presence of resonant frequencies. But the fact remains that these resonant frequencies of the microphone body will affect the frequency response.
8. Distance Between The Sound Source The Microphone
Sound source distance plays a role in the frequency response of directional microphones. Specifically on the low-end ones. This is due to the proximity effect (now this is the science stuff, which we would not delve into!! Better option is to Google it out)
The critical thing to remember is that the closer the sound source is to a microphone, the more low frequencies the microphone will reproduce.
9. The Frequency Response Of The Human Ear
What? Our ears?? Really?? At least this was my reaction when I first learnt about it.
The outer limits of human hearing, are 20 Hz on the low end, and 20,000 Hz on the high end.
We’ve evolved to have sensitivity between 2,000 Hz and 5,000 Hz. This is a range of speech intelligibility in the human voice
As we get lower on the spectrum, heading toward 20 Hz, we become less and less sensitive to sound pressure level (SPL).
We feel these sub-bass frequencies (20 Hz – 60 Hz) frequencies more than we hear them.
On the higher end of the spectrum, we slowly lose sensitivity as we get older and repeatedly damage our hearing.
For example, from spending so much time playing music in loud bands and attending loud shows, I have a hard time hearing anything above 16,500 Hz… Protect your ears!
To better understand the complicated frequency response of human hearing, check out the Fletcher-Munson curves:
The above curves show us, generally speaking, the relative frequency-specific sensitivities of human hearing.
On the above graph, you’ll find several lines related to different phon values.
A phon is a level of perceived loudness. You’ll see that the lower the “phon” line, the less sound pressure level is needed for us to hear a frequency.
- 0 phon is the threshold of hearing.
- 120 phon is the threshold of pain.
At the low-end (20 Hz), we see that it would make an excellent sound pressure level for us to hear a sound. However, at a frequency of 4 kHz, we are very sensitive to sound pressure variations.
1. Snowball iCE USB Microphone from Blue
Best microphone for recording YouTube videos. It is a Cardioid Condenser Capsule type of microphone.
This microphone from Blue stands out and even at this price range. It is a very affordable option from a company known for its high-quality pro-level mics. Seeing as that’s one of the most popular styles of mic pattern for recording vocals, plenty of users will see the value in saving a little money by choosing this fixed-pattern condenser.
Available in black or white, and measuring 12.7 inches in circumference (a roughly 4.2-inch diameter), the orb-shaped Snowball has a plastic cover that exposes metallic grille at the front of the microphone, where the Blue logo is, and also on the opposite end.
A status LED is located at the top front face—it lights up when the included USB cable is connected to both the mic and a recording source. Internally, the Snowball Ice employs a pressure gradient-style condenser with a cardioid pattern.
Despite being completely spherical, there’s still threading on the base to accept a standard microphone mount. The Snowball includes a desktop microphone stand of its own, and it’s surprisingly well-built and even has adjustable height.
Three sturdy legs fold out from the base to keep it steady on any hard, flat surface. There are even Snowball-specific shock mounts available.
The microphone screws into this tripod mount, and once it’s securely in place, it can be angled upward or downward. That said, we found the angle to be slightly less extreme than we’d prefer for the mic’s diaphragm to correctly line up with the speaker’s mouth.
If the desktop stand were a little taller, this wouldn’t be an issue. As is, the microphone is pointed more at the upper torso/neck area.
While this can be useful for controlling plosives with an unruly vocalist, those that do have reliable mic technique will need to crouch down, most likely, to line their mouths up with the diaphragm. The farther the speaker is from the mic, the less of an issue. This is, but if you’re looking for a relatively close sound, this is a minor annoyance.
That said, you can simply opt to use your microphone stand, and the pivot action (which is built into the microphone itself, not the position) will still be available.
The Snowball is an extremely sturdy and stylish multipattern microphone that plugs directly into your computer’s USB port with a minimum of fuss.
Beyond USB, the Snowball offers no other audio outputs or inputs, the recording mode switch isn’t intuitively labelled, and no recording software is included. But At this price, you’ll have a hard time finding a better-sounding, better-looking, or more easy-to-use microphone for your computer.
2. Blue’s Snowball USB Microphone
Podcasting? You’ve three options.
Option one: record with your laptop’s built-in microphone. It will sound, frankly, like a duck trying to enact Beyonce!!
Option two: mortgage your house, buy a mixer, a few microphones, mic stands, cables, preamps and a fancy new sound card. Top-quality it may be, but this solution will leave you entirely destitute.
Option 3 is Blue’s Snowball USB Microphone
Ok, now this is the exciting part, when I first came to know of this microphone, my first question was how is it different from Snowball iCE USB Microphone which is also from Blue. There is only one difference: the blue Snowball (not ICE) has two microphone capsules.
So what does it mean? Well, it allows you to switch polar patterns from a cardioids polar pattern (which enables you to pick up audio-only in front of it, read our buying guide above) to an Omnidirectional setting (which allows you to speak audio from 360 degrees). The Blue’s snowball ICE microphone does not have this ability and hence is fixed at cardioids polar patterns.
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Now let us talk about design and specs:
The microphone can be tilted 30 to 40 degrees while on the stand, as there is a ball joint on the microphone. At the back, there is a USB provision and a three-way switch. You can slide between cardioids (setting one) then cardioids (setting two) with a 10-decibel pad which decreases the volume by 10 decibels finally you have omnidirectional (as setting 3).
The frequency response of this microphone is 40 Hz to 18 kHz. But as you hear coming up the different polar pattern that you set this on will severely affect the actual EQ that you are getting.
Now our verdict: The two different microphone capsules in this mic have two different tones and sound. The cardioids polar pattern is much more natural and quite better. When you switch to the omnidirectional setting, it is quite hollow, quite unnatural. We do not recommend an omnidirectional environment when using it on a computer.
- Transducer Type: Condenser, Pressure Gradient With USB digital output
- Polar Patterns: Cardioid or Omnidirectional
- Frequency Response: Position 1-3: 40 –18 kHz
- Sample/word Rate: 44.1 kHz/16 bit
- Weight: 460g
- Dimensions: 325mm (circumference)
- Windows 7, 8, 10
- USB 1.1/2.0 (or newer)
- 64MB RAM (or better)
- Mac OSX (10.4.11 or higher)
- USB 1.1/2.0
- 64 MB RAM (minimum)
3. Rode NT-USB USB Condenser Microphone
Rode NT-USB microphone is one of the best USB mics that beats anything in the under its price range. One of the best microphone for YouTube in India. It brings exceptional for USB quality without the need for individual drivers or any additional 3rd party equipment. Neither is it overly expensive as it offers a stable and durable build, not skimping on quality components.
One of the customers had to say this about this microphone:
This is genuinely the best microphone. The sound clarity of the device is fantastic. Make sure you are sitting in a hushed room because I am on 12th floor and yet it can pick up the noise of moving trucks/horns of vehicles etc. even if the window is slightly open.
If you are into professional recording stuff, then look no further. Invest in quality gears rather than saving few on cheap microphones
It points to the fact that this is indeed the best microphone in the market till date.
Let us talk about its design
The design is well thought out and provides for a handy headphone monitor and a pair of robust controls. It also comes with a well-fitted pop shield and a decent mount, for no additional cost and longest cable in the USB mic history, the length of the cable is 20 feet or 6 meters! No doubt it is going to be an excellent investment in the wrong run.
The body of the NT-USB features a zero-latency stereo headphone monitoring (3.5 millimetres) jack, which allows you to monitor the microphone input in real-time, along with dials to adjust the monitoring level and mix between the computer/iPad audio and the microphone input.
A premium pop-filter is included, which fits onto the base of the mic, positioning the filter the ideal distance from the capsule to minimise plosives (hard ‘B’, ‘T’ or ‘P’ sounds that produce a harsh sound) during singing or speech.
On the microphone, there is a headphone jack for monitoring your audio, if you want to monitor it right off the microphone in the real-time. You also have a mix volume knob for monitoring. Overall it is an excellent built which is quite durable. The feel of the microphone is excellent too.
Sound & quality
Rode NT-USB microphone delivers quite a superb sound, thanks to a quality cardioid capsule set in a standard studio fashion, only except the mic provides USB interface. It sounds very natural, clear and transparent, and does not suffer from those common effects such as popping and sibilance.
The proximity effect is negligible, and it works from many angles – so forget about ‘rain dancing’ with positioning. One thing we’ve noticed is that this microphone is also less susceptible to vibration noise, even with the stock tripod.
For best results, you may consider getting an additional suspension kit and shock mount, but I’ll repeat those are highly optional since that tripod thing works far better than expected.
The capsule has an extended frequency response that works well above 10 kHz, so it’s very crispy. Moreover, the frontal side is sensitive enough to capture sounds even at the threshold of hearing.
The softest whisper comes out very clean, but so does the loud singing! Excellent dynamic range… Perfect for any vocals, and gives a professional sound to your recordings. And, because it has a balanced response, it just works well out of the box without needing any post-EQ.
Overall, this mic simply rock, it is relatively cheap, but it beats the crap out of the competitors’ models any time. Rode NT-USB is unarguably the best microphone of choice for this price range.
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Once you have it side by side with other computer mics, you will realise this. A model with no disadvantages, easy to use and most importantly, high-quality sound
- Acoustic Principle: Pressure Gradient
- Active Electronics: JFET impedance converter with the bipolar output buffer, A/D converter 16bit 48kHz
- Capsule: 0.50″
- Polar Pattern: Cardioid
- Resolution: 16-bit
- Address Type: Side
- Frequency Range: 20Hz – 20kHz
- Maximum SPL: 110dB SPL (@ 1kHz, 1% THD into 1KΩ load)
- Power Options: USB bus-powered
- Weight: 520gm
- Dimensions: 184mmH x 62mmW x 50mmD
- Output: USB
4. Rode NT1A Anniversary Vocal Condenser Microphone
You can use this microphone for practically anything. The small bump in the highs brings out the best in vocals and lets you track dreadnaught guitars, without worrying about runaway low end or losing pick attack.
It’s super quiet too, which means I get enough dynamic range for anything from drums to upright bass. Some of the features of this microphone are:
- This mic comes with a large 1-inch capsule and a gold- plated diaphragm.
- It has a cardioid polar pattern.
- Self-noise of only 5dB (A).
- Ultra-low noise, transformerless surface mount circuitry.
- It has gold-plated output contacts.
- Externally biased condenser.
- Wide dynamic range.
- The NT1A comes with an acoustic principle that is pressure gradient.
- The frequency range is anywhere between 20Hz – 20kHz.
One of the customers had to say this about this microphone:
A very smooth product and doesn’t let room noise in too much, And blazing fast delivery also! Good for rap and VO, or anywhere with smooth vocals! However, it’s not suited if you want to sing Indian since you need a mic More sensitive (I didn’t buy a sensitive mic because my room isn’t treated acoustically ) this is perfect enough for me!
It sounds clear, upfront, natural and sounds just like what you put it in front of it. This one seems most natural to me, and when you get at this price range, you would be pleasantly surprised.
This microphone model includes a premium shock mount with integrated pop filter, high-quality 6m (20′) XLR cable, microphone dust cover and even a bonus instructional DVD.
The NT1A is an industry-standard providing the warmth, extended dynamic range, clarity and high SPL capability usually only found with some of the most expensive microphones. Finished in durable satin nickel, the NT1A is supplied with a shock mount, pop filter, mic cable and pouch.
- High price; one of the more affordable entry-level condenser microphones complete with a shock mount, pop filter, and cables
- Bright recordings; this presence bump makes it an excellent microphone for acoustic guitars
- Neutral response and doesn’t add much colour which makes recordings easy to EQ
- Also, an excellent microphone for vocals as the brightness can make your vocals stand out
- Not a USB microphone — needs an audio interface with preamps to work
- Could potentially be too bright of a microphone for people with high pitched or extremely bassy voices
- Presence bump could make vocal recordings too sibilant
5. MXL Mics 770 Condenser Cardioid Microphone
The MXL 770 Cardioid Condenser Microphone is from the company MXL Mics.
Some of the features of this microphone are:
- It is a pressure gradient condenser microphone
- Has a cardioid polar pattern
- Its capsule size is 22mm/.87 in. and has a 6-micron gold-sputtered diaphragm
- Has a frequency range of 30 Hz – 20 kHz
- Max SPL 137 dB and S/N ration of 74 dB
- 6 dB/octave @ 150Hz high pass filter
- 20 dB equivalent noise and 150 ohms output impedance
- This mic is wired with Mogami cable
- Capsule Size: 22mm/.87 in.
- Comes with an MXL 70 high-isolation shock mount and a rugged storage case for portability
- 48V phantom power requirement (not included)
- Elegant matte black finish and black grill
- Its dimensions are 59 mm x 158 mm/ 2.32 in. x 6.22 in. It weighs 1 lb.
The construction of this microphone is pretty solid; the body of metal, the grille is of metal in short all in all, it is metal!
On the back you have two switches, one is a base roll-off, which allows you to decrease the base frequency picked up by the microphone, which would help with overly boomy sounds. The other switch is a 10 dB pad, which reduces the signal in case your micking any loud sound sources.
The MXL 770 Cardioid Condenser Microphone is, without a doubt, a high-quality microphone. It is undoubtedly a must-have for any aspiring musicians or even professional ones.
It has a lot of great qualities that anyone would want in a microphone. If you are still not convinced, here is a list of its pros:
- Easy to use which makes it suitable for beginners
- Very clear and crisp sound
- An extremely sensitive and versatile microphone
- This microphone has a sturdy construction and is built to last
- The hard case it comes with is high quality and protects the microphone thanks to the soft foam padding inside
- great audio quality despite the price tag
Like in any other great product, the MXL 770 Cardioid Condenser Microphone has its downsides too. Although each people has their own unique experiences, it is still important to note this product’s not such great qualities. Below is a list of its cons:
- A tendency or air is getting into the diaphragm which can cause moisture and unwanted wind sounds
- The manual that comes with the microphone is not that detailed
- The quality of the shock mount is subpar
- It can capture background noises so you may need to have some sort of way to block noises in your room or studio
- Does not come with an XLR cable and does not work with standard XLR cables. Need a good quality XLR cable which could be costly.
- You would also need to use an audio interface.
6. Blue Microphones Yeti USB Microphone
A best USB microphone must have two qualities: Sound tremendous and have quick and easy setup. For years, Blue’s Yeti microphone has been branded as the best microphone by many bloggers and review sites/podcasters/You Tubers and many across the world. No wonder why it is always in the list of the top microphone in India.
I will show you why it is still the Sachin Tendulkar of the world of microphone, the Roger Federer of our hearts ( I will rest my case now!). When you open the box, you will notice it is not a piece of small equipment. It is sturdy which is made of metal and stands almost a foot tall and weighs slightly less than 500 gm.
Comes with a USB cable and is compatible with Mac and PC. No drivers and software required. This microphone already has internal preamps and analog to digital converter, which makes USB microphones pretty simple in design.
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It takes the incoming signal and amplifies it and converts to a digital signal and feeds into your computer. Therefore, you do not need anything with it. It does the entire job by itself.
This microphone is quite simple with just enough pro features, with excellent sound ability. You get a mute button, which is solid red when the mic is powered on and connected to your computer. It flash red when the mute is enabled.
Under this mute button, there is a headphone volume knob. And when you look right under this microphone, you will notice, a headphone jack that will allow latency-free monitoring of your microphone, so you can make sure your recording level is just fine. Now you can also use this jack to monitor your computer audio. There is a dedicated amp and convertor which is inbuilt into the Yeti. There is also a standard USB port.
The mesh top has three condenser microphone capsule, which makes this microphone extremely capable. On the back of the microphone, there is a gain control knob; you can adjust the sensitivity of the microphone with this knob.
Below, the gain knob, there is a pattern selector. You can choose from cardioids, stereo mode, omnidirectional mode and then finally bidirectional.
Essentially this microphone is ideal for:
- Voice recording
- Video (YouTube live stream, Google hangout, FB Live etc.)
- Instrument recording
Pros (besides all the point discussed above):
-The provided mount is reliable and will not tip over.
-The gain range is massive, and the different pickup modes allow for great versatility.
-A cheap pop filter designed to fit around a round portion of a Microphone will happily clamp onto the side of the sturdy Blue Yeti frame.
-Having a mute button is very handy when you need to mute the microphone
-This is not an easy microphone to set up, the instructions that come with it aren’t great, and out of the box it will be too sensitive and pick up absolutely every little noise in the room. (Tip, set it to Cardioid mode and turn the gain (both on the mic itself and the one on the sound page on your PC) right down).
-Don’t attempt to angle the microphone. It is designed to be used upright and will pick up lots of background noise if you move it (like the quiet hum of your PC, this is not an issue when it is upright)
7. Fifine K669B Condenser USB Microphone
This microphone comes with a small box and has a USB cable permanently attached to the microphone. Though it has got a different model which has a detachable USB cable. This cable is approx 2 meters in length.
It is a cardioids microphone, so this means you can speak directly into it. This is a pretty solid but yet sleek design. Quite heavy. It also a volume control knob right in front of it.
Some of its features are:
- Smooth, flat frequency response of 50Hz-15kHz, 16 mm diaphragm catching transients and high-frequency content while delivering a slightly fuller, round and potentially warmer sound.
- A large-diaphragm condenser mic that combines quality sound capture with the ease of plug-and-play USB connectivity, no drivers required and no need for an external sound card.
- Comes equipped with a 3.5mm headphone jack that allows you to listen to what you’re recording in real-time without latency delays. Microphone with volume control allows easy input level adjustment.
- Features a low-profile design and detachable metal construction desktop stand that ensure flexibility and portability. Easy to assemble with three removable stand tube heighten from 1.97″ to 4.65″.
- Thick, heavy base plate, can be moved around without falling over on other equipment. Good for podcasting, gaming, voiceover work, and streaming games on Twitch.
- High-Speed USB Cable lengths up to 6.56′ with no loss! Double shielding USB cable reduces interference—meticulously crafted connections to ensure high-speed data communications.
At this price, I think the performance is worth it. So cons here!!
8. Audio-Technica AT2020 Cardioid Condenser Microphone
Design and Features
To start with, this isn’t a USB microphone. It requires an XLR cable, which isn’t included with the unit. This microphone comes with a small leather carrying pouch, similar to a pencil case, a microphone stand adapter, and that’s it.
This microphone has a straightforward design and feature set. There’s no pads or filters, and it ships only with a pouch and a pivoting, threaded stand mount. Most users will probably want to pick up a shock mount to replace the included stand mount.
There aren’t any cables, a stand, or anything extra aside from the bare essentials. That’s a problem if you’re looking to dive right into streaming and podcasting, but please do not forget why this microphone is so damn affordable!!
The polar pattern is a fixed cardioid, and there are no switches for pads or filters. Slightly smaller than Audio-Technica’s other side-entry vocal mics, the casing contains a 16mm-diameter back-electret capsule, which is slightly smaller than the usual one-inch-diameter capsules adopted by most microphone designs of this type
It also requires extra equipment to operate, which is where a few headaches arise. This microphone uses an XLR cable and requires 48v of phantom power. You’ll need a mixing board at the very least, or a dedicated voice recorded that accepts XLR input. It’s much more complicated than a USB mic, in case that wasn’t clear!!
The sound quality of this microphone is excellent. It does a fantastic job capturing voices and honestly would work quite well in a professional setup.
Compared to a USB mic, the sound is warmer and more precise. It’s precisely what you would expect from a studio-grade microphone. But there are diminishing returns.
A USB microphone sounds excellent for almost all non-professional applications, without all the extra setup and equipment.
The side-address condenser has a full 20Hz-20kHz frequency response, which puts it on par with an average large-diaphragm condenser.
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The microphone has a reasonably flat response, although it does have a dip in the low end at around 70Hz and a slight presence peak between 5kHz and 15kHz. The microphone has a full, warm sound that provides a presence without harshness.
This makes it suitable for both male and female vocals, as well as acoustic instruments.
This microphone will give you great sounding recordings, with the flexibility of adjustment that comes with using an analog mixer. Still, you also need to understand the functions of a whole other piece of recording equipment.
This microphone has a maximum SPL rating of 144 dB, which means it should easily handle most sources.
This microphone has a higher SPL rating of 148dB and also has a pad which can be engaged for another 10dB. The AT2020 has a dynamic range of 124 dB, 1 kHz at Max SPL. It has a signal to noise ratio of 74 dB, 1 kHz at 1 Pa and a self-noise of 20 dB SPL.
9. Rode VMPRPLUS Compact Directional On-Camera Microphone
This microphone is quite bulky, but when we used it while moving around a lot, it proved to be not much of an issue. The suspension is pretty neat, it is kind of plastic suspension which takes a lot of shocks, and it results in clean audio.
The next discussion is controlled, which is all digital, and additionally, it has auto on and off (which is a blessing). So when you forget to turn it off, it happens on its own. It uses a lithium-ion battery which runs for almost 100 hours of shoot time. You can use two double-A batteries as a backup.
Next is detachable cable, it gives versatility and flexibility while you shoot!!
Now let us talk about control:
On the left side, you have a high pass filter, and you could do 75 Hz or 150 Hz. On the right side, you have a decibel gain or reduction. You could go plus 20 decibels or minus 10. You will be surprised by the two additional features.
One is if you press the Db button and the high pass button, you can practically turn into a high-frequency boost mode. So as per the company, this should make audio crispier, if you need to hear the vocals but also that could be a better setting.
Then there is a safety track mode, so if you hit the power button and the DB button, it kind of lights up this middle green bar. So what does it do?? This will give you one of your, out of your right and left tracks, one of the tracks will be minus 10 Db. So it would be great maybe in an interview situation where there’s two people, one who speaks louder and the other one who is quieter.
Therefore, you do not destroy your audio and max out with the only person. You can always go back to the safety track in editing and mono that out. Or if you also again just want more versatility if you had multiple people sitting down for a shoot and you do not wish to always to reset your shots.
Hence, you did not always want to reset your shots, having that safety track, if audio needs to be critical for you. It saves your video by having excellent sound.
This is all the information from our end. The blog on the best singing microphone in India has been written keeping in mind the microphone not just for singing but also for purposes like Vlogging, YouTubing, Interviewing and likes.
If you think there is some correction that is required in this blog for the microphone in India, do advise us, we would be more than happy to help.