Audio Technica AT4033a
Advantages of this mic:
Super silky sound with impressive specs under $500. Difficult not to like.
AKG C214
Advantages of this mic:
Refined, brilliant, modern sound particularly on vocals
Neumann TLM 102
Advantages of this mic:
High definition, top-grade mic. Performances sound nearer than most mics, while still allowing space around the sound.
Rode NT2A
Advantages of this mic:
Quietest mic on this list. Switchable polar patterns make it a great multi-purpose mic.
Sennheiser e965
Advantages of this mic:
Great for the studio and live stage. A rare hand-held that can do it all.
Shure SM7B
Advantages of this mic:
Flattering, unique warmth around everything this mic records. Especially good for spoken word.
Warm WA-47jr
Advantages of this mic:
A mic under 500 with vintage tube-like character and switchable polar patterns.
Intro: The Lid for Your Pot
The market of studio microphones under 500 is a crowded one. With a vast array of mics to choose from, the decision can be daunting.
To make your life easier, we have made this shortlist of 7 high-quality mics that won’t let you down. All seven are under $500 except for the Neumann TLM 102, currently listed just above that mark.
Each of these mics has unique sonic characteristics. Microphone choice is not about finding the best mic in the world, but rather, the best mic for your world. Hopefully, after reading this post, you will be better equipped to find the mic that fits your world – the unique lid for your pot.
To hear these mics in action, check out the audio tests at the bottom of this post. See here more information about microphone types and how they work.
See here for all of our audio equipment reviews,
Silkiest Sound
Audio Technica AT4033a
Pros
- Flattering smooth sound particularly on vocals
- Beautiful to look at
- Comes with shock mount and protective carry case
- Best off-axis response on this list
- High sensitivity
Cons
- Not many cons. The no frills, no switches design might limit it for versatility.
Bottom Line:
Silky smooth, balanced sound great for a variety of applications in the studio. Difficult not to like.
The AT4033 has gained quite the following over years, known as an affordable, silky smooth large-diaphragm condenser mic.
In the late 90s, Audio-Technica redesigned the innards primarily to reduce handling noise. It was henceforth known as the AT 4033a.
What’s in the box?
This mic ships with the AT8449a shock mount, dust cover pouch, and a vinyl protective carry case.
Who this Mic is for
Those looking for an affordable studio condenser mic with smooth, warm, open character would be pleased with this mic.
Its excellent off-axis response (nearly identical directly in front of the mic as it is when the source is placed to the sides) makes it versatile enough to mic cymbals and snares, acoustic instruments, amps, and vocals alike.
Who this mic is NOT for
This mic is not suited for the following:
- live applications
- untreated, noisy environments
- applications that require switchable polar patterns other than cardioid
Build / Design
The AT 4033a sports a fixed pattern back-electret capsule protected by a double-layer grille. The build quality is obvious, and the matte black capsule is quite beautiful to behold.
Audio-Technica has artificially aged the capsule to preserve its sound signature for years of use. Particularly impressive is this mics high output (extreme sensitivity) for its class. It achieves this while maintaining a relatively low self-noise at 17dB.
The mic also handles loud volumes with very little distortion, fast transients, and an impressive max SPL at 145 dB.
Sound
It’s hard not to like the super-silky character of this mic. We found that acoustic guitars found a new place in the mix with the AT 4033a. If you’re looking to pick up the detail and character of your guitar amp, the AT 4033a will serve you well.
Vocals, spoken and sung, are really where this mic shines. It adjusts wonderfully, somehow giving the details we wanted without the unwanted ones.
Modern, Brilliant Sound
AKG C214
Pros
- Brilliant sound, great on vocals.
- Comes with shock mount and steel carry case
- Handles plosives and sibilance with ease
- Captures transient details very well for a mic in its class
Cons
- Not for all applications, unnatural boost in high frequencies annoys some
Bottom Line:
A reliable, modern, brilliant mic that can hold its own with most anything you throw at it. Particularly suited to vocals.
The AKG C214 is a well-designed fixed-pattern cardioid FET condenser mic with a clear, modern sound. See here for our full review of the AKG C214.
What’s in the box?
The C214 comes with an impressive steel carry case, an AKG H85 shockmount (fitting most mics with a shaft diameter between 19 and 26mm), and a sock-style foam pop filter.
Who this mic is for
The advantage that the C214 has over the others on this list, incredibly accurate mic with a hint of modern high-end boost. It lends itself to vocals, guitar amps (not bass), acoustic instruments, and drum kits.
Who this mic is NOT for
This mic is NOT suited for the following:
- Bass amp recording
- live applications
- applications that require switchable polar patterns other than cardioid
Also note that this is not a good choice if you want a mic with warmth and ‘character’.
Build / Design
The C214 has a back-electret design capsule. It is manufactured in Austria and comes with switches for attenuation (-20 dB) and a bass-cut filter.
Sound
We were really pleased with how this mic handles vocals. It has low response on sibilance and very little off-axis coloration. In general, with graceful handling of plosives and sibilance, the C214 is very easy to sing with.
The C214 has low self noise and significant headroom with specs at 13 dBA for self-noise and a max SPL of 136 dB (156 dB with the attenuation pad).
A Class Up
Neumann TLM 102
Pros
- Fantastic detail unlike any on this list
- A top-grade mic under 1000
- Can handle anything in your studio from intimate vocals to the loudest drums and amps.
Cons
- NOT under $500
- No carry case or shockmount included
Bottom Line:
A high definition, top-grade mic. Performances sound nearer than most mics, while still allowing space around the sound.
The Neumann TLM 102 is the company’s first condenser mic to venture into somewhat-affordable territory. I know, it is not priced under 500. It shouldn’t technically be on this list.
But if you’re considering a mic priced around $500, it is worth taking a look at the TLM 102, at the time of this review priced around $700.
What’s in the box?
The mic ships with the bare minimum of accessories: a standard mount, and the mic itself. I guess this is Neumann’s effort to get the price in a somewhat affordable range.
There is no protective carry case included although the cardboard box it ships in does have a hard foam encasing for storage purposes.
Who this mic is for
If you want a top-grade condenser microphone with rich detail without spending above 1000, this is a solid choice.
Who this mic is NOT for
This mic is not suited for the following applications:
- noisy, untreated environments
- live applications
- applications that require switchable polar patterns other than cardioid
Build / Design
The TLM 102 is a large-diaphragm condenser in a smaller body, weighing in at 260g. It looks and feels like a quality machine. The capsule, recently developed by Neumann, is edge-terminated in design.
The TLM 102 is Neumann’s attempt to make a mic that can handle everything in the studio from drums, brass, and amps to intimate vocals. It offers a max SPL of 144 dB and a self-noise at 12 dBA. The frequency response, with a slight high frequency boost, is evidence that it is built first and foremost for vocals.
Sound
On vocals, this mic gives you silvery crisp detail unlike any on this list. Vocals feel nearer in the mix somehow.
On acoustic guitar, this mic gives you great results. Check out our post How to Record Acoustic Guitar for more examples. The detail of this mic is beautiful on acoustic guitar, either as a single mic setup or paired with a small-diaphragm condenser.
On guitar amps, you can go as loud as you want with full detail and little to no distortion. It essentially sounds just like the amp in the room (if that’s what you’re going for).
On a personal note, I have used this mic on vocals, guitars, pianos, entire rooms, and drums for about 5 years now. It continues to reliably deliver a top-grade sound.
The Quiet, Versatile Mic
Rode NT2a
Pros
- Lowest self-noise on this list
- Switchable polar patterns make it a swiss-army mic
- Comes with shockmount, pop-filter and cable
Cons
- A heavy mic that can sag a weak stand
Bottom Line:
A quality, super quiet, versatile mic with an honest, slightly warm sound.
Rode have gone out of their way to engineer mics with self-noise levels that outclass any of the competition. The NT2A with its switchable polar patterns and K2 capsule, is definitely worth a listen.
For more information on how this mic compares to its cousin, the NT1A check out our post Rode NT1A vs NT2A.
What’s in the box?
The NT2A comes with the SM6 shockmount and pop filter, a 6-meter cable, and a dust cover pouch.
Who this mic is for
If you’re looking for a quality multi-polar pattern condenser with the lowest self-noise in its class with an honest, relatively neutral sound, this is your mic.
If you’re recording ensembles in-the-round, applications where you want to include the ambiance of the room, mid-side techniques, or drum kits, the multi-polar switches are really useful.
Who this mic is NOT for
This mic is not suited for the following applications:
- noisy, untreated environments
- live applications
Build / Design
The NT2-A has the same capsule as the Rode K2 tube condenser with a 1-inch gold-sputtered diaphragm. The front panel has on-board switches for polar pattern (cardioid, figure-8, omni), high-pass filter (40 or 80 Hz), and attenuation (5 or 10 dB).
Weighing in at 860 g, you notice the heft of this guy. (Note: you will need a strong stand) But that weight packs a lot of technical punch. This is the quietest mic in its class and indeed on this list, with self-noise at 7 dB. The NT2A also has quite high sensitivity (-36 dB – 1V/Pa) with a lot of headroom (max SPL 140dB).
Sound
In practice the low background noise is not just a statistic, it is noticeable. In a treated room, silence sounds like you stopped recording.
The sound signature is relatively neutral and honest with a little added warm love from its K2 capsule.
A Rare Hand-held for Studio AND Stage
Sennheiser e965
Pros
- Bright, detailed sound with excellent balance on the lower end
- Switchable polar patterns (cardioid, supercardioid)
- Excellent for the studio or the live stage.
- Elegant handling of plosives and sibilance
- Price has dropped significantly since it came out.
Cons
- No protective carry case included
Bottom Line:
A rare hand-held that can do it all in the studio or the on stage.
The Sennheiser e965 is one of the very few multi-pattern handheld condenser mics on the market. It has the low handling noise, pop protection, neighbouring noise rejection, and high SPL capacity of dynamic microphones with the excellent detail and low end of a studio condenser.
When it was released in 2008, the price was nearly the same as a Neumann KMS 105 (also a hand-held condenser). Since then, the price has nearly halved, making it one of the best value purchases on this list.
What’s in the box?
The Sennheiser e965 ships with the mic itself, a carry bag, a stage mount, and an adapter screw to help fit it on differently threaded mic stands.
In lieu of a carry case, the cardboard box it ships in has a foam mould. The carry bag offers absolutely no padding or protection.
The stage mount provides a satisfying, perfectly tight fit that is still easy to snap the mic in and out of.
Who this mic is for
Those looking for a mic they can use both in the studio and on stage, look no further. With very low handling noise despite its full 1-inch diameter diaphragm, it offers excellent performance in both environments.
Who this mic is NOT for
If you’re looking for a microphone with ‘character’ or less-polished frequency response, this is not the mic for you. The mic is also not for you if you need to employ figure-8 or omni polar patterns.
Build / design
The solidly built e965 weighs in at 396 grams and feels like quality in your hands. It is a ‘true condenser’, meaning the capsule is externally polarized.
The supercardioid / cardioid offers more control for noisy environments. Supercardioid offers a tighter pick-up area in front of the mic rejecting more side and rear neighbouring noise.
Also under the grille are two more switches for a high-pass filter and an attenuation pad at -10dB.
The mic has a respectable self-noise level of 21dBA and massive headroom with a whopping max SPL of 152 dB.
Sound
The large diaphragm is easy to sing with. With minimal off-axis coloration and excellent low response to plosives and sibilance, the result is satisfying without the need for loads of EQ and compression.
The e965 offers more low-end boost and more detail than a dynamic mic. The results on amps, acoustic guitar, and drums provide a flattering low-end boost.
For the stage, we found it just as resistant to feedback as dynamic mics. And the rejection of neighbouring noise is surprisingly good considering how sensitive condenser mics can be.
Icon of the Spoken Word and ‘Thriller’
Shure SM7B
Pros
- Flattering, unique warmth around everything this mic records
- Built-in shock isolation
- Excellent rejection of neighbouring noise – great for home studios with street noise
- Great for spoken word
Cons
- Needs considerable gain from your preamp
- Large size requires a strong boom stand
Bottom Line:
An iconic mic with unique, flattering character especially suited to spoken word or sung vocals.
The Shure SM7B, the mic that MJ used to make Thriller, is an industry-standard dynamic studio mic. Many fans of this mic feel deep affection for it. Although it is a go-to mic for spoken vocals, it has particular advantages in the studio as well.
What’s in the box?
The SM7B comes with the mic itself and a detachable windscreen, that’s it! If you’re asking yourself, where’s the pop filter and shockmount, the mic itself has an internal pop filter and shockmount system already. No carry case is provided.
Who this mic is for
If you’re looking for a high-quality vocal dynamic mic for the studio, this is your mic. Being a dynamic mic, it is not crazy-sensitive like a condenser. With excellent neighbouring noise rejection, the SM7B can be your friend if you need to record in an untreated room or a studio with street noise.
It is great for vocalists looking for added presence on the lower end, podcasters, and rappers.
Who this mic is NOT for
This mic is not for you if:
- you don’t like the ‘radio voice’ sound of dynamic mics
- you want the high definition detail of a condenser microphone
- you want to record ensembles or include the ambiance of a room
Build / Design
The first thing you will notice is that the SM7B is a massive mic. This is due to its internal air-suspension shock and vibration isolator. Although it is heavy and requires a strong boom stand, this build makes it easy to use out of the box for speech and vocals.
The SM7B is equipped with backplate switches for bass roll-off, presence boost (upper mids).
Being a dynamic mic, self-noise is nearly 0 dB on the SM7B. Another advantage of dynamic mics is that they can handle high volumes with minimal distortion. Also, dynamic mics do not require a 48V phantom power source.
It is important to note that dynamic microphones like the SM7B require more gain (the SM7B will need about 60dB) from your preamp than condensers. Make sure your preamp can give you enough gas.
Sound
The advantage to the SM7B is its ability to emphasise sound sources in a smooth, flattering way. The SM7B won’t give you boring, accurate reproduction. It will give you a rosy SM7B kind of reproduction.
The sound is less detailed, which is sometimes a good thing. Its proximity effect can be used to your advantage by simply placing the mic closer to the source for added low end.
Vintage Tube-like Character
Warm Audio WA-47jr
Pros
- Sensitive mic with tube-like character
- Switchable polar patterns (cardioid, figure-8, omni)
- comes with shockmount
Cons
- Requires a treated room, picks up everything
Bottom Line:
A multi-polar pattern mic under $500 with a vintage tube-like sonic signature.
Inspired the greatness of classic vintage mics, Warm Audio have done a fantastic job making ‘tribute’ mics. In this case, the Warm WA-47 and 47jr are tributes to the famous Neumann U47.
What’s in the box?
The Warm 47jr comes with a storage pouch, a custom shockmount, and a standard mount. In lieu of a protective carry case, the box it arrives in has a hard foam mould.
Who this mic is for
If you’re looking for a mic with a tube-like character with some polar pattern versatility, this is your mic.
Who this mic is NOT for
Build / Design
The Warm WA-47 jr features the same K47 capsule as its big brother, the WA-47, the difference being that the JR has solid-state FET technology rather than tubes. This allows the mic to be in our ‘under 500’ range.
While the WA-47 looks a lot like the Neumann original, the WA-47jr is smaller and lighter. Located on the front of the WA-47jr are switches for three polar patterns (cardioid, figure-8, and omni), an attenuation pad (-10 dB), and a high pass filter (70 Hz).
And, Warm haven’t skimped on the innards. The parts are all high quality: using Toshiba FETs, Wima film capacitors, and Panasonic electrolytic capacitors.
It weighs 497 grams, so it’s not going to sag your stand. Self-noise is nice and low and the max SPL is at 147 dB with little distortion at high volumes.
Sound
My guess is that Frank Sinatra wouldn’t swear by the WA-47jr in the same way he did with the Neumann U47. (I don’t have a Neumann U47 in my studio to compare it to.)
This mic does however, have some delightful vintage vibes. We really enjoyed it on acoustic guitar in figure-8, warming up the guitar and the bounce off the back wall.
Listen with your own ears: Audio Tests
For these tests, we used a Universal Audio Arrow Thunderbolt 3 powered Interface recorded with Logic Pro X. There is no EQ or compression applied to any of the audio clips here. We adjusted the gain from the audio interface to taste. The guitar used was a Martin steel-string acoustic guitar.
Full disclosure: We fully acknowledge that there is no one way to use a microphone. Mic placement, how you play or sing, not to mention EQ, compression, Impedance, and preamp settings can all have dramatic effects on the final result.
Sung Vocals | Best Mic Under 500 Audio Tests
1. Audio-Technica AT4033a: Vocal Test
2. AKG C214: Vocal Test
3. Neumann TLM 102: Vocal Test
4. Rode NT2a: Vocal Test
5. Sennheiser e965: Vocal Test
6. Shure SM7B: Vocal Test
7. Warm Audio WA-47jr: Vocal Test
Spoken Word: Plosives, Sibilance | Best Mic Under 500 Audio Tests
1. Audio-Technica AT4033a: Spoken Word
2. AKG C214: Spoken Word
3. Neumann TLM 102: Spoken Word
4. Rode NT2a: Spoken Word
5. Sennheiser e965: Spoken Word
6. Shure SM7B: Spoken Word
7. Warm Audio WA-47jr: Spoken Word
Acoustic Guitar | Best Mic Under 500 Audio Tests
1. Audio-Technica AT4033a: Acoustic Guitar
2. AKG C214: Acoustic Guitar
3. Neumann TLM 102: Acoustic Guitar
4. Rode NT2a: Acoustic Guitar
5. Sennheiser e965: Acoustic Guitar
6. Shure SM7B: Acoustic Guitar
7. Warm Audio WA-47jr: Acoustic Guitar
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