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The Greatest Microphones You’ve (Probably) Never Heard Of

Thursday May 12, 2022. 10:00 PM , from Sweetwater inSync
Both professional and project studios are replete with Neumann U 87s, AKG C414s, Shure SM7Bs, and all the other standard, well-known mics. Those aren’t the only microphones on the planet, however. In fact, they’re not even the only good microphones on the planet. There’s a whole host of lesser-known — but eminently amazing — mics out there. In this article, we’ll explore some of our favorite sleeper mics. Some may ring a bell, and others may be completely unfamiliar to you. Either way, all the microphones in this article hold a special place in our hearts, and we’re confident that — if you give them a fair chance — they’ll find a place in yours.

Audio-Technica AT4050

The Audio-Technica AT4050 is one of those microphones that most folks don’t know about — but they should! Even though it’s priced in the sub-$1,000 range, this large-diaphragm condenser is a top performer. The AT4050 boasts a gorgeous, transparent sound; extended frequency response; and super-high SPL capabilities. No matter what you place this workhorse in front of, it delivers the goods time and time again. Plus, it’s jam-packed with useful features: three switchable polar patterns, a switchable 80Hz highpass filter, and a -10dB pad. It even comes with a high-quality shockmount. While the AT4050 may never become the subject of conversation in elitist circles, pro engineers know that, nine times out of 10, it’s the right mic for any application. Anyone searching for a jack-of-all-trades large-diaphragm condenser (and a master of them all) will get lots of mileage out of an AT4050.

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Shure KSM137

There are tons of small-diaphragm condensers out there, some better known than others. But, if you want to get your hands on a real secret weapon, check out the Shure KSM137. This unassuming mic isn’t flashy, and it won’t stop traffic at a boutique-gear convention. That said, whether you place it on acoustic instruments or put up a pair as drum overheads, the KSM137 is guaranteed to exceed your expectations. This is a clean-sounding microphone, thanks to its transformerless design, with snappy transient response and nearly zero distortion. It includes a subsonic filter and a 3-position highpass filter for eliminating low-frequency rumble plus a 3-position pad for tackling high-SPL sources. Oh, and it costs less than $400!

Beyerdynamic M 88 TG

If you want an alternative to the industry-standard handheld dynamic mic, then get your hands on a Beyerdynamic M 88 TG. What makes this mic great? For starters, it captures lead vocals in a vibrant yet completely natural way, and its hypercardioid behavior makes onstage feedback a nonproblem. That’s probably why the M 88 TG was Phil Collins’s preferred stage vocal mic throughout most of his career. What’s more, the M 88 TG’s high SPL capabilities and outstanding frequency response make it equally impressive on loud kick drums, bass cabinets, and brass instruments. It makes a killer broadcast mic, as well. To top it off, the M 88 TG vaunts a reinforced basket that can withstand the rigors of the road without breaking a sweat.

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Sennheiser MD 441-U

Dynamic mics are frequently used in the studio for drums, speaker cabs, and even vocals. For a dynamic microphone that’s a cut above the rest, check out the Sennheiser MD 441-U. It’s a head-scratcher why the MD 441-U flies under the radar; it’s been in production ever since its introduction in 1971 and in front of artists such as Stevie Nicks, David Bowie, and Elton John. It features squeaky-clean, uber-detailed sound reproduction. What’s more, its supercardioid pattern offers outstanding off-axis rejection and eats feedback for lunch. It’s designed for low-noise operation, as well, thanks to its spring capsule mounting, hum-compensating coil, and integrated pop filter. To top it off, a 5-position low-frequency contour switch and a 2-position treble boost give you lots of sound-shaping options. Seriously, every studio should have one of these. And, since many studios don’t, you could be among the in-the-know ones that do.

Crown PCC160

We talk about large- and small-diaphragm condensers; we talk about broadcast dynamic mics; and we talk about handheld stage mics. But it seems that nobody ever sings the praises of the mighty boundary microphone. The Crown PCC160 deserves praise, however. The industry standard for stage floor miking duties, this low-profile boundary layer microphone exhibits a smooth 50Hz–18kHz frequency response, and it can withstand an onslaught of up to 120dB SPL with zero distortion. The PCC160 possesses a half-supercardioid polar pattern; so, it not only rejects feedback with aplomb, but it also keeps unwanted pit-orchestra noise from bleeding in during stage use. A 3-position bass-tilt switch keeps your low-end response in check. And, while the PCC160 is a clear winner as a stage floor mic, it’s also a top-shelf solution for capturing room ambience. Not many studios have a boundary microphone in their mic locker. So, if you dare to go where many fear to tread, get yourself a PCC160.

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Earthworks DM20

Positioning drum mics can be a pain in the derrière, especially if the drummer displays antagonistic tendencies. Unless you have an Earthworks DM20, that is. If you’re at all familiar with Earthworks microphones, then you’re well aware of how excellent the DM20 sounds. Seriously, this little stick of dynamite packs a nearly perfect cardioid pickup pattern, a 50Hz–20kHz frequency response, and excellent transient response. Plus, it can endure 150dB SPL — a must for capturing a manic drummer in the midst of their aggressive fury. Best of all, this clip-on small-diaphragm condenser includes a rigid gooseneck that stays where you position it — no mic stand required. Beyond that, the DM20’s nearly bulletproof design stares down wayward stick hits without batting an eye. If you’re tired of wilting microphone stands and busted mics, then it’s time to end the struggle. Get a DM20 (or a whole pack of DM20s) and start living your best life.

Sennheiser AMBEO VR

If you want to create virtual-reality content but you don’t know how to do it, then it’s not as daunting as you might think. The first thing you need to do is get the right kind of microphone. Enter the Sennheiser AMBEO VR. Tailor-made for the Ambisonics multichannel format, this oddly shaped mic includes four matched KE 14 capsules and a balanced split 4-XLR breakout cable, enabling you to capture 360 degrees of Ambisonics sound. The AMBEO VR also includes an A-B format converter plug-in — an essential for producing VR content. You also get a high-quality Rycote suspension mount and a foam windscreen. If you want to jump on the Ambisonics bandwagon, then the little-known Sennheiser AMBEO VR offers a perfect starting point.

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Conclusion

Ah... so many microphones, so little time. Sweetwater stocks an endless array of top-quality microphones to fit every application and budget. And, as this article demonstrates, the best mic for the job might not make everybody’s “Top 10” list. That’s why you should trust your Sweetwater Sales Engineer. We’ve run just about every microphone — both mega-popular and mega-obscure — through its paces. Our mic shootouts highlight just a fraction of the microphones we’ve used in our audio endeavors.

To find the perfect mic for you, give your Sweetwater Sales Engineer a call at (800) 222-4700.
The post The Greatest Microphones You’ve (Probably) Never Heard Of appeared first on inSync.
https://www.sweetwater.com/insync/the-greatest-microphones-youve-probably-never-heard-of/
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