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Comprehensive Guide to Microphone Specifications

The most important microphone specifications are the self-noise, connection type, sensitivity, frequency response and recording pattern. Also, it is very important to know the difference between dynamic and condenser microphones.

Each of the specs plays a role in what you can achieve with the particular microphone. So, in this article, we will overview of what each spec means.

Also, at the end of an article, you will find a helpful list of all popular microphones and their specifications.

Dynamic or condenser microphone?

There is a whole article dedicated to the topic which you can read here: Dynamic vs Condenser mic. But here is a brief version.

Compared to condenser microphones, dynamic microphones are good at neglecting noise coming from further away. Hence, if you are recording in a home environment where noise is prevalent it is nice to have a nice dynamic microphone. Also, for the same reason, dynamic microphones are used on stage.

On the other hand, condenser microphones are more sensitive and overall will represent a more accurate sound. Therefore, condenser microphones are preferred for use in a studio environment where outside noise is not an issue.

USB or XLR microphone?

I have made a separate article on whether you should choose XLR or USB microphone, it is a lot more in-depth and you can read it here. But here is a brief version.

USB microphones are great if you don’t want the hassle of setting everything up. They work by plugging a USB cable into your computer and that is it. Also, USB microphones usually include all required accessories so you don’t need to worry about buying extras.

XLR microphones are usually significantly more expensive than USB mics and require additional gear to work. You won’t be able to use an XLR microphone unless you have an audio interface. Even a budget option will cost at least $80.

Also, you will probably need an XLR cable, a shock-mount and some sort of a stand. The additional gear adds up to more expenses, but XLR microphones offer a much greater audio quality and they are usually sturdier.

In addition, if you have an interface with multiple inputs you can record using multiple microphones at the same time. This comes as a bit of an issue if you are using a USB microphone. So, if you are into podcasting, you might want to choose an XLR.

Sensitivity

Sensitivity refers to how much output will be generated by a certain amount of input. When choosing a microphone sensitivity only matters to a point. The more sensitive microphone the more volume you will be able to get out of it.

Nevertheless, for most microphones, the sensitivity doesn’t matter much, because you are going to be using a pre-amp anyway or if it is a USB microphone, it has an in-built pre-amp already.

Therefore, no matter how sensitive your microphone is, you can adjust output (audio volume) using a pre-amp. Hence, even less sensitive microphones can produce the same output.

The only time that sensitivity matters is when your pre-amp can’t provide enough gain for the microphone. If that happens, your audio will be quiet and you will have to amplify it in post. So, there still is a way around it.

Also, with condenser microphones, the sensitivity will never be an issue. Even low-budget interfaces with built-in pre-amps or low-budget pre-amps will provide more than enough gain for condenser microphones.

Dynamic microphones, however, need a lot more gain than condensers and some pre-amps can’t provide enough clean gain to run them.

For reference, I own a dynamic microphone Rode Procaster, it has a sensitivity of -56dB. I also own a Behringer U-Phoria UMC204 HD audio interface which has in-built pre-amp. The interface is considered a budget option and doesn’t provide enough clean gain to run the microphone.

Therefore, if you are buying a microphone that has below -55dB sensitivity, make sure you are getting an interface/pre-amp that can provide enough clean gain to make it audible.

If you are wondering what is a clean gain, it refers to how much gain a pre-amp can provide before it starts generating inherent noise. For example, Behringer UMC204 does have enough gain to run my Rode Procaster, but if I use it at more than 80% capacity, it starts to introduce inherent hiss noise.

Frequency response

Frequency response or frequency range refers to the frequencies that a microphone can produce. For example, if your microphone has a frequency range of 200Hz – 15,000Hz, any sound that is below 200Hz or above the 15,000Hz range won’t be generated in the output.

In reality, however, frequency range matters very little, since most of the microphones will be covering at least 100Hz – 15,000Hz range. Humans at the best can hear somewhere around 20Hz-20,000Hz. Nevertheless, our ears don’t hear extremely low and extremely high frequencies very well.

We can hear 1,000 – 5,000Hz frequencies the best. Also, when editing in post for voice-over you are probably going to cut out frequencies that are below 80Hz and above 16,000Hz anyway.

If you want to check what frequencies you can hear, you can search for a frequency response test on Youtube. For me it is 30Hz-14,000Hz.

Pattern

The pattern will determine how the microphone picks up the sound. Most of the microphones are cardioids, meaning they pick up the sound that is in front of them in this heart-shaped pattern.

Cardioid patterns are very universal and will be used for voice-over, singing, podcasting, on-stage performance, and other activities.

Hypercardioid (Supercardioid) pattern is similar to cardioid, but it is a bit narrower and slightly more sensitive at the back of it. Hypercardioid pattern is great for blocking irrelevant sounds, usually, that is noise. For that reason, a lot of hypercardioid microphones are used on stage.

Omnidirectional microphones pick up sound equally as good all around them. Usually, they have four diaphragms that capture sound from all directions. This type of microphone is made specifically for interviewing so that you don’t have to switch pointing the microphone at yourself and the interviewee all the time.

Bidirectional microphones are made to be equally sensitive at the front and the back. Usually, they have two diaphragms and are good for podcasts and interviews. With a bidirectional microphone, you will be able to record yourself and the person in front of you.

However, if you are buying a microphone for a podcast, it is best to just buy two separate microphones and an interface with 2 input lines. Usually, omnidirectional and bidirectional patterns sacrifice audio quality, so it is best to avoid using them unless you absolutely have no other choice.

Shotgun microphones are created to neglect even more irrelevant sounds than hypercardioid microphones. Shotgun microphones are a bit harder to use than any type of cardioid since you have to place it facing directly at your mouth. Otherwise, it might not pick up your voice very well.

This type of microphone is used for voice-over and is very popular for recording on a movie set. If you place a shotgun mic correctly they are sensitive from quite afar, which is useful if you don’t want the microphone to be seen when filming.

Self-noise

Self-noise is only relevant for condenser microphones. Dynamic microphones do not generate self-noise.

Self-noise as the name suggest tells you how much inherent noise a condenser microphone is producing.

Here is a reference list:

  • Anything below 10dB is amazing, you won’t be hearing it.
  • 10-15dB is still amazing, very unlikely to hear it.
  • 15-20dB is a good self-noise level, you probably won’t hear it either, but it might become more prevalent after amplifying. Still perfectly normal and usable in a studio environment.
  • 20-23dB you will probably hear it a bit, but it is still decent. I wouldn’t use it in a studio environment, but for home environment recording it is fine.
  • Above 23dB is pretty bad, you will definitely hear it and it will be distracting. Avoid.

Accessories

When choosing a microphone you can save up some money by getting a microphone that includes accessories. As already mentioned, USB microphones usually come with all the required accessories so you can use them right away.

Some XLR microphones also include accessories, for example, Shure SM7B comes with a mic holder and a wind shield, the NT1 kit includes a Rycote shock-mount and a metal pop-filter and so on.

Nevertheless, most of the XLR microphones will not have accessories included, so make sure you buy them yourself separately.

What you will need for XLR microphone (minimum cost):

  • XLR cable – $5
  • Shock mount/mic mount – $10
  • Swivel arm/boom arm, microphone stand or tripod – $20
  • Interface – $100
  • Pop-filter (preferable, but not necessary) – $5

Weight

First of all, for reference, anything above 500g I would consider a heavy microphone.

The weight won’t matter very much if you are using a swivel/boom arm, even a flimsy one will be able to hold a heavier microphone.

On the other hand, if you are using a lightweight stand a heavy microphone might easily tip it over. You can combat the issue by adding something heavy on the tripod legs to make it hold better or just get the heavier microphone stand.

LIST OF MICROPHONES

UP TO $50

Neewer USB microphone – $35 | £56 | USB | Condenser microphone | Includes shock-mount & mic stand & pop-filter

Samson Meteorite USB – $40 | £44 | USB | Condenser microphone |Cardioid | Frequency response 20Hz – 20,000Hz |Includes stand| Website | Podcastage review

Fifine K669B – $41 | £46 | USB | Condenser microphone | Cardioid | Frequency response 20Hz-20,000Hz | Tripod included | Website | Podcastage review

Alvoxcon Computer Mic – $45 | £48 | USB | Condenser microphone | Cardioid | Frequency response 30Hz – 20,000Hz | Includes tripod | Website

Blue Snowball Ice – $50 | £55 | USB | Condenser microphone | Frequency response 40Hz – 18,000Hz | Cardioid | Weight 460g | Includes tripod | Website | Podcastage review

Samson MTR101 – $50 | £119 | USB | Condenser microphone | Frequency response 20Hz – 20,000Hz | Website

$51 – $75

AKG Pro/AKG P3s – $59 | £24 | XLR | Dynamic microphone | Cardioid | Frequency response 40Hz – 20,000Hz | Weight 320g | Sensitivity 2.5 mV/Pa (-52dB) | Website

AKG Pro P5S – $64 | XLR | Dynamic microphone | Supercardioid | Frequency response 40Hz – 20,000Hz | Sensitivity 2.5 mV/Pa (-52dB) | Weight 320g | Website

Uhuru USB microphone – $67 | £71 | USB | Condenser microphone | Cardioid | Includes Boom Arm & Shock-mount & Pop-filter & Windscreen |

MXL Tempo KR USB – $67 | £99 | USB | Condenser microphone | Frequency response 40Hz – 18,000Hz | Weight 280g | Includes tripod | Website

MXL 440 – $69 | £64 | XLR | Condenser microphone | Cardioid | 20 dB self-noise | Frequency response 30Hz – 20,000Hz | Sensitivity 15 mV/Pa (-36dB) | Weight 544g | Website

MXL 770 – $73 | £99 | XLR | Condenser microphone | 20dB self-noise | Cardioid | Frequency response 30Hz – 20,000 Hz | Weight 454g | Sensitivity 15mV/Pa (-36dB) | Website | Podcastage review

Razer Seiren X USB – $75 | £100 | USB | Condenser microphone | Supercardioid | Frequency response 20Hz – 20,000Hz | Sensitivity 17.8mV/Pa (-35dB) | Includes stand

$76 – $100

MXL 990 – $76 | £84 | XLR | Condenser microphone | Cardioid | 20 dB self-noise | Frequency response 30Hz – 20,000Hz|Weight 544g |Includes Shock-Mount | Podcastage review | Booth Junkie review

AT 2020 XLR – $79 | £77 | XLR | Condenser microphone | Cardioid | 20 dB self-noise | Frequency response 20Hz – 20,000Hz | Weight 345g | Tripod included | Podcastage review

Audio Technica AT2005 USB / XLR – $79 | USB&XLR | Dynamic microphone | Cardioid | Frequency response 50Hz – 15,000Hz | Weight 266g | Features: On/Off switch | Includes tripod and cables | Handheld | Podcastage review

Sennheiser E825-S – $80 | XLR | Dynamic microphone| Cardioid | Frequency response 80Hz – 15,000Hz | Weight 329g |Features: On/Off switch | Handheld | Podcastage review

Samson C01 – $80 | £112 | USB | Condenser microphone | Frequency response 20Hz-18,000Hz | Weight 680g | Includes tripod | Podcastage review

AKG D5 – $81 | £66 | XLR | Dynamic microphone | Frequency response 70Hz – 20,000Hz | Sensitivity 2.6 mV/Pa (-52dB) | Weight 320g | Handheld | Website | Podcastage review

Samson Q8 Professional Dynamic – $85 | £78 | XLR | Dynamic microphone | Frequency response 50Hz – 16,000Hz | Supercardioid | Weight 336g | Handheld | Website

AKG Perception P120 – $89 | £70 | XLR | Condenser microphone | Frequency response 20Hz – 20,000Hz | Sensitivity 24 mV/Pa (-32dB) | Weight 455g | Website | Podcastage review

MXL V67G – $95 | £127 | XLR | Condenser microphone | Cardioid | 22 dB self-noise | Frequency response 30Hz – 20,000Hz| Sensitivity 15 mV/Pa (-36dB)| Weight 560g | Website | Podcastage review

Shure SM57 – $99 | £126 | XLR | Dynamic microphone | Frequency response 40Hz – 15,000Hz | Cardioid | Weight 284g | Handheld | Website | Podcastage review

Shure SM58 – $99 | £122 | XLR | Dynamic microphone | Frequency response 50Hz – 15,000Hz | Sensitivity 1.6 mV/Pa (-56dB) | Weight 298g | Handheld | Website | Podcastage review | Booth Junkie review

MXL R144 – $99 | £119 | XLR | Ribbon microphone | Figure 8 polar pattern | Sensitivity 1.58mV/Pa (-56 dBV) | Weight 400g | Website | Podcastage review

MXL 2006 – $100 | £83 | XLR | Condenser microphone | Self noise 16dB | Frequency response 30Hz – 20,000Hz | Cardioid | Weight 590g | Large diaphragm | Sensitivity 18mV/Pa (-35dB) | Website

Sennheiser E835 – $100 | £87 | XLR | Dynamic microphone | Cardioid | Frequency response 40Hz – 16,000Hz |Switch on / off | Sensitivity 2.7mV/Pa (-51dB) | Weight 330g | Website | Podcastage review

Samson Satellite – $100 | £114 | USB (iOS, PC) | Condenser microphone | Frequency response 20Hz – 20,000Hz | Dual capsules | Weight 340g | Website

$101 – $150

AmazonBasics Professional USB microphone – $109 | £99 | USB | Condenser microphone | Cardioid, bidirectional, omnidirectional, and stereo patterns | Weight 1018g | Includes stand | Website | Podcastage review

Lewitt Handheld MTP-550 DM – $119 | XLR | Dynamic microphone | Cardioid | Frequency response 60Hz – 16,000Hz Handheld| Sensitivity 2 mV/Pa (-54 dBV) | Weight 400g | Website

AT 2035 – $119 | XLR | Condenser microphone | Cardioid | Large diaphragm | 12dB self-noise | Frequency response 20Hz – 20,000Hz | Weight 403g | Features: 80Hz high-pass filter & 10dB pad | Website | Podcastage review

AT 2020 USB – $119 | USB | Condenser microphone | Cardioid | 20Hz – 16,000 Hz | Weight 374g | Includes tripod | Website | Podcastage review

Sennheiser E 845-S – $120 | £141 | XLR | Dynamic microphone | 40Hz – 16000Hz | Sensitivity 1,8 mV/Pa (-55dB) | Weight 330g | Handheld | Switch on/off | Website

Samson G-Track Pro USB – $120 | USB | Condenser microphone | Dual capsule | Cardioid / Bidirectional / Omnidirectional patterns | Frequency response 50Hz – 20,000Hz |Weight 1600g | Includes stand | Website | Podcastage review

Blue Yeti USB – $127 | £120 | USB | Condenser microphone | Cardioid, Stereo, Omnidirectional, Bidirectional | Frequency Response 20Hz – 20,000Hz | Weight 550g | In-built stand | Mute button | Website | Marques Brownlee review | Podcastage review | Booth Junkie review

Electro Voice ND76 – $129 | £127 | XLR | Dynamic microphone | Frequency response 70Hz – 17,000Hz | Weight 323g | Handheld | Website

AKG P220 – $134 | £145 | XLR | Condenser microphone | Cardioid | Large diaphragm | Self-noise 16dB | Frequency response 20Hz – 20,000Hz | Sensitivity 20 mV/Pa (-34dB) | Bass-cut filter switch | Weight 530g | Website | Podcastage review

Electro Voice ND76S – $139 | £127 | XLR | Dynamic microphone | Cardioid |Frequency response 70Hz – 17,000Hz | Handheld | Weight 323g | Switch on/off | Website | Podcastage review

Beyerdynamic FOX USB – $139 | £123 | USB | Cardioid | Condenser microphone | Large diaphragm | Frequency Response 20Hz – 20,000Hz | Includes stand | Mute button | Weight 500g | Website | Podcastage review

HyperX QuadCast – $140 | £110 | USB | Condenser microphone | Cardioid / Bidirectional / Omnidirectional / Stereo patterns | 20Hz – 20,000Hz | Sensitivity Sensitivity 15.8 mV/Pa (-36dB) Mute button | Led | Stand included | Shock-Mount included | Weight 254g | Website | Podcastage review

AKG Pro C44 / AKG Lyra – $149 | £184 | USB | Condenser microphone | Frequency response 20Hz – 22,000Hz | Cardioid / Bidirectional / Wide stereo / Tight stereo patterns | Stand included | Mute button | Weight 453g | Website

Lewitt LCT 240 Pro – $149 | £135 | XLR | Condenser microphone | Cardioid | 19dB Self-noise | Sensitivity 16.7 mV/Pa (-35.5 dB) | Weight 309g | Website | Booth Junkie Review| Podcastage review

$151 – $200

Electro Voice 635 NDB – $159 | XLR | Dynamic microphone | Omnidirectional | 80Hz – 13,000Hz | Sensitivity 1.4mV/Pa (-57dB) | Handheld | Weight 170g | Website

AT 8010 – $169 | XLR | Condenser microphone | Omnidirectional | Frequency response 20Hz – 20,000Hz | 80Hz frequency roll-off switch | battery powered | Website

Rode NT-USB – $179 | £234 | USB | Condenser microphone | Frequency response 20Hz – 20,000Hz | Weight 520g | Includes stand & Pop-shield | Podcastage review | Think Media review

Shure 55SH – $179 | £197 | XLR | Dynamic microphone | Cardioid | Frequency response 50Hz – 15,000Hz | Turn off/on switch | Weight 626g | Website

AKG Pro P420 – $179 | XLR | Condenser microphone | Cardioid / Omnidirectional / Bidirectional patterns | 15 dB self-noise | Sensitivity 28 mV/Pa (-31dB) | Frequency response 20Hz – 20,000Hz | Weight 530g | Website | Podcastage review

AKG D7 – $179 | £140 | XLR | Dynamic microphone | Supercardioid | Sensitivity 2.6mV/Pa (-52dB) | Frequency response 70Hz – 20,000Hz | Handheld | Weight 320g | Website

Sennheiser e906 – $190 | £156 | XLR | Dynamic microphone | Supercardioid | Frequency response 40Hz – 18,000Hz | Sensitivity 2,2 mV/Pa (-53dB) | Weight 140g| Boost presence Normal presence / Attenuate presence modes switch | Website | Podcastage review

Electro Voice RE50ND – $199 | XLR | Dynamic microphone | Omnidirectional | Frequency response 80Hz – 13,000Hz | Sensitivity 2.2mV/Pa (-53dB) | Weight 269g | Handheld | Website | Podcastage review

Shure PGA27 – $199 | £236 | XLR | Condenser microphone |Cardioid | Large diaphragm |20Hz – 20,000Hz |Weight 453g | Includes shock-mount | Website | Podcastage review

Sennheiser E614 – $200 | XLR | Condenser microphone | Supercardioid | Small diaphragm | Frequency response 40Hz – 20,000Hz | Sensitivity 3 mV/Pa (-50 dB) | Weight 93g | Website

Blue Spark Blackout SL XLR – $200 | £677 | XLR | Condenser microphone | Cardioid | Large diaphragm | 16.4dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 34.9 mV/Pa (-39dB) | Weight 336g |Features: -20dB pad | Includes shock-mount | Website | Podcastage review

$201 – $250

Blue Yeti X – $216 | £160 | USB | Condenser microphone | Cardioid / Bidirectional / Stereo / Omnidirectional patterns | Includes stand | Frequency response 20Hz – 20,000Hz | Weight 519g | Website | Podcastage review | Think Media review

Sennheiser e945 – $220 | £228 | XLR | Dynamic microphone | Frequency response 40Hz – 18,000Hz | Sensitivity 2.0mV/Pa (-54dB) | Handheld | Weight 365g | Website | Podcastage review

Rode Procaster – $229 | £139 | XLR | Dynamic microphone | Cardioid | Broadcast | Frequency response 75Hz – 18,000Hz | Sensitivity 1.6mV/Pa (-56dB) | Weight 745g | Website | Booth Junkie review | Podcastage review | Blog review

Rode NT1-A Package – $229 | £166 | XLR | Condenser microphone | 5dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 25mV/Pa (-31.9dB) | Weight 326g | Website | Booth Junkie Review | Podcastage review

Rode NTG1 Shotgun – $240 | £146 | XLR | Shotgun | Supercardioid |Frequency response 20Hz – 20,000Hz | Sensitivity 15mV/Pa (-36dB) | Weight 105g | Website

Electro Voice RE320 – $249 | XLR | Dynamic microphone | Cardioid | Broadcast | Frequency response 30Hz – 18,000Hz | Sensitivity 2.5mV/Pa (-52dB) | Weight 681g | Website | Booth Junkie review | Podcastage

$251 – $300

AT 2050 – $252 | £209 | XLR | Condenser microphone | Cardioid / Omnidirectional / Bidirectional patterns |17dB self-noise | Frequency response 20Hz – 20,000Hz | Weight 412g | 80Hz high-pass filter switch | 10dB pad switch | Website | Podcastage review

Shure 55SH Deluxe Supercardioid – $269 | £349 | XLR | Dynamic microphone | Supercardioid | Frequency response 60Hz – 17,000Hz | Weight 635g | Built-in swivel mount | Includes XLR cable | Website | Podcastage review | Booth Junkie review

Lewitt LCT 440 – $269 | £236 | XLR | Condenser microphone | Cardioid | 7dB self-noise | Sensitivity 27.4 mV/Pa (-31.2dB) | Weight 310g | Includes shock-mount & pop-filter | Website | Booth Junkie review | Podcastage review

Rode NT1 Kit – $269 | XLR | Condenser microphone | Cardioid | Large diaphragm | 4dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 35mV/Pa (-29dB) | Weight 440g | Website | Booth Junkie review | Podcastage review

Lewitt DGT 450 – $299 | USB | Condenser microphone | Cardioid | self-noise 25dB | Frequency response 50Hz – 20,000Hz | 80Hz low-cut filter switch |-10dB pad switch | Includes tripod | Weight 349g | Website

AT 4040 – $300 | £650 | XLR | Condenser microphone | Cardioid | Large-diaphragm | 12dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 25.1mV/Pa (-32dB) |80Hz roll-off switch | 10dB pad | Weight 360g | Website | Booth Junkie review | Podcastage review

Sennheiser MK 4 – $300 | XLR | Condenser microphone | Cardioid | 10dB self-noise | Sensitivity 25mV/Pa (-32dB) | Frequency response 20Hz – 20,000Hz | Weight 485g | Website | Podcastage review

$301 – $350

Lewitt DTP 640 Rex Drum Mic – $329 | £299 | XLR | Dynamic&Condenser microphone | 28dB self-noise | Cardioid Frequency response 20Hz – 20,000Hz Condenser / 20Hz – 16,000Hz dynamic | Dynamic sensitivity 0.4mV/Pa (-69dB) | Condenser sensitivity 2mV/Pa (-54dB) | Weight 755g | Website

Heil Sound PR40 – $329 | £321 | XLR | Dynamic microphone | Cardioid | Broadcast | Frequency response 28Hz – 18,000Hz | Sensitivity 2mV/Pa (-53.9 dB) | Weight 383g | Website | Mike Russell review | Booth Junkie review | Podcastage review

AKG Pro C214 – $345 | £300 | XLR | Condenser microphone | Large diaphragm | Cardioid |13dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 100mV/pa (-20dB) | Weight 280g | Bass cut filter 160Hz switch | Website | Podcastage review

Electro Voice RE20 – $346 | XLR | Dynamic microphone | Cardioid | Large diaphragm | Broadcast | End-adress | Frequency response 48Hz – 18,000Hz | Sensitivity 1.5mV/Pa (-56dB) | Weight 737g | Website | Booth Junkie review | Podcastage review

AT BP40 – $349 | XLR | Dynamic microphone | Hypercardioid | Frequency response 50Hz – 16,000Hz | Sensitivity 3.9 mV/Pa (-48dB) | Weight 632g |100Hz highpass filter switch | Website | Podcastage review

AKG C 451 B – $349 | £195 | XLR | Condenser microphone | Cardioid | self-noise 18dB | Frequency response 20H – 20,000Hz | Sensitivity 9 mV/Pa (-41dB) | -10dB & -20dB pads | Bass cut filter 75Hz & 150Hz | Weight 125g | Includes windscreen | Website

$351 – $400

Sennheiser MD 421 II – $380 | XLR | Dynamic microphone | Frequency response 30Hz – 17,000Hz | Sensitivity 2 mV/Pa (-54dB)| Weight 385g | Bass-cut switch | Website | Podcastage review

Shure SM7B – $399 | £427 | XLR | Dynamic microphone | Cardioid | Broadcast | Frequency response 50Hz – 20,000Hz | Weight 767g | Includes holder and windshield | Website | Booth Junkie review | Podcastage review

Rode NT2A Studio pack – $399 | £249 | XLR | Condenser microphone | Cardioid / Omnidirectional / Bidirectional | 7dB self-noise | Frequency respons 20Hz – 20,000Hz | Sensitivity 16mB/Pa (-36dB) | Weight 860g | -5dB & -10dB pad switch | 40Hz, 80Hz high-pass filter switch | Includes shock-mount & pop-filter | Website | Booth Junkie review | Podcastage

$401 – $500

Rode Broadcaster – $419 | XLR | Dynamic microphone | Cardioid | Broadcast | End-adress |Frequency response 20Hz – 20,000Hz | Sensitivity 20mV/Pa (-34db) | Weight 577g | Website | Booth Junkie review | Podcastage review

Electro Voice RE27ND – $449 | XLR | Dynamic microphone | Broadcast | Frequency response 45Hz – 20,000Hz | Sensitivity 2.5mV/Pa (-52dB) | Weight 709g | 100-250Hz / 100-1000Hz / High frequency roll-off switches | Website | Booth Junkie review | Podcastage review

Sennheiser e 965 – $500 | XLR | Condenser microphone | Cardioid / Supercardioid | self-noise 21dB | Frequency response 40Hz – 20,000Hz | Weight 396g | Handheld | Includes -10dB pad switch| Website

$501 – $600

Lewitt DGT 650 – $579 | iOS, USB, 5-pin DIN Midi input | Condenser microphone | Cardioid | Frequency response 20Hz – 20,000Hz | Includes shock-mount & windscreen & tripod | 80Hz & 160Hz low-cut filter switch | -10dB & -20dB pad switch | Weight 310g | Website

$601 – $700

AT 4050 – $699 | XLR | Condenser microphone | Cardioid / Omnidirectional / Bidirectional patterns | 17dB self-noise | Frequency response 20Hz – 18,000Hz | Weight 510g | 80Hz low cut filter switch | -10dB pad switch | Website

Lewitt LCT 540 Subzero – $699 | £630 | XLR | Condenser microphone | Cardioid | 4dB self-noise | Sensitivity 41mv/Pa (-28dB) | Weight 371g | Shockmount & Windscreen included | 80Hz & 160 Hz low-cut filter | -6dB & -12dB pad witch | Website | Booth Junkie review

Neumann TLM 102 – $700 | £689 | XLR | Condenser microphone | Cardioid | 12dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 11mV/Pa (-39dB) |Weight 210g | Website | Podcastage review

Neumann KMS 105 – $700 | £504 | XLR | Condenser microphone | Supercardioid | 18dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 4.5mV/Pa (-47dB) | Weight 300g | Handheld | Includes XLR cable & mic stand | Website | Podcastage review

Neumann BCM 705 – $700 | XLR | Dynamic microphone | Hypercardioid | Broadcast | Frequency response 20Hz – 20,000Hz | Sensitivity 1.7 mV/Pa (-55dB) | Weight 500g | Website | Podcastage review

$701 – $999

Neumann KM184 MT – $850 | XLR | Condenser microphone | Cardioid | 13dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 15 mV/Pa (-36dB) | Weight 80g | Includes shock-mount & mic stand & XLR cable | Website

AKG Pro C414 – $880 | £620 | XLR | Condenser microphone | Cardioid / Bidirectional / Hypercardioid / Omnidirectional / Wide cardioid patterns | self-noise 6dB | Frequency response 20Hz – 20,000Hz | Sensitivity 23mV/Pa (-33dB) | Weight 300g | 160Hz & 80Hz & 40Hz bass cut filter switch | -6dB & -12dB & -18dB pad switch | Website

Sennheiser MKH416 – $999 | XLR | Shotgun microphone | Hypercardioid | 13dB self-noise | Frequency response 40Hz – 20,000Hz | Sensitivity 25 mV/Pa (-32dB) | Includes windshield | Website | Booth Junkie review | Podcastage review

$1000+

Neumann TLM 103 – $1100 | XLR | Condenser microphone | Cardioid | 7 dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 23 mV/Pa (-33dB) | Weight 450g | Website | Booth Junkie | Mike Russell review | Podcastage review

Neumann TLM 107 – $1400 | XLR | Condenser microphone | Cardioid / Omnidirectional / Wide angle / Hypercardioid / Bidirectional patterns | 10dB self-noise | Frequency response 20Hz – 20,000Hz | Weight 445g | Website

Neumann TLM 193 – $1500 | XLR | Condenser microphone | Cardioid | 10dB self-noise | Frequency response 20 Hz – 20,000Hz | Sensitivity 18mV/Pa (-35dB) | Weight 480g | Website

Lewitt LCT 940 Reference Class – $1700 | XLR | Condenser microphone | Cardioid / Supercardioid / Omnidirectional / Bidirectional / Wide cardioid | 8dB self-noise | Frequency response 20Hz – 20,000Hz | Sensitivity 23 mV/Pa (-33dB) | Weight 662g | 40Hz & 150Hz & 300Hz low-cut filter switches | -6dB / -12dB / -18dB pad switch | Website

Neumann U 87 – $3600 | XLR | Condenser microphone | Cardioid & Bidirectional & Omnidirectional patterns | self-noise 12dB | Frequency response 20Hz – 20,000Hz | Sensitivity 28 mV/pa (-31dB) | Weight 500g | Website

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