Microphones are at the heart of every studio — at least those that record real-world instruments. As such, you can never have too many mics in your mic locker. In this article, we’ll explore common reasons to upgrade your mic locker and provide you with suitable product recommendations for those scenarios.
Scenario #1
You’ve leveled up your recording and mixing skills but still use a budget microphone.
You’ve gotten countless hours of recording and mixing under your belt. You’ve read hundreds of inSync articles. You may have taken a recording class or two. Clearly, you’ve laid a solid foundation. The problem? That beat-up Shure SM57 cardioid dynamic instrument microphone you’ve used for everything is beginning to feel limiting (nothing against the Shure SM57, of course — it’s a great first mic).
Don’t feel bad; the fact that you’re feeling limited by your gear is a good thing. It means that your ears and skills are evolving. So, where should you begin? We recommend you get your hands on a large-diaphragm condenser mic that can function as a “do it all” workhorse.
Flexibility is key when it comes to a great, all-around microphone; you don’t want a one-trick pony. Look for features like multiple polar patterns, a pad, and filters. A great bang-for-your-buck large-diaphragm condenser is the Audio-Technica AT4050 mic, which features three polar patterns, a -10dB pad, and an 80Hz highpass filter. An excellent higher-end option is the Lauten Audio Atlantis FC-387 large-diaphragm condenser microphone, which also has three polar patterns and a -10dB pad. And to expand your sonic palette, three voicing options and three gain settings are included, too.
If you want to own the tried-and-true studio-standard large-diaphragm condenser, then get the Neumann U 87 Ai mic. It’s the bona fide Cadillac of microphones, with an indisputable pedigree and all the features you could ask for.
Beyond that, the Lewitt LCT 1040 tube microphone system offers an excellent solution for adding sonic versatility to your mic locker — and you can do it with a single gear purchase. This multifaceted microphone system packs a premium tube mic and a FET mic into one housing. It includes five polar patterns, blendable tube and FET circuits, four tube characteristics, three highpass filters, and three pre-attenuation pads.
Scenario #2
You’ve moved to a larger space, and you want to record acoustic drums.
So, you’ve moved into a bigger space. You’ve taken the time to treat its acoustics and want to start recording full bands. If that’s the case, then deploying a cheap set of overheads and a single kick mic won’t cut it when you’re tracking an entire acoustic drum set — you need to mic up the kit properly.
The Shure PGADRUMKIT7 7-piece drum microphone kit is an excellent, value-packed set to capture a complete drum set, as it arms you with enough solid-sounding mics for a kick, three toms, a snare, and overheads — plus clips, mounts, cables, and a case.
For even better quality, we recommend purchasing each drum mic separately. For example, a matched pair of AKG C414 XLS/ST large-diaphragm condenser microphones make stellar overheads. To supplement those, you could get an AKG D112 MKII cardioid dynamic mic for kick, a handful of Sennheiser MD 421-II cardioid dynamic mics for toms (these are available in a handy 3-pack with cables just for this purpose), a Neumann KM 184 cardioid small-diaphragm condenser mic for hi-hat, or a Shure SM57 for snare-miking duties.
Want your kick drum to really kick? Then grab a Solomon LoFReQ sub-style dynamic mic, and don’t look back.
Scenario #3
You’re recording numerous vocalists and need multiple options to suit their varied tonalities.
Even if you have an excellent workhorse large-diaphragm condenser, it may not be the perfect vocal mic for everyone you throw it in front of. After all, every voice is a unique instrument. Therefore, if you’re working with a lot of different vocalists, then it’s imperative that you maintain a well-stocked mic locker.
The gold standard for vocal microphones is a large-diaphragm tube condenser. So, if you don’t have one of these must-have gems, then now is the time to get one. The Avantone Pro CV-12 large-diaphragm tube condenser microphone is a terrific entryway into the world of tube condensers, supplying you with nine polar patterns, a -10dB pad, an 80Hz highpass filter, and, most importantly, sound quality that belies its relatively modest price tag. But if you really demand world-class sound, then you’ll be absolutely floored by the large-diaphragm Universal Audio Bock 251, a modern take on what’s arguably the most iconic vocal tube mic ever made. Want a period-correct reissue of a vintage 251? If so, then check out the Telefunken ELA M 251E large-diaphragm tube condenser mic. The Telefunken becomes — pretty much without exception — the crown jewel of any mic locker it becomes part of.
If you track modern pop, R&B, or hip-hop, then the Sony C-800G large-diaphragm condenser microphone (or its more budget-conscious cousin, the Warm Audio WA-8000) is a requisite mic locker add-on, thanks to the clear, radio-friendly sheen it imparts. High-volume metal vocals pair extremely well with dynamic vocal microphones like the cardioid Shure SM7B and broadcast Electro-Voice RE20 with Variable-D.
Beyond that, some vocals really come alive in front of a ribbon microphone. For example, the AEA R92 ribbon mic, due to its minimal proximity effect and ample windblast protection, is an excellent choice.
Scenario #4
You have the core mics you need, but you want to add new colors to your recording palette.
Okay — your mic locker is full. You have what you need to record anyone and anything who/that walks through your door. That said, you’re interested in acquiring more sonic textures. After all, mics stop sounding better or worse at a certain point — they just sound different.
If you find yourself in this position, then why settle for a couple more mics when you could have all the mics? The Universal Audio Sphere DLX modeling microphone system (and its more streamlined relative, the Sphere LX) features modeling technology, enabling you to replicate the sound and performance of a broad selection of legendary microphones. These top-shelf models can realistically capture the spatial nuance, proximity effect, and off-axis response of the mics they’re replicating. To top it off, you can change the mic type, polar pattern, and other mic characteristics — even after you’ve finished recording.
Likewise, the Slate Digital VMS ML-1 large-diaphragm and ML-2 small-diaphragm modeling microphones offer faithful sonic re-creations of many classic studio microphones, supplying you with a massive virtual mic locker and unprecedented sonic flexibility during mixing.
Covering All Your Bases
One great thing about adding new microphones to your toolbox is that most mics can be used in more than one application. For example, the stereo pair of condenser mics you buy for drum overheads will also perform admirably for stereo-miking an acoustic guitar or a vocal ensemble. The dynamic mic you buy for snare can perform double duty on guitar cabinets. Basically, anything goes. Don’t be afraid to experiment!
Give Your Sweetwater Sales Engineer a Call Today!
Whether you own zero mics, one mic, or a hundred mics, there’s always room for one (or many) more. Want to bolster your mic locker? Then give your Sweetwater Sales Engineer a call at (800) 222-4700. We’ve gotten our hands on just about every microphone on the planet, and we’ll be happy to recommend the best one for your needs and budget.