# Best Mic for Vocals? Here's one you may not have considered



## 1SweetRide (Oct 25, 2016)

Saw a few threads lately around microphones for singing. Wanted to add my two cents worth. I have a good ear for vocals but not the best singing voice so keep that in mind 

What I've tried over the last many years:

SM58
Various SM58 clones
ART C3
Sterling SP50 & SP30
Neat Worker Bee v1
Aston Spirit
Lewitt LCT 440 Pure
What I look for in a mic is low self-noise, useable proximity effect, not too heavy, good feedback rejection, not needing too much EQing on the board and a colour that helps me sound richer without having to expend a lot of physical effort.

The best mic I've owned that meets or exceeds the above criteria is one that I don't think is on our radar. It's the Lewitt LCT 440. This is a slim, lightweight mic, for a reasonable amount of money and comes with the best anti-shock stand I've used. It also comes with a windsock and a plosive screen that attaches magnetically.










As far as the other mics are concerned here's my ranking and quick thoughts:


Lewitt LCT 440 Pure (EQing out feedback could be a challenge in a live environments). In my studio, I had to use the Feedback eliminator, in our live studio I didn't. Great sounding mic in both locations
Neat Worker Bee v1 (very warm tone, excellent feedback rejection). Sounds great live, really good. Also sounds good in the studio. No feedback problems live or in the studio.
Shure SM 58 (best all around, tough mic that sounds good too). Use this one strictly live.
ART C3 (really decent vocal mic with a good midrange and no feedback issues). Only used in the studio but I know it would sound very good in a live mix.
Sterling SP50 & SP30 (decent sound). These are backup mics for amps and vocals. Don't use them as much as the ones above.
Aston Spirit (very pure sound, no colouration, I found I could not get rid of feedback and the tone wasn't warm, good for screaming metal I think). Didn't try it live. Very heavy and large.
SM58 clones (junk, every single one of them). Only ever tried them in the studio. They went into the bin at Salvation Army. They all sounded weak and nasally.
I hope this helps someone.


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## Chito (Feb 17, 2006)

Interesting list of mics.  I've not seen or used any of those except for the sm58. I prefer using supercardioid mics though, less worrisome with the feedback. Angie uses a Neuman KMS105 and I use a Sennheiser e865. Both condensers and both super cardioid.


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## Milkman (Feb 2, 2006)

I like a 57 for vocals.

only for those who know how to use one, LOL


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## 1SweetRide (Oct 25, 2016)

Milkman said:


> I like a 57 for vocals.
> 
> only for those who know how to use one, LOL


You are an organic amp so I get that


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## 1SweetRide (Oct 25, 2016)

Chito said:


> Interesting list of mics.  I've not seen or used any of those except for the sm58. I prefer using supercardioid mics though, less worrisome with the feedback. Angie uses a Neuman KMS105 and I use a Sennheiser e865. Both condensers and both super cardioid.


I used these with great success for getting rid of feedback.


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## Grab n Go (May 1, 2013)

Good to know about the Lewitt. I haven't looked at mics in a long time.

Most of the time, I'll use my Studio Projects C1 for vocals. I know it's a cheap-ass mic, but I get what I need from it, without any fuss.

I use a bunch of CAD 195's for a live set up on a weekly basis. They're rugged, hand-held condensers that sound pretty darn good.


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## Chito (Feb 17, 2006)

1SweetRide said:


> I used these with great success for getting rid of feedback.
> 
> View attachment 449945


Looks interesting. Doesn't it impact the sound quality of the voice. I'm not talking about myself LOL But for instance for Angie.


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## 1SweetRide (Oct 25, 2016)

Chito said:


> Looks interesting. Doesn't it impact the sound quality of the voice. I'm not talking about myself LOL But for instance for Angie.


Nope. it's completely transparent and fully automatic. Divides the frequencies it monitors into 1/60 octaves so you shouldn't hear any difference.


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## bw66 (Dec 17, 2009)

Live and recording are two very different animals. I have much more experience with live than recording.

For live, I prefer almost anything to an SM58. My favourites of the ones I own and have tried are The Shure 55SH and Sennheiser e935 but now I am tempted to try a large diaphragm condenser. Unlike @Chito , I prefer a cardioid to a super-cardioid, but I am rarely performing in a situation where feedback is going to be a concern. I find that a cardioid pattern gives me more room to move around and is more forgiving as I "work the mic". I also don't love a lot of proximity effect.

For recording, I have used an Art C1, a Blue Yeti, and an Aston Origin - I think that the Origin is my favourite, but haven't done enough recording to be sure. I also have an Apex 787 ribbon mic which I have not tried on vocals yet, but I suspect it will be a contender.

For me, mics are like guitars - a good "player" can make anything sound decent. Too many vocalists don't spend enough time with their "instrument".


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## Mooh (Mar 7, 2007)

For live I use a Sennheiser e865. It's never let me down. In the home studio I generally don't do many vocals so the Blue Yeti suffices.


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## Milkman (Feb 2, 2006)

bw66 said:


> Live and recording are two very different animals. I have much more experience with live than recording.
> 
> For live, I prefer almost anything to an SM58. My favourites of the ones I own and have tried are The Shure 55SH and Sennheiser e935 but now I am tempted to try a large diaphragm condenser. Unlike @Chito , I prefer a cardioid to a super-cardioid, but I am rarely performing in a situation where feedback is going to be a concern. I find that a cardioid pattern gives me more room to move around and is more forgiving as I "work the mic". I also don't love a lot of proximity effect.
> 
> ...


Although my impression of the mighty SM 58 is exactly the opposite of yours, I agree wholeheartedly with this:

“For me, mics are like guitars - a good "player" can make anything sound decent. Too many vocalists don't spend enough time with their "instrument".

I like playing the mic, and a 57 allows me to do that the way I like.

As a sound man, I think Sennheisers are best for instrument mic’ing.


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## 1SweetRide (Oct 25, 2016)

bw66 said:


> Live and recording are two very different animals. I have much more experience with live than recording.
> 
> For live, I prefer almost anything to an SM58. My favourites of the ones I own and have tried are The Shure 55SH and Sennheiser e935 but now I am tempted to try a large diaphragm condenser. Unlike @Chito , I prefer a cardioid to a super-cardioid, but I am rarely performing in a situation where feedback is going to be a concern. I find that a cardioid pattern gives me more room to move around and is more forgiving as I "work the mic". I also don't love a lot of proximity effect.
> 
> ...


Interesting. I'm going to start using the Neat Worker Bee for our live events. Pretty sure it's a cardioid. Like you, I prefer the large diaphragm now.


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## DaddyDog (Apr 21, 2017)

Terrific thread @1SweetRide You didn't mention live vs studio. Although your comments on feedback help.

I don't have much experience to share, but here goes:

Sure I've used the SM58 for live band vocals. But I have landed a couple of $300+ Audix OM7 mics for about $100 each. I now use them. Have never had feedback issues. I like their presence. I feel like I can hear myself through PA, and it's crystal clear.

We have a Shure SM7B at home. I find it's EQ to be very flat. Kind of lifeless. I don't like to use it, but it looks cool.

I once rented a Neumann TLM103 from L&M. It was fun, looked cool, worked as advertised, but I found I could get the same results with a CloudLifter on other mics. So for over $1500, it wasn't worth it to me.


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## 1SweetRide (Oct 25, 2016)

DaddyDog said:


> Terrific tread @1SweetRide You didn't mention live vs studio. Although your comments on feedback help.
> 
> I don't have much experience to share, but here goes:
> 
> ...


Thanks for the response. And, I'll go modify my comments too.


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## Delores Streisand (Nov 4, 2018)

No offence, but I’m 100% certain that the Lewitt LCT 440 Pure is not “the best mic for vocals”. I once recorded in a studio that had a very well maintained vintage Telefunken ELA M 251E with a 6072a tube That was the closest thing I ever heard to “the best mic for vocals”.


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## Ti-Ron (Mar 21, 2007)

I have the Lewitt LCT 440 Pure since last winter. Used it on my (really bassy) voice, my wife voice for her podcast and for recording guitar.
I really like it, it's easy to get a clear, defined sound out of it. Keep in mind, I'm not recording engeneer just a hobbyist with average recording knowledges.

The most usage I got out of it, it's with my wife podcast, the mic sounds WAY better than the AT2020 the other girls are using. No shame on the AT2020, it's a great mic, the difference is just really noticeable.

I really like the magnetic screen and the shape of the mic. For recording guitar cab the shape is a must.

Here's is a great video about the Lewitt:


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## Milkman (Feb 2, 2006)

When someone starts pulling on the mic cord attached to your 58, you can beat them senseless with it and still finish the set.,


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## Powdered Toast Man (Apr 6, 2006)

I like the Beta 58A for live vocals.

I just bought a used SE Electronics SE5500 last night. Will report after some actual recording use.


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## Ti-Ron (Mar 21, 2007)

Anyone knows what is the attachement Lewitt is using on their promo photo to hold the mic?


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## 1SweetRide (Oct 25, 2016)

Delores Streisand said:


> No offence, but I’m 100% certain that the Lewitt LCT 440 Pure is not “the best mic for vocals”. I once recorded in a studio that had a very well maintained vintage Telefunken ELA M 251E with a 6072a tube That was the closest thing I ever heard to “the best mic for vocals”.


I should have said “amongst the ones I tried”.


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## Delores Streisand (Nov 4, 2018)

Powdered Toast Man said:


> I like the Beta 58A for live vocals.


I’ve never met a soundman who prefers a 58A over a 58 for live vocals. I have heard many an “Aw, fuck!” when a mic box full of 58A’s was opened. Fortunately it doesn’t happen very often.


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## 1SweetRide (Oct 25, 2016)

Ti-Ron said:


> Anyone knows what is the attachement Lewitt is using on their promo photo to hold the mic?
> 
> View attachment 450036


Nope. Looks 3rd party. I don’t think I’d want the mic that far from the base. Would be quite tilty.


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## 1SweetRide (Oct 25, 2016)

This is tempting me


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## Moosehead (Jan 6, 2011)

I have a wireless beta58 I use for weddings and it's a great mic. Used it jamming a few times and it sounded good. 
The 57 I was not a fan of for vocals. 

I've used Audix Om2 and Om5 for live performance and they were great. Om5 had a tight pattern so if you drifted away too much from the mic (like I do) your vocals disappeared. Good feedback rejection on them.


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## Powdered Toast Man (Apr 6, 2006)

Delores Streisand said:


> I’ve never met a soundman who prefers a 58A over a 58 for live vocals. I have heard many an “Aw, fuck!” when a mic box full of 58A’s was opened. Fortunately it doesn’t happen very often.


Depends on the singer. I find it gives more presence to vocalists that don't project as well.


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## bw66 (Dec 17, 2009)

Delores Streisand said:


> I’ve never met a soundman who prefers a 58A over a 58 for live vocals. I have heard many an “Aw, fuck!” when a mic box full of 58A’s was opened. Fortunately it doesn’t happen very often.


I am a sound tech who would take a Beta 58A over an SM58. Among the artists that I have done sound for, more bring a Beta 58A than any other mic. The Beta 87 is probably next most popular.


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## bw66 (Dec 17, 2009)

1SweetRide said:


> This is tempting me
> 
> View attachment 450069


Before you buy, try a head-to-head with the 55SH. The 55SH is cheaper and I prefer it because it has a better internal pop filter, a wider cardioid pattern, and seems to suit my voice better. The Super 55 is definitely better at rejecting feedback (pretty sure it has the same capsule as a Beta 58A) and it doesn't have the annoying switch.

Either way, you can't beat those mics for style.


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## Chito (Feb 17, 2006)

bw66 said:


> Before you buy, try a head-to-head with the 55SH. The 55SH is cheaper and I prefer it because it has a better internal pop filter, a wider cardioid pattern, and seems to suit my voice better. The Super 55 is definitely better at rejecting feedback (pretty sure it has the same capsule as a Beta 58A) and it doesn't have the annoying switch.
> 
> Either way, you can't beat those mics for style.


Agree, I have the 55SH too. Differences are the SH is super cardioid while the Super is Cardioid, the SH has the off/on switch.


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## Delores Streisand (Nov 4, 2018)

bw66 said:


> I am a sound tech who would take a Beta 58A over an SM58. Among the artists that I have done sound for, more bring a Beta 58A than any other mic. The Beta 87 is probably next most popular.


That makes one, then.

No shit, I’ve probably read well over 1,500 tech riders in my life and I don’t think I’ve ever seen a Beta 58 requested. Must be a regional thing.


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## Midnight Rider (Apr 2, 2015)

Here's a great source on some of the all-time top vocal mics ever manufactured. I've had the opportunity to use some of these microphones over the years and as some may know once you experience all their glory there is no turning back and you will most likely be forced to buy a well engineered clone,... just ask my wife, lol.

RCA 44-BX (1932)
Neumann U 47 (1947)
Neumann M 49 and M 50 (1951)
AKG C 12 (1953)
RCA 77-DX (1954)
Telefunken Ela M 251 (1959)
Neumann U 67 (1960)
Coles 4038 (1961)
Neumann KM 84 (1966)
Neumann U 87 (1967)
AKG C 451 (1969)
AKG C414 EB (1971)

Fortunately (or not), these discontinued vintage microphones have been cloned by many “new vintage” and boutique microphone manufacturers. Oftentimes the original manufacturer will also redo an older vintage model with new technology and production tactics.
In this article, we'll get into each of the top 12 best vintage microphones, discussing their legendary status and history. We'll also discuss the best microphone clones for each of the mics that are in production today.
*What Is A Vintage Microphone And What Is A Microphone Clone?*
Before we get into the top 12 vintage mics in this article, I'd like to quickly define what vintage microphones and microphone clones actually are.
What is a vintage microphone? Vintage mics (as we call them today) do not have a hard age limit or set of characteristics, though they often have the following qualities:

Were the top-performing microphones in their time and maintain a high level of performance to this day.
Introduced over 50 years ago.
Are ribbon mics or tube condenser mics.
Have been discontinued by their manufacturer.
Sell for much more than their original retail price.
Are highly sought after in the audio industry.
Have been cloned by “new vintage” mic manufacturers.
What is a microphone clone? A microphone clone is a mic built according to the design and performance of another, more famous or vintage, microphone. Legendary vintage mics that have been discontinued are likely candidates for cloning. Similarly, the famous Shure SM57 and SM58 have countless clones on the market.


*RCA 44-BX Ribbon Microphone (1932)*








RCA 44-BX
The RCA 44-BX is the oldest vintage microphone on this list and perhaps the most legendary ribbon microphone ever produced. RCA introduced this microphone in 1932, and production ceased in 1955.
The Radio Corporation of America (RCA) was a major American electronics company founded in 1919 and closed up shop in 1986. They've engineered and produced much more than just microphones but have created 2 of the most highly regarded vintage ribbon microphones (the 44-BX and 77-DX).
The RCA 44-BX was the greatest microphone of its time and is still considered an amazing choice for voice and music. This studio broadcast microphone.
Though the RCA is known for its smooth sound, it was actually quite a versatile microphone. The microphone even came with instructions on how to change its output impedance to alter its sound by rewiring the microphone's circuitry.
The impact the RCA 44-BX microphone has had on the world is incredible. From critical broadcasts in America and around the world to cherished music records to the spin-off of industry-leading microphone manufacturers like AEA. The RCA 44-BX is a legendary vintage microphone and wins the top spot as the oldest vintage mic on this list.
*RCA 44-BX Ribbon Microphone Notable Specs*

Element: 59.7 mm long x 4.7mm wide x 1.8-micron thin corrugated aluminum ribbon suspended in alnico magnet
Polar pattern: bidirectional
Frequency response: 50 Hz – 15,000 Hz
Sensitivity rating: -55 dBm (@ 94 dB SPL, 1,000 Hz tone)
Output impedance: 30, 150, or 250 Ω (250 Ω when shipped)
Maximum sound pressure level: N/A

Related reading: I wrote an article explain all the different microphone specifications. You can read that here!
*Best RCA 44-BX Clone*

AEA R44C (link to check the price of the AEA R44C at Musician's Friend)
The AEA R44C is featured in My New Microphone's Top Best Passive Ribbon Microphones On The Market.
*Microphones Inspired By The RCA 44-BX*


The RCA 44-BX is also featured in My New Microphone's 50 Best Microphones Of All Time (With Alternate Versions & Clones).

*Neumann U 47 Tube Condenser Microphone (1947)*







Neumann U 47

The original U 47 by Georg Neumann was the first Neumann mic to be designed and manufactured after World War II (after the company had had to move from Berlin to Gefell and back to Berlin). The U 47 was also the first-ever switchable pattern condenser microphone (with both omnidirectional and cardioid options).
The U 47 is revered by many as one of the greatest vocal mics of all time. George Martin (producer of The Beatles) even wrote about the U 47 being his favourite microphone. Many others share his sentiment, and many manufacturers have attempted to recreate its legendary character.
The U47 was always manufactured by Neumann. However, because Telefunken initially distributed the microphone, many early U47s have the Telefunken logo on their body rather than the Neumann logo. It was only when Neumann took over distribution in the 1950s that the Neumann logo was on every newly made U 47 (as pictured above).
*Neumann U 47 Tube Condenser Microphone Notable Specs*

Capsule: originally Neumann's M7, later Neumann's K47/49 (1956)
Vacuum tube: Telefunken VF14 (steel-covered)
Power supply: 105 V DC
Polar patterns: omnidirectional and cardioid
Frequency response: 35 Hz – 15,000 Hz
Sensitivity rating: ~2.5 mV/dyne/cm2 (cardioid mode)
~1.4 mV/dyne/cm2 (omnidirectional mode)
Output impedance: 50 Ω or 200 Ω
Self-noise: not specified
Maximum sound pressure level: 0.8% T.H.D @ 110 dB SPL, 1 kHz tone
*Best Neumann U 47 Clones*

Telefunken U 47M (link to check the price at Sweetwater)
FLEA 47 NEXT (link to check the price at Reverb)
Peluso 22 47 (link to check the price at KMR Audio)
Wunder Audio CM7 (link to check the price at Reverb)
*Microphones Inspired By The Neumann U 47*


The original Neumann U 47 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Microphones For Recording Vocals
Neumann is also featured in the following My New Microphone articles:
• Top 11 Best Microphone Brands You Should Know And Use
• Top 11 Best Studio Monitor Brands You Should Know And Use

*Neumann M 49 And M 50 Tube Condenser Microphones (1951)*







Neumann M 49

The Neumann M 49 and M 50 are both also featured in My New Microphone's 50 Best Microphones Of All Time (With Alternate Versions & Clones).
The invention of the Neumann M 49 marked a huge step forward in multi-pattern microphone technology. Neumann's M 49 was designed with two big advantages over the U 47, which was the only other multi-pattern microphones at the time.
First, the M 49 maintains polarization to both diaphragms when the microphone is on, unlike its U 47 predecessor that completely disconnected the rear diaphragm in cardioid mode. This small change makes the M 49's sensitivity fairly consistent across its three polar pattern options, especially when compared to the 5 dB drop between the U 47's omnidirectional sensitivity and cardioid sensitivity.
Second, switching the M 49's polar patterns was done remotely rather than with switches in the microphone body itself. Switching polar patterns was done via a dial on the M 49's power supply. This helped to keep the microphone clean and durable.
The Neumann M 49 was a popular microphone in its time in both broadcast and studio markets. This legendary microphone is still sought after today.
Neumann's M 50 was a single-pattern omnidirectional microphone that was largely based on the M 49. It had the same chassis and amplifier as the M 49 but a new and improved capsule.
The M 50 was and continues to be cherished for its rich character and a high-shelf-like boost of 5dB above 2500Hz.
*Neumann M 49 Tube Condenser Microphone Notable Specs*

Capsule: originally Neumann's M7, later Neumann's K47/49 (1956)
Vacuum tube: originally Hiller MSC2, later Telefunken AC701 subminiature triode (1954)
Polar patterns: omnidirectional, cardioid, and bidirectional (adjustable remotely on the power supply)
Frequency response: 40 Hz – 15,000 Hz
Sensitivity rating: ~0.7 mV/dyne/cm2 into 1,000 Ω load
Output impedance: 50 Ω or 200 Ω ± 20%
Self-noise: 32 dB (U 49 c model)
Maximum sound pressure level: 0.6% T.H.D @ 114 dB SPL, 1,000 Hz tone

*Neumann M 50 Tube Condenser Microphone Notable Specs*

Capsule: originally KK50, later KK53 (1952) and KK83 (1965)
Vacuum tube: originally Hiller MSC2, later Telefunken AC701 subminiature triode (1954)
Polar pattern: omnidirectional
Frequency response: 40 Hz – 15,000 Hz
Sensitivity rating: 1.0 mV/dyne/cm2 into 1,000 Ω load
Output impedance: 50 Ω or 200 Ω ± 20%
Self-noise: 28 dB (U 50 c model)
Maximum sound pressure level: 0.6% T.H.D @ 114 dB SPL, 1,000 Hz tone
*Best Neumann M 49 Clone*

Soundelux E49
*Microphones Inspired By The Neumann M 49*

*Best Neumann M 50 Clone*

Bock Audio 50
*Microphones Inspired By The Neumann M 50*


*AKG C 12 Tube Condenser Microphone (1953)*







AKG C 12

The AKG C 12 is one of the most important microphones in history.
This large-diaphragm tube condenser was the first to feature AKG's CK12 microphone capsule, which is perhaps the most beloved condenser mic capsule of all time.
The CK12 did evolve throughout time (from 10-micron Styroflex to 6-micron Mylar). AKG also altered the chamber between backplates. Through these changes, the dual-backplate large-diaphragm capsule with twin edge-terminated diaphragms largely remained the same and grew into the legend it is today.
The C 12 had 9-selectable polar patterns and a remote switcher (the AKG S 12). Both the microphone and the switcher plugged into the C 12's designated power supply (the N 12).
Roughly 2,500 AKG C 12s were produced in its 10-year manufacturing run. The microphone was discontinued in 1963.
However, its legend has continued to inspire microphone design, accumulating a respectable group of clones and tributes. Two vintage microphones on this list were heavily inspired by AKG's C 12 and its CK12 capsule: the Telefunken Ela M 251 and the AKG C 414 EB.
*AKG C 12 Tube Condenser Microphone Notable Specs*

Capsule: AKG CK12
Vacuum tube: GE 6072 dual-triode glass tube
Polar patterns: 9 selectable (including omnidirectional, cardioid, and bidirectional)
Frequency response: 20 Hz – 20,000 Hz (± 2 dB related to published curve)
Sensitivity rating: 1.0 mV/µb unloaded
Output impedance: 50 Ω or 200 Ω
Self-noise: <20 dB
Maximum sound pressure level: not specified
*Best AKG C 12 Clones*

AKG C 12 VR (link to check the price at B&H Photo/Video)
Wunder Audio CM12 (link to check the price at Reverb)
Telefunken C-12 (link to check the price at Sweetwater)
FLEA 12 (link to check the price at KMR Audio)

*Microphones Inspired By The AKG C 12*

The AKG C 12 is also featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top 11 Best Microphones For Recording Vocals
AKG is also featured in the following My New Microphone articles:
• Top 11 Best Microphone Brands You Should Know And Use
• Top 13 Best Headphone Brands In The World

*RCA 77-DX Ribbon Microphone (1954)*







RCA 77-DX

The RCA 77-DX is a poly-directional ribbon microphone that was first introduced in 1954.
This microphone was not the first 77 model produced by RCA but was definitely the most celebrated of the bunch.
In the 1950s, multi-directional microphones were a hot new trend that RCA would capitalize on with their legendary RCA 77-DX.
Multi-pattern condenser microphones (there are 7 of them on this list alone) achieved their various patterns by combining the signals of two separate diaphragms (with a shared backplate) in differing amplitudes and polarities. However, this would not work with a ribbon microphone.
Ribbon elements are naturally bidirectional (figure-8) due to the magnet's ribbon shape and suspension. RCA achieved its various polar patterns by mechanical means, employing an acoustic labyrinth with a mechanical shutter on the rear side of the ribbon diaphragm. Varying degrees of shutter openness yielded varying polar patterns.
The RCA 77-DX also came with 2 separate high-pass filter options, a feature rarely seen on ribbon microphones.
For more info on high-pass filters, check out the following My New Microphone articles:
• What Is A Microphone High-Pass Filter And Why Use One?
• Audio EQ: What Is A High-Pass Filter & How Do HPFs Work?
*RCA 77-DX Ribbon Microphone Notable Specs*

Element: corrugate aluminum foil 2″ long x 0.054″ thick
Polar patterns: nondirectional (omnidirectional), unidirectional (cardioid), and bidirectional
Frequency response: 30 Hz – 20,000 Hz
Sensitivity rating:
-56 dBm @ 94 dB SPL, 1,000 Hz tone (nondirectional)
-53 dBm @ 94 dB SPL, 1,000 Hz tone (unidirectional)
-50 dBm @ 94 dB SPL, 1,000 Hz tone (bidirectional)
Output impedance: 30, 150, or 250 Ω (250 Ω when shipped)
Maximum sound pressure level: N/A
*Best RCA 77-DX Clones*

none
*Microphones Inspired By The RCA 77-DX*


The RCA 77-DX is also featured in My New Microphone's 50 Best Microphones Of All Time (With Alternate Versions & Clones).

*Telefunken Ela M 251 Tube Condenser Microphone (1959)*







Telefunken Ela M 251
The Telefunken Ela M 251 is a well-known and well-respected vintage tube condenser that has gained legendary status.
The beginnings of the microphone are quite peculiar and worth noting.
At the time the original Ela M 251 was introduced, Telefunken was not a microphone manufacturer but simply a brand name and distributor of high-end (mostly Neumann and AKG-built) microphones.
During the 1950s, Neumann switched over to distributing all of their microphones under the Neumann brand. This left Telefunken without a flagship large-diaphragm tube condenser microphone (formerly the Neumann U 47, along with the M 49 and M 50).
Caught in this situation, Telefunken contracted AKG to develop a large-diaphragm condenser based on the design of their now well-established and respected C 12 model. The result was the now-famous Telefunken Ela M 251.
The main differences between Telefunken Ela M 251 and the AKG C 12 were:

Head basket design and a slight change in frequency response.
The C 12 had remote polar pattern switching while the Ela M 251 had its switches on the microphone body.
The Ela M 251 had an inverted tube and shorter wire runs for increased performance.

*Telefunken Ela M 251 Tube Condenser Microphone Notable Specs*

Capsule: AKG CK12
Vacuum tube: Telefunken AC701k
Polar patterns: omnidirectional, cardioid, and bidirectional
Frequency response: 20 Hz – 20,000 Hz
Sensitivity rating: 0.9 mV/dyne/cm2 (omnidirectional mode)
1.2 mV/dyne/cm2 (cardioid mode)
0.9 mV/dyne/cm2 (bidirectional mode)
Output impedance: 50 Ω or 200 Ω
Self-noise: not specified
Maximum sound pressure level: 0.5% T.H.D @ 114 dB SPL (1 kHz tone into 1 kΩ load)
*Best Telefunken Ela M 251 Clones*

Telefunken Ela M 251 E (link to check the price at Sweetwater)
Bock Audio 251 (link to check the price at Sweetwater)
*Microphones Inspired By The Telefunken Ela M 251*
Note that any microphone inspired by the Telefunken Ela M 251 is directly or indirectly inspired by the AKG C 12.

The Telefunken ELA M 251 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top 11 Best Microphones For Recording Vocals
• Top 11 Best Tube Condenser Microphones On The Market

*Neumann U 67 Tube Condenser Microphone (1960)*







Neumann U 67
Neumann's U 67, introduced in 1960, was designed to improve upon the U 47 and replace it in the updated product line. Many developments in microphone technology had happened in the 13 years since the introduction of the Neumann U 47.
The big improvement for Neumann in this updated microphone was the capsule.
The U 67 was the first mic to have the legendary K67 capsule. This world-class capsule has since become the most popular and most replicated capsule ever.
The K67 is built with a two-piece backplate. This allows for the tuning of each diaphragm individually before matching them for an equivalent response. Ultimately, this means the K67 is an easy capsule to set up and will perform with precision and consistency throughout its life. It also means the capsule is relatively easy to fix if one of the diaphragms were to detune.
Another trend of the 1950s was that engineers were beginning to position their microphones closer to sound sources. This is partly due to the advent of multitrack recording in 1955. The issue with close-miking like this was the risk of exceeding a microphone's maximum sound pressure level.
To keep up with this trend, Neumann equipped the U 67 with a -10 dB pad (passive attenuation device). This allowed engineers to get their microphones nice and close to sound sources with much less risk of overloading the mic circuitry and distorting the mic signal.
Of course, because the U 67 aimed to replace the U 47, it was fully capable of achieving omnidirectional, cardioid, and bidirectional polar patterns.
*Neumann U 67 Tube Condenser Microphone Notable Specs*

Capsule: Neumann K67
Vacuum tube: Telefunken EF86
Power supply: p/n NU 67
Polar patterns: Omnidirectional, cardioid, and bidirectional
Frequency response: 30 Hz – 16,000 Hz
Sensitivity rating: 1.1 mV/µb into 1,000 Ω load (omnidirectional)
2.1 mV/µb into 1,000 Ω load (cardioid)
1.4 mV/µb into 1,000 Ω load (bidirectional)
Output impedance: 50 Ω or 200 Ω ± 20%
Self-noise:
Maximum sound pressure level: 0.5% T.H.D @ 116 dB SPL (1 kHz tone into 1 kΩ load)

*Best Neumann U 67 Clones*

Peluso P-67 (link to check the price at KMR Audio)
*Microphones Inspired By The Neumann U 67*
Note that any microphone inspired by the Neumann U 67 is directly or indirectly also inspired by the Neumann U 47.

The Neumann U 67 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Microphones For Recording Vocals
• Top Best Tube Condenser Microphones On The Market

*Coles 4038 Ribbon Microphone (1961)*







Coles 4038

The Coles 4038 is a bit of an oddball on this list. It is the only microphone on this list that is still being manufactured today and one of the two that does not have any clones or attempted clones (the other being the RCA 77-DX ribbon mic).
The story of the Coles 4038 is a bit strange as well.
Coles Electroacoustics was only founded in 1964, which was 3 years after the introduction of the original 4038. The 4038 is a British Broadcasting Corporation (BBC) design, and the manufacturer of the microphone was the British telecom company Standard Telephones and Cables (STC).
It was actually two employees of the STC who founded Coles Electroacoustics in 1964, and it was only in 1974 that Coles bought the rights to the 4038. And that's how the Coles 4038 came to be.
Another peculiarity of the Coles 4038 is its Western Electric 4069 output connector. The microphone is most often sold with a 4069-to-XLR adapter for use with most professional audio equipment.
Since its introduction, the 4038 has been regarded as a high-quality ribbon mic with a smooth sound and incredible transient response.
This microphone features a 0.6-micron thin corrugated aluminum ribbon diaphragm, which is one of if not the thinnest ribbon diaphragm of any commercial ribbon mic.
Though many innovations have come in microphone technology since the original 4038, Coles Electroacoustics continues to follow the original blueprints that made this microphone great in the first place. No clones or attempted clones of the legendary 4038 have been successfully brought to market.
*Coles 4038 Ribbon Microphone Notable Specs*

Element: corrugated aluminum foil measuring 0.6 microns. 1″ long x 0.23″ wide x 0.6 microns thick within permanent horseshoe magnet
Polar pattern: bidirectional
Frequency response: 30 Hz – 15,000 Hz
Sensitivity rating: 0.06 mV/dyne/cm2 (-65 dBV/Pa)
Output impedance: 300Ω
Maximum sound pressure level: 125 dB

*Best Coles 4038 Clones*

none
*Microphones Inspired By The Coles 4038*

The Coles 4038 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Microphones For Recording Vocals
Coles Electroacoustics is also featured in My New Microphone's Top 11 Best Microphone Brands You’ve Likely Never Heard Of.

*Neumann KM 84 FET Condenser Microphone (1966)*







Neumann KM 84
The Neumann KM 84 is the first FET condenser on this list and is, in fact, the first microphone to use the full 48 V DC phantom power we know today.

Note that the first-ever phantom-powered microphone was the Schoeps CMT 20, but this mic was designed to run on 8.5 V DC, and its ground pin was on pin 1 of its XLR connector.
The KM 84 is renowned for its incredibly consistent cardioid polar pattern and its beautifully flat frequency response.
To this day, the KM 84 is celebrated and used in recordings around the world.
*Neumann KM 84 FET Condenser Microphone Notable Specs*

Capsule: KK 84 (originally known as KK 64)
Polar pattern: cardioid
Frequency response: 40 Hz – 20,000 Hz
Sensitivity rating: 10 mV/Pa
Output impedance: 150 Ω
Self-noise: 17 dBA
Maximum sound pressure level: 130 dB SPL
*Best Neumann KM 84 Clone*

Mercenary Audio MFG KM-69
*Microphones Inspired By The Neumann KM 84*

The Neumann KM 84 is also featured in the My New Microphone's 50 Best Microphones Of All Time (With Alternate Versions & Clones).

*Neumann U 87 FET Condenser Microphone (1967)*







Neumann U 87

The U 87 is Neumann's FET recreation/update of the legendary U 67 tube condenser.
Other than the switch from a vacuum tube and external power supply to a solid-state circuit and phantom power, the U 87 also has an upgraded capsule compared to the U 67. That's saying something since the U 67's K67 is the most replicated capsule ever.
The K87 capsule used in the Neumann U 87 allows for incredibly consistent sensitivity across the microphone's 3 polar patterns. It also made it possible for the 48 volt DC phantom power to polarize the capsule to achieve each polar pattern properly.
The Neumann U 87 (and its successor, the U 87 AI) are world-renowned studio microphones and are considered by many to be the best vocal microphones money can buy.
*Neumann U 87 FET Condenser Microphone Notable Specs*

Capsule: K87
Polar patterns: omnidirectional, cardioid, bidirectional
Frequency response: 40 Hz – 16,000 Hz
Sensitivity rating: 8 mV/Pa ± 1 mV
Output impedance: 150 Ω
Self-noise: 18 dBA
Maximum sound pressure level: 0.5% T.H.D @ 122 dB SPL, 1 kHz tone (132 dB with 10 dB pad engaged)
*Best Neumann U 87 Clone*

Neumann U 87 AI (link to check the price on Amazon)
*Microphones Inspired By The Neumann U 87*

The Neumann U 87 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Solid-State/FET Condenser Microphones
• Top Best Microphones For Recording Vocals

*AKG C 451 E FET Condenser Microphone (1969)*







AKG C 451 E
The C 451 E was a small microphone but proved to be a big step for AKG. It was AKG's first FET microphone and, on top of that, was a modular microphone preamp with detachable capsules.
Perhaps the C 451 E doesn't even deserve a spot on this list since it's really not a full microphone, but its status as a popular vintage modular microphone preamp wins its spot.
AKG made numerous capsules that were compatible with the C 451 E, making it extremely versatile. The immaculate sound of the C 451 E made any of its compatible capsules sound stunning when connected.
To this day, the AKG C 451 E modular microphone system remains a go-to in professional studios worldwide.
*AKG C 451 FET E Condenser Microphone Notable Specs*

Capsule: AKG CK1
Polar pattern: cardioid
Frequency response: 20 Hz – 20,000 Hz
Sensitivity rating: 9.5 mV/Pa (-60.5 dBV/Pa)
Output impedance: ≤ 200 Ω
Self-noise: ≤ 18 dBA
Maximum sound pressure level: 0.5% T.H.D @ 120 dB SPL, 1 kHz tone

*Best AKG C 451 E Clone*

AKG C 451 B (link to check the price on Amazon)
*Microphones Inspired By The AKG C 451 E*

The AKG C 451 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top 11 Best Solid-State/FET Condenser Microphones
• Top 12 Best Vintage Microphones (And Their Best Clones)

*AKG C 414 EB FET Condenser Microphone (1976)*







AKG C 414 EB
The AKG C 414 EB is actually the second generation of the original C 414 (1971). It is the oldest vintage microphone on this list but one of the most popular.
I chose to mention the C 414 EB rather than the original due to its extra features and greater popularity.
The AKG C 414 EB, like the original, combined the legendary CK-12 condenser capsule (introduced with the AKG C 12) with solid-state circuitry. The result was a microphone that sounded quite similar to the C 12 that could be designed smaller and produced cheaper.

The extra features in the C 414 EB included a 3-way high-pass filter, a -10dB pad and an extra -20dB pad option. Each of these features, the HPFs and pads, were selectable via switches directly on the microphone body.
Since the original C 414 and the second generation C 414 EB “vintage” mics, AKG has continued to modify, improve, and reissue this remarkable line of microphones. The history of the AKG C 414 series is rich with high-quality sonically pleasing microphones.
*AKG C 414 EB FET Condenser Microphone Notable Specs*

Capsule: CK-12
Polar patterns: omnidirectional, cardioid, bidirectional, hypercardioid
Frequency response: 20 Hz – 20,000 Hz
Sensitivity rating: 6 mV/Pa (-64.4 dBV/Pa)
Output impedance: ≤ 150 Ω
Self-noise: equal to 20 dB SPL
Maximum sound pressure level: 0.5% T.H.D @ 150 dB SPL, 1 kHz tone
*Best AKG C 414 Clone*

AKG C 414 XLII (link to check the price on Amazon)
*Microphones Inspired By The AKG C 414 EB*

The AKG C 414 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Vintage Microphones (And Their Best Clones)
• Top Best Solid-State/FET Condenser Microphones
• Top Best Microphones For Recording Vocals

*Related Questions*
What was the first commercial microphone? The first commercially available microphone was a tube condenser microphone called “The Bottle,” developed by Georg Neumann in 1928 (after the advent of electrical recording in 1925). This came 49 years after the first microphone was invented (by Emile Berliner and Thomas Edison in 1876).
To learn more about microphone history, check out my article Mic History: Who Invented Each Type Of Microphone And When?
Why are vintage microphones so expensive? The microphones we deem “vintage” today are expensive for several reasons:

They were originally very expensive, of high quality, and have aged well.
They are rare collectors' items and highly sought after models.
They have a characteristic “vintage sound.”

Choosing the right microphone(s) for your applications and budget can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Microphone Buyer's Guide. Check it out for help in determining your next microphone purchase.
This article has been approved in accordance with the My New Microphone Editorial Policy.


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## bw66 (Dec 17, 2009)

Chito said:


> ... the SH is super cardioid while the Super is Cardioid...


I think it's the other way around.


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## Milkman (Feb 2, 2006)

People use what they like I suppose, but frankly if you can't get a good sound with 57's and 58's it's unlikely the problem is the microphone. That doesn't mean I'm opposed to trying new things, but when you have four or five vocal mics on a stage, having four or five matching mics reduces feedback issues or at least makes them easier to isolate and mitigate.

Sticking a Beta out front among a bunch of normal 58s is not my first choice. All it means is that I have to work more with that mic to get it where I want it.


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## Chito (Feb 17, 2006)

bw66 said:


> I think it's the other way around.


You are right, it's the other way around. SH Cardoid, Super Super Cardioid.


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## bw66 (Dec 17, 2009)

Delores Streisand said:


> Must be a regional thing.


Yes, it would seem that we operate in different worlds. Might be a genre thing. Most of my work is folk/roots/Americana acts.


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## 1SweetRide (Oct 25, 2016)

bw66 said:


> Before you buy, try a head-to-head with the 55SH. The 55SH is cheaper and I prefer it because it has a better internal pop filter, a wider cardioid pattern, and seems to suit my voice better. The Super 55 is definitely better at rejecting feedback (pretty sure it has the same capsule as a Beta 58A) and it doesn't have the annoying switch.
> 
> Either way, you can't beat those mics for style.


And, Steve's has it on sale now.


bw66 said:


> Before you buy, try a head-to-head with the 55SH. The 55SH is cheaper and I prefer it because it has a better internal pop filter, a wider cardioid pattern, and seems to suit my voice better. The Super 55 is definitely better at rejecting feedback (pretty sure it has the same capsule as a Beta 58A) and it doesn't have the annoying switch.
> 
> Either way, you can't beat those mics for style.


This is on sale at Steve's. Great price?


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## bw66 (Dec 17, 2009)

1SweetRide said:


> And, Steve's has it on sale now.
> 
> This is on sale at Steve's. Great price?
> View attachment 450233


That's as good a price as you are going to see on a new one.


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## 1SweetRide (Oct 25, 2016)

The review isn't too kind on this mic






Shure Super 55 Deluxe – supercardioid prop mic review | Microphone Geeks







microphonegeeks.com


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## Chito (Feb 17, 2006)

1SweetRide said:


> And, Steve's has it on sale now.
> 
> This is on sale at Steve's. Great price?
> View attachment 450233


Yeah thats a good one. Maybe I'll get one too. LOL


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## Milkman (Feb 2, 2006)

I used to really like these AKG mics.I still have a couple.






*AKG D3700 DYNAMIC MICROPHONE
















*


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## 1SweetRide (Oct 25, 2016)

Chito said:


> Yeah thats a good one. Maybe I'll get one too. LOL


I may just order one from Amazon. They have it at the same price and returns are easy.


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## 1SweetRide (Oct 25, 2016)

Milkman said:


> I used to really like these AKG mics.I still have a couple.
> 
> 
> 
> ...


That mic has seen some things.


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## Milkman (Feb 2, 2006)

1SweetRide said:


> That mic has seen some things.



Yeah, I posted the wrong clip, but it still has the same mic.

I cleaned them many times (put the screens through the dishwasher).

They're almost as durable as the 58 but had a cleaner sound to my ears.


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## 1SweetRide (Oct 25, 2016)

Milkman said:


> Yeah, I posted the wrong clip, but it still has the same mic.
> 
> I cleaned them many times (put the screens through the dishwasher).
> 
> They're almost as durable as the 58 but had a cleaner sound to my ears.


You should throw that keyboard in the dishwasher too lol.


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## Milkman (Feb 2, 2006)

1SweetRide said:


> You should throw that keyboard in the dishwasher too lol.



No shit. I hate to fix things that aren't broken though. That keyboard has been amazing in terms of battery life and just never dying.


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## laristotle (Aug 29, 2019)

Milkman said:


> for those who know how to use one, LOL


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## Milkman (Feb 2, 2006)

laristotle said:


>


She looks familiar. I think I may have used the old breathalyzer trick on her at the Wellington (the Smelly Welly) in Barrie.


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## bw66 (Dec 17, 2009)

Milkman said:


> I used to really like these AKG mics.I still have a couple.
> 
> 
> 
> ...


Those were great mics for the price. Still see them around.


1SweetRide said:


> The review isn't too kind on this mic
> 
> 
> 
> ...


Some of the criticisms are consistent with my experience - though he seems to have a hate-on for all things Shure.


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## bw66 (Dec 17, 2009)

laristotle said:


>


Reminds me of people speaking into the reading lamp on the lectern at corporate events.


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## whyarecanadiangirlshot (2 mo ago)

1SweetRide said:


> Saw a few threads lately around microphones for singing. Wanted to add my two cents worth. I have a good ear for vocals but not the best singing voice so keep that in mind
> 
> What I've tried over the last many years:
> 
> ...


I bought a AT4047 it’s coming in the mail. I also have bass traps and acoustic panels I still have to hang up. It’s my first high quality mic. Well I have an SM57 but I wouldn’t consider it high quality.


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## 1SweetRide (Oct 25, 2016)

whyarecanadiangirlshot said:


> I bought a AT4047 it’s coming in the mail. I also have bass traps and acoustic panels I still have to hang up. It’s my first high quality mic. Well I have an SM57 but I wouldn’t consider it high quality.


That's what I need to do next. Get some sound dampening panels up.


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## whyarecanadiangirlshot (2 mo ago)

1SweetRide said:


> That's what I need to do next. Get some sound dampening panels up.


im also taking voice lessons, i think the majority of people buying new mics would probably be better off spending the money on voice lessons. or better yet get both and use the new mic to motivate you to learn.


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## JivRey (Jul 2, 2016)

For singing live, I recommended the Telefunken M80 to most of my friends and they love it. Very articulate and detailed.

Also an amazing mic for recording guitars and instruments.


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## Midnight Rider (Apr 2, 2015)

laristotle said:


>











And now she realizes why her vocal just wasn't cutting through in the mix of her home recordings,...priceless,😂


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## 1SweetRide (Oct 25, 2016)

I ordered the Shure Super 55. I'll let you know my impressions next week.


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## dgreen (Sep 3, 2016)

The two mics I do use for studio rehearsal and live gigs are a shure BETA SM58, a little hotter then the regular SM58 but when your levels on stage are good ( as in not excessive) these mics really shine.
Another great mic is the AKG C1000, it is their lower priced swiss army knife product. Suitable for live and recording. A very warm sounding mic that really brings out vocal quality.
If your volume levels on stage require you to wear ear protection then of course I would not recommend the AKG


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## Doug Gifford (Jun 8, 2019)

I have, I think, three Electrovoice n/d767a and a n/d457b that work very nicely for my voice. My guitar player has one of his own because they work for him, too. We're both fairly resonant baritones. The mics are warm, defined and have very little proximity effect. I can't say about feedback because we don't play very loud. Never had any problems with them.

I bought mine all used for <$100 each at various times.


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## GuitarTalk (Dec 25, 2018)

SM7 is amazing or the SM7B… it it worked for Michael Jackson, it’ll probably be okay for most haha


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## whyarecanadiangirlshot (2 mo ago)

GuitarTalk said:


> SM7 is amazing or the SM7B… it it worked for Michael Jackson, it’ll probably be okay for most haha


A lot of interfaces don’t have strong enough preamps for it tho


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## 1SweetRide (Oct 25, 2016)

whyarecanadiangirlshot said:


> A lot of interfaces don’t have strong enough preamps for it tho


Guess you could add in a Cloudlifter?


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## 1SweetRide (Oct 25, 2016)

Well, the Shure Super 55 came in this morning and I've been testing it out. It's really good. Had to boost the mids and lows a little bit on the mixer's EQ but it sounds very, very good. It's smaller than it appears in the photos and I think this is going to become my live mic. There's no feedback at all even at high pre-amp gain levels. I still just slightly, slightly prefer the Lewitt but that's going to stay as my studio mic. Edit: forgot to mention that this mic has more handling noise than others so be aware of that. It's not a deal-breaker at all though, just something to note.


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