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Best Mic for Recording Vocals at Home
- The Iconic classic upgraded with a built-in preamp for a simpler setup
- Warm, flattering sound on almost everything
- Good for recording in untreated environments
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Best Value High-End Mic for Vocals
- A ubiquitous legend with modern sound and incredible high-end clarity
- Tailored for vocals – also good on drum overheads, guitars and any application you throw at it
- 9 polar patterns
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Best Midrange Mic for Recording Vocals
- Overall reliable, refined sound on vocals
- Captures transient details very well for a mic in its class
- Handles vocal sibilance and plosives with ease
- Comes with shockmount, pop filter and steel carry case.
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Best High-End Condenser for Vocals
- Delivers transparent, true-to-life (with something extra on top) results
- Tried and tested on a wide range of applications from solo vocals to entire orchestras for over half a century
- Extremely versatile: good on vocals, drum overheads, guitars, amps, strings, ensembles and more.
- The Benchmark Mic for Large-diaphragm studio condensers
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A Damn Good Second Fiddle
- Same components as the famous U87 at one-third the price
- Shimmering treble
- Musically responsive
- Low self-noise
- Huge dynamic range
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Best Modeling Mic for Recording Vocals
- Models a wide range of classic vintage large-diaphragm mics very well
- Costs less than most of the mics it models
- Adds serious new tools to a mixer’s shed like switching mics post-recording
- Is also a very capable standalone condenser mic
- Low self-noise
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Best Dynamic Mic for Everything
- A warm dynamic color that suits pop/rap/indie vocals well
- Iconic broadcast sound for spoken word
- Detailed top end for a dynamic mic
- Controlled proximity effect
- Versatile
- Good for recording in untreated environments
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Best of Both Worlds: Stage & Studio
- Fantastic natural, pristine sound
- Durable
- Excellent Feedback Rejection
- Versatile: Works well with live vocals, acoustic instruments, amplifiers, and spoken word applications.
- Low Handling Noise
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Best Midrange Multi-polar Mic
- Very low self-noise – great for intimate vocals
- Elegant, balanced sound with great detail in the high end.
- Switchable polar patterns
- Included shock mount and pop filter.
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Best Budget Mic for Recording Vocals
- The most popular vocal microphone that delivers a workable sound to almost anything
- Built like a tank and nearly all the parts are replaceable
- Great value
- Can also work as a utility mic around the studio or stage, depending on taste
How We Chose the Best Microphone for Recording Vocals
Selecting the right microphone for vocal recording is a big step toward achieving professional-quality sound. A microphone is more than just a tool to capture vocals—it shapes how the singer’s voice is presented and creates the sound that will fit into the mix and the musical style.
We have tested nearly every microphone worth talking about and compiled this shortlist of mics for recording vocals. We have included audio clips from our tests so that you can hear the results yourself. To simplify choice, we have limited this list to large-diaphragm condenser mics and dynamic mics.
Large-diaphragm condensers are the most sensitive and offer the most options for tonal color. Dynamic mics, known for their durability and focused midrange response, are sometimes better suited to particular voices and vocal styles. For more information on mic choice start with our Types of Microphones and How they Work.
Without further ado…to the list!
If you’re here, you might also be interested in our post Best Headphones for Recording Vocals. See here for more in-depth microphone reviews and info on audio gear.
Shure SM7dB
our rating
5.0
(out of 5)
Type: dynamic
Bottom Line:
An enhanced version of the iconic SM7B microphone with a built-in preamp that delivers the same quality results as the original.
The Shure SM7dB is the latest incarnation of Shure’s flagship studio dynamic mic the SM7B. The gain-hungry original has been upgraded with a built-in preamp, allowing it to deliver great results even when paired with weaker audio interfaces.
Like the original, this mic offers the same rosy, warm sound on vocals with a simpler set-up. (See here for our full review of the SM7dB)
Build
The SM7dB continues Shure’s tradition of rugged design, featuring a black enamel, aluminum, and steel body for a premium, durable feel. The steel grille protects the Unidyne III capsule, which delivers the mic’s signature natural and warm sound.
The addition of an integrated preamp sets this model apart from its predecessor, the SM7B, removing the need for external gain boosters like a Cloudlifter.
This mic requires phantom power for the preamp, which offers selectable gain levels of 18 dB or 28 dB. In tests, it performed flawlessly with weaker preamps, delivering clean, noise-free gain.
The redesigned onboard switches, including a bass roll-off and presence boost, are user-friendly and allow for easy tonal adjustments. Despite its weight (837 grams), the yoke mounting system makes positioning straightforward with a sturdy stand or boom arm.
Sound
The SM7dB provides the same iconic sound as the SM7B: warm, full, and forgiving. Its subtle proximity effect enhances vocal warmth, giving a ‘broadcast’ quality to voices and masking undesirable details like mouth noise or harsh treble.
The built-in bass roll-off lets users manage the proximity effect to suit their needs.
Noise rejection is excellent, making it ideal for untreated spaces. Side rejection is decent, while rear rejection is exceptional. The mic handles loud sources well, excelling with kick drums, guitar amps, and bass.
While it’s not as detailed as condenser mics, the SM7dB is perfect for vocals that need warmth and character rather than clinical accuracy. Plosives and sibilance are well-managed thanks to the internal pop filter, and the internal shockmount effectively isolates the mic from handling noise or vibrations.
Verdict
The SM7dB is a practical upgrade to the beloved SM7B, delivering the same legendary sound with added convenience. The integrated preamp simplifies setup, making it accessible for home studio users with budget interfaces.If you’re looking for a reliable mic that adds warmth and polish to your recordings, the SM7dB is an excellent choice.
Sung Vocals Test, Shure SM7dB
Recommended Applications
- Sung vocals
- Podcasting, Broadcasting, Voice-over, Streaming
- Kick drums
- Brass, woodwinds
- Guitar amps
- Bass amps
AKG C414 XLII
our rating
5
(out of 5)
Type: large-diaphragm condenser, multi-polar
Bottom Line:
A ubiquitous legend with modern sound and incredible high-end clarity. Handles vocals, guitars, and anything you throw at it with aplomb.
The AKG C414 XLII is the company’s flagship, multi-pattern large-diaphragm condenser. It is one of our favorite condenser mics out there, delivering a musical response especially tailored for recording vocals.
Build
The AKG C414 XLII is built with the famous, gold-sputtered CK12 capsule and FET-Transformerless circuit.
The mic offers five main polar patterns (Omni, wide cardioid, cardioid, hyper-cardioid, and figure-8) as well as four in-between patterns.
It also has an onboard attenuation pad with three settings (-6, -12, and -18 dB) and a high-pass filter with three settings (40, 80, and 160 Hz).With a max SPL of 134 dBA and a self-noise of 6 dBA, the dynamic range is outstanding.
Available as a single mic or as a matched pair, the C414 ships with high-quality accessories: a shockmount, a foam windscreen, a pop filter, and an aluminum flight case.
Sound
As you can hear in our test below, the 6 dB boost around 5 kHz makes it very much like the beloved response of the vintage AKG C12, tailored for lead vocals and solo instruments.
This response also allows recordists to capture instruments from a distance without losing so much of the high end.If you would like a flatter response, consider the AKG C414 XLS, which is engineered for maximum neutrality.
Verdict
This is a fantastic mic in every way. (See our full review of the AKG C414 XLII) And, compared with the flagship models of other companies, the price is very reasonable. You won’t be disappointed.
Sung Vocals Test, AKG C414 XLII
Recommended Applications
- Lead Vocals
- Spoken Word
- Acoustic Guitar
- Piano
- Strings
- Room and Ambient Recording
- Ensembles and Orchestras
- Guitar Amps
AKG C214
our rating
4.7
(out of 5)
Type: large-diaphragm condenser, fixed cardioid
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 one of our favorite midrange mics for recording vocals. In our testing, it delivered a reliable, refined sound in a wide range of applications.
Build
Designed and manufactured by AKG in Vienna, Austria, in 2008, the C214 is part of AKG’s elite family. The housing features two switches – a -20 dB attenuation pad and a high-pass filter for cutting out low city rumble.
This is a fixed cardioid mic, meaning it picks up sound only at the front of the mic. Although its capsule resembles the C414, the design is different. The self-noise measures at 13 dBA, making it suitable for intimate vocals. The mic can also handle loud sources with a max SPL of 136 dB (156 dB with the attenuation pad).
Sound
The frequency response of the AKG C214 has a subdued presence peak with a lot of air in the treble, giving it a bright, modern sound signature. But the brightness never goes too far like a lot of midrange condensers. It never produced ‘reedy’ or ‘brittle’ results during our testing.
Although it is sometimes thought of as a ‘low-cost alternative to the C414,’ its sound is distinctly different from the C414.The C214 is a very easy mic to sing with. It handles sibilance better than most midrange mics, and its significant proximity effect can be used to the advantage of singers who want a thicker sound.
Verdict
Overall, the AKG C214 is a reliable midrange microphone for recording vocals. If a midrange, fixed-cardioid condenser is what you need, look no further.
Sung Vocals Test, AKG C214
Recommended Applications
- Vocals
- Acoustic Stringed Instruments
- Guitar Amps
- Drum Overheads
- Room and Ambient Recording
Neumann U87
our rating
5
(out of 5)
Type: large-diaphragm condenser, multi-polar
Bottom Line:
The tried-and-tested gold-standard for large-diaphragm condenser mics
The Neumann U87 (full review) is the most popular studio microphone in the world, the benchmark for any large-diaphragm studio condenser out there. You will find it in the locker of every big studio.
Build
The U87 has switchable polar patterns (cardioid, omni, and figure-8) and uses a K67 style capsule (K870/K67) with two gold-plated mylar diaphragms. The circuit of the U87 Ai uses a field effect transistor (FET) and a transformer to create a low-impedance, balanced signal. The harmonics and colors created by the circuit parts give the U87 its unique acoustic character.
Sound
The Neumann U87ai stands out for its transparency, delivering an elegant, refined sound rather than an overhyped one. The results are authentic with a hint of larger-than-life sparkle on vocals. The mic’s versatility was evident in tests for different recording applications, with the polar patterns figure-8 and omni offering breadth and distance, and the cardioid pattern providing an intimate feel.
The pronounced proximity effect of the U87, typical of most large-diaphragm condensers, can be managed effectively by switching to its omni polar pattern. Unlike other mics requiring stillness during recording, the U87 allows for natural movement, producing an even response regardless of head movement. Without any compression or EQ, the raw results from the Neumann U87ai sound refined and polished.
Verdict
The U87 is a proven performer, tested and trusted for over half a century. Its versatility shines, delivering excellent sound across applications from solo vocals to orchestras.
The U87’s body of work includes countless iconic recordings.However, the price is steep. While alternatives like the TLM 103 and Mojave MA-201 FET offer similar sound profiles at lower costs, I’d still choose the U87.
Sung Vocals Test, Neumann U87
Recommended Applications
- Vocals
- Spoken Word
- Acoustic Guitar
- Electric Guitar
- Bass Guitar
- Strings
- Brass
- Drum Overheads
- Orchestras
- Ensembles
- Room and Ambient Recording
Neumann TLM 103
our rating
4.9
(out of 5)
Type: large-diaphragm condenser, fixed cardioid
Bottom Line:
A chunky wedge-shaped version of the famous U87 microphone at one-third the cost.
The Neumann TLM 103 (see our full review of the Neuamann TLM 103) is a premium fixed-cardioid, large-diaphragm condenser mic that belongs on any shortlist of vocal mics.
Build
To create the TLM 103, Neumann reworked the famous U87 into a more affordable, fixed-cardioid mic. The TLM 103 uses a K67-style capsule similar to the U87, but with half the parts to form a fixed cardioid, transformerless mic.
The design approach, symbolized by the prefix ‘TLM’ meaning ‘Transformer-Less Microphone,’ was to create a more affordable microphone without compromising sound quality.Its unique chunky wedge shape makes it versatile and less prone to mic-sag compared to traditional cylindrical shapes.
Sound
While all microphones have distinct sound qualities, the TLM 103 stands out for its consistency, particular timbre, and musical response. It delivers a ready-to-go sound on vocals that rivals that of the U87.
Regardless of the sound source, the TLM 103 delivered a musical response, handling loud and soft dynamics with ease. Its pristine high-end was impressive and balanced smoothly with its considerable low end, never sounding harsh.
Remarkably, the TLM 103 outperforms the famed U87 in terms of self-noise and maximum SPL. The TLM 103 measures at 7 dB for self-noise, significantly lower than the U87’s 12 dB. This makes a noticeable difference in intimate recordings, providing a cleaner, quieter output.
Additionally, the TLM 103 can handle a maximum SPL of 135 dB, much higher than the U87’s 117 dB, making it capable of handling louder sound sources without a pre-attenuator switch.
Verdict
In conclusion, the Neumann TLM 103 offers outstanding performance, low self-noise, and adaptability, making it a more affordable yet highly capable alternative to the U87.
Sung Vocals Test, Neumann TLM 103
Recommended Applications
- Vocals
- Spoken Word
- Acoustic guitar
- Electric Guitar
- Strings
- Drum Overheads
Universal Audio Sphere DLX
our rating
4.7
(out of 5)
Type: large-diaphragm condenser, modeling mic, multi-polar
Bottom Line:
A quality mic that emulates the sound of legendary studio mics with software that allows users to change mic models, polar patterns, and proximity effects post-recording. For those seeking a multi-mic setup in one device.
The Universal Audio Sphere DLX (see our full review of the Sphere DLX) is a modeling microphone that uses dual-capsule technology to emulate the characteristics of iconic microphones digitally. Universal Audio has mastered this better than anyone – the DLX is the best modeling mic out there.
This mic offers more options to tweak the overall character of your vocals—during and after recording—than any other mic on this list.
Build
The Sphere DLX is a robust mic, comparable in size to a Neumann U87 or Rode NT2A, with an unconventional look highlighted by LED lights under the grille. While the lights might seem flashy, they serve a practical purpose by illuminating the capsule for precise alignment, which is critical for accurate modeling.
The microphone includes onboard switches, including a reconcile switch to equalize gain levels between preamp inputs and a -20dB attenuation pad. It requires two preamp inputs from your interface, and all tracks must be recorded in stereo for proper functionality.
With a self-noise of just 7 dBA and a max SPL of 140 dB, it delivers low noise performance and handles loud sources with ease.
Accessories include a shock mount, standard swivel mount, a special Y-cable (five-pin XLR to two standard three-pin XLR), and the plug-ins (Sphere and Sphere 180) which extend its capabilities for stereo recording.
Sound
The Sphere DLX leverages dual-capsule technology to digitally emulate the sound of vintage microphones. It excels in modeling large-diaphragm condenser mics, closely mimicking classics like the Neumann U87 and Telefunken ELAM 251.
However, the accuracy diminishes for dynamic and ribbon mic models, such as the Shure SM57.In our tests, we especially liked the ability to switch microphone models post-session. Similarly, adjustable polar patterns via the Polar Meter plugin allow fine-tuning of room ambiance and rejection, offering more control than traditional microphones.
Unique tools like off-axis adjustment add significant value, enabling the removal of unwanted sounds or enhancing the tonal qualities of recorded tracks. Automating these adjustments opens creative possibilities, such as isolating room ambiance or dialing in flattering tonal characteristics.
Verdict
With options to switch polar patterns after your session, adjust room ambiance, and even use off-axis adjustments to remove unwanted sounds, this is a mic system that brings new tools to your studio that you cannot find elsewhere.
The mic itself is a great mic even without the plugins. You can hear this in the acoustic guitar example below recorded clean with no modeling. It delivers musically responsive results with ample headroom and a natural frequency response.
UA has mastered the modeling technology, and their plugins are among the best in the business. Recordists who want simplicity should look elsewhere, but make no mistake, this is a fantastic mic for recording vocals.
Acoustic Guitar Test, Universal Audio Sphere DLX
Recommended Applications
- Studio Vocals (all styles and voice types)
- Acoustic guitar
- Guitar Amps
- String Instruments
- Drum overheads and drum room mics
- Piano
- Chamber ensembles
- Choirs
- Orchestras
Electrovoice RE20
our rating
4.8
(out of 5)
Type: dynamic
Bottom Line:
A multi-purpose microphone with unique characteristics. Its large sweet spot, minimal proximity effect, and excellent detail, combine for a very natural sound.
Although the Electro-Voice RE20 is famous as a broadcast mic, it does just about everything well, including fantastic results when recording vocals.
Build
With a rugged, tank-like build, the Electro-Voice RE20 is a dynamic mic with a fixed-cardioid pattern. As a dynamic mic, it has a lower sensitivity and it rejects neighboring noise better than condenser mics. This makes it a great option for recordists working from home without a treated space.
It weighs 737 grams and has a low impedance of 150 Ohms. The RE20 is equipped with an internal shockmount, a humbucking coil, and a pop filter which keeps noise and mouth sounds at bay. However, in our testing, the shockmount was less effective at reducing handling noise than the SM7B’s.
Sound
This mic handled sung vocals beautifully in our tests. The top end is particularly detailed and sparkly compared to most dynamic mics. The sound quality of the RE20 is balanced and neutral across all frequencies, providing clear and detailed sound in all registers.
It delivers a silky broadcast sound for spoken word applications, right out of the box, with no additional adjustments necessary. Additionally, its controlled proximity effect makes it a highly versatile tool for studios and live stages, capable of handling trumpets, kick drums, and loud amplifiers with ease.
The RE20 features a subtle onboard high-pass filter that cuts below 400 Hz, and an output transformer which contributes to its unique harmonic coloration not found in most modern dynamic mics.
Verdict
Along with the SM7dB, (see our comparison of the RE20 vs SM7B) this mic is one of the best if you’re recording vocals under less than ideal acoustic conditions. Its response is more honest and neutral than the SM7dB and it offers a bit more detail in the top.
Sung Vocals Test, Electrovoice RE20
Recommended Applications
- Broadcasting and Podcasting
- Vocals
- Bass
- Kick Drum
- Electric Guitar
- General Studio Use
Neumann KMS 105
our rating
4.9
(out of 5)
Type: large-diaphragm condenser, handheld, fixed supercardioid
Bottom Line:
A handheld condenser rugged enough for the stage. Great for vocals on the stage or in the studio.
The Neumann KMS 105 (see our full review of the KMS 105) is purpose built for live vocals but also delivers fantastic results on recorded vocals. The fixed supercardioid mic offers high-end detail and rejects neighboring noise and feedback. It has the benefits of a condenser mic in the rugged body of a handheld.
During testing, we were most impressed by the natural, detailed sound of the KMS 105, its low handling noise, and subdued proximity effect.
Build
The KMS 105 boasts an all-metal 300 gram body that feels solid in hand. The metal mesh grille shields the K50 condenser capsule while the internal shock mount minimizes mechanical vibrations and handling noise. It requires phantom power to operate and the grille can be unscrewed for easy cleaning.
Sound
The sound of the KMS 105 is detailed and natural. In our tests, we found the KMS 105 to be highly versatile, and loved it on studio vocals as well as close-miked applications like acoustic guitar. It also handles loud guitar and bass amps with ease.
The mic’s vocal clarity also makes it a strong choice for spoken word applications. The KMS 105’s frequency response is most flat with gentle brightness in the high frequencies for vocal presence.
This KMS 105’s supercardioid pattern provides excellent off-axis rejection and effectively isolates the primary sound source. An always-on fixed internal EQ nicely balances a natural sound while minimizing proximity effect.
Verdict
If you’re looking for a studio mic to record vocals that can also double as a mic for the stage, look no further.
Sung Vocals Test, Neumann KMS 105
Recommended Applications
- Live Vocals
- Podcasting, Broadcasting, Voice-over, Streaming
- Close-miked acoustic stringed instruments
- Guitar amps
- Bass amps
Rode NT2-A
our rating
4.6
(out of 5)
Type: large-diaphragm condenser, multi-polar
Bottom Line:
A quality, super quiet, versatile mic with an honest, slightly warm sound.
The Rode NT2-A is our favorite midrange multi-polar condenser for recording vocals.
Build
The NT2-A is not the sexiest looking mic, but what it lacks in looks, it more than compensates for with its performance under the hood. This microphone is a redesign of its predecessor, the NT2. The overhaul brought significant improvements in performance while also reducing the price.
The NT2-A features the same capsule as the Rode K2 tube condenser microphone, complete with a 1-inch gold-sputtered diaphragm. One of the first things you’ll notice about the NT2-A is its substantial weight—at 860 grams, it’s nearly three times heavier than the NT1A. (See our comparison of the NT1-A vs NT2-A) You will need a sturdy stand.
Self-Noise and Max SPL
The NT2-A stands out for its impressively low self-noise, measured at just 7 dBA. At this price point, no competitor comes close to matching those numbers.
With a sensitivity rating of 15.9 mV/Pa, the NT2-A is highly responsive but also capable of handling extreme sound levels. Its maximum SPL reaches 147 dB without the attenuation pad and a whopping 157 dB with the pad engaged. If your studio setup involves sound levels exceeding 157 dB, you’re probably recording explosions or jet engines.
Features and Versatility
For its price, the NT2-A packs a lot of features in. It includes three selectable polar patterns—cardioid, omni, and figure-8. These options allow you to fine-tune the proximity effect or capture more room ambiance in your vocals.
The front-panel switches add even more versatility, offering a high-pass filter with 40 Hz and 80 Hz options, as well as attenuation pads of -5 dB and -10 dB. These features make the NT2-A a highly adaptable tool for a wide range of studio applications.
Sound
The NT2-A has a flat frequency response with a subtle presence boost, bringing a little brilliance around 5-7 kHz. The sound is detailed and natural, with a gentle lift in the treble to enhance vocals. The K2 capsule adds a touch of warmth, which I particularly loved, especially on higher voices.
The mic excels with intimate vocals and delicate acoustic instruments, thanks to its extremely low self-noise. This is the greatest advantage of this mic over others in its class.
Verdict
With the NT2-A, you’re getting a great price for a multi-polar pattern mic with a neutral response and a touch of warmth. It avoids the excessive air boost or harsh upper mids common in many budget condensers, allowing you to add EQ without compensating for the mic’s inherent character.
As advertised, the super-low self-noise is truly impressive. While recording, it’s immediately noticeable—no hiss at all. All you hear is the silence between sounds, almost as if you stopped tracking.
Sung Vocals Test, Rode NT2-A
Recommended Applications
- Studio Vocals (all styles and voice types)
- Acoustic guitar
- Guitar Amps
- String Instruments
- Drum overheads and drum room mics
- Piano
- Chamber ensembles
- Choirs
- Orchestras
Shure SM58
our rating
4.8
(out of 5)
Type: dynamic, handheld
Bottom Line:
The most popular mic. Delivers a ‘good enough’ sound in nearly any setting.
The SM58, the most popular live dynamic vocal mic in the world, is on this list because no other mic does as much as this mic at such a low cost. (except maybe its brother the SM57) Although not ideal for recording vocals, it always delivers a workable result.
Build
The SM58 is constructed like a tank and is famously durable. Musicians have recorded this thing dropped from buildings, left in freezers, and microwaved, and it lived! All of its parts are replaceable. It features a ball grille with an in-built wind and pop filter, housing a Unidyne III capsule inside.
Sound
The SM58 microphone consistently delivers a usable sound, making it a true marvel of engineering. Even with its lack of detail and somewhat boxy sound, a little EQ and compression often deliver decent results.
Note that you will need a considerable amount of gain from your interface to record with this mic.
Verdict
If you’re looking for detail and a ready-to-go sound, this is not your mic. But if you’re on a tight budget, the SM58 is a quality choice.
Sung Vocals Test, Shure SM58
Recommended Applications
- Live Vocals and Spoken Word
- General Studio Use
How We Tested These Mics
You can find examples from our tests of these mics in the Soundcloud clips below. We used a Universal Audio Apollo Solo Interface recorded with Logic Pro X. To give an idea of the raw sound of the mics, we have resisted the urge to make any post-recording adjustments to the tracks. There is no EQ or compression applied to any of the audio clips here. We adjusted the gain from the audio interface to taste.
We 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.
See here for all of our audio gear reviews.
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