“I’m New to Voiceover. What Microphone Should I Get?”
If you have been in VO for longer than 30 minutes you have probably seen this question get asked repeatedly in the many Facebook groups, Reddit Forums, Discords, etc. This post is going to be a long one because I’m going to blurt out a LOT of information. As it says at the bottom of my page, I’m an Amazon Associate so I may earn from purchases but the pricing on Amazon doesn’t change for you!
To answer the question, what’s the best microphone for you to start with? The answer is that there is not a ‘best’ microphone. There are staples of the industry. Tried and true mics that are well known to be fairly bulletproof and work well. But there’s no magic fairy dust that suddenly conjures the perfect microphone for you that’s under a hundred bucks and will book you thousands of dollars of work.
Hear me on this…when you are starting…the microphone should NOT be your biggest expense item.
The space you record in, editing/efficiency processes you have learned in your DAW, and coaching you have received will FAR outweigh anything a fancy microphone will do for your career. Seriously, if you have a budget of $1000 to start your business? Well over half of that should go into coaching and space treatment! Overspending on a top end $1000 microphone and recording in your ping ponging bathroom full of reflections is going to sound terrible compared to the route of purchasing a $150 microphone, getting some coaching lessons and putting some treatment in a closet or room. As someone who is certified by WAVES in mixing and mastering, please…treat…your…spaces. It’ll make your life and/or your audio engineer’s life way easier. Your audio will sound better if you do.
Ok…soapbox over and stepping down from it. Now comes the meat and potatoes of what you came here for which is the gear that is recommended to get started. I’ll offer each in item in tiers as far as cost:
MICROPHONES Under $200
RODE NT1 Signature Series Condenser Microphone with SM6 Shockmount and Pop Filter - Black
This is the most budget friendly offering that I like to recommend to folks, the NT1 is well known for be a good all around mic that most folks can use for years. It comes with the mic, pop filter, shockmount, and a pretty decent XLR cable all in the same box!
TZ Stellar X2 Large Diaphragm Cardioid Condenser XLR Microphone
The Stellar is very popular for folks in this price range and produces a very solid result while being pretty forgiving to plosives, within reason, compared to other budget mics like the AT2020. This kit doesn’t come with a cable so you’d need to factor one into your budget.
Audio-Technica AT875R Line/Gradient Shotgun Condenser Microphone
This is the first offering of a shotgun microphone that I will recommend. Another VO actor has this mic and done a side by side comparison with a MKH416. There is a noticeable amount of difference between the two however, for the budget, this mic can certainly hold it’s own for quite a while! https://youtu.be/YjTIVUTXCOo?si=jKAir1JNKCpY8Uyf
SYNCO XLR Shotgun Microphone, Shotgun Mic D2 Hyper Cardioid Directional Condenser Mic with XLR Connector, Video/Audio Recording for Camcorders, Shotgun-Microphone-XLR-Condenser-Mic
This is the final microphone that I’ll suggest in this price range. The Synco is another budget friendly shotgun mic. Is it a direct replacement for the MKH416? No. But I have a VO friend who took his to another country with him and used it for some explainers. The clients were still very happy with the work. For another side by side comparison of the 416 to the D2, check out this video here! https://youtu.be/NmJeMzl0JZI?si=Tii5NFPDRP0TfEzM
MICROPHONES between $201-750
RØDE NT1 5th Generation Large-diaphragm Studio Condenser Microphone with XLR and USB Outputs, Shock Mount and Pop Filter for Music Production, Vocal Recording and Podcasting (Black)
There are an absolute TON of quality microphones in this price range and it’s really hard to go wrong with many of them. This mic, the 5th gen NT1, is my personal large diaphragm condenser mic. I got this one because it’s a special piece of equipment that has a very usable USB connection to it as well! So this is both an XLR microphone AND USB microphone. Can be good for travel if you just bring the mic and don’t want to bring the interface. Can be good as a backup piece, the main reason I went this route, in the event of a USB interface failure. Just pop the XLR cable out, plug the USB-C cable in and voila! Working again. Plus, as with most Rode mics, they are solid built and the self noise is VERY low while it also comes with that kit I mentioned earlier including the cables you need, pop filter, shockmount, etc.
Sennheiser MK 4 Studio Condenser Microphone with Pop Filter and XLR to XLR Cable
The MK4 is an absolute workhorse. It’s one of those mics you can feel ok spending the money on because it’s a tank that keeps going and sounds great in many applications. Those who consider jumping to a Neumann TLM102 often consider this mic and save the money instead because, since Sennheiser owns Neumann, this mic is semi-jokingly referred to as the “TLM101.” Depending on voice and space, this one can be a little muddy but both feminine and masculine voices can adapt to this mic well.
Sennheiser Professional MKE 600 Shotgun Microphone
The last microphone I’ll discuss in this category is still well under the top of the budget range. If you’re looking at a shotgun mic in this price range, there’s plenty of options from other companies like Rode. But if you’re considering a shotgun microphone to begin with, you’re likely immediately considering the MKH416 as your top end or goal mic anyway so you might as well get the 416’s baby brother! There is a noticeable difference in the higher frequencies between this mic and the 416 but this range really starts to show the punchiness that shotgun mics are known for with good side rejection.
MICROPHONES over $751+
Sennheiser MKH 416-P48 Short Shotgun Interference Tube Mic
This is the microphone I use for the vast majority of my projects. This is the shotgun staple in the VO world so if it’s a shotgun mic you want to buy, this is likely the one most folks would point out to you. Very nice high end frequencies and very punchy for what a lot of North American reads are looking for but be aware that as of early 2024, that punchiness is not as popular in Europe if that’s a market you intend to cover.
Neumann TLM 103 Condensor Microphone
Possibly the most widely used or considered condenser microphone in the VO industry. This one is a staple and can be seen sitting in the shockmounts of VO’s all over! The accuracy of this microphone is amazing but be warned!! Get your space RIGHT before getting this mic. As I have been told by people before, the sensitivity of this mic is off the charts, it is not forgiving at all and will capture whatever you put in front of it. So if you’re studio space isn’t right then you can expect this mic to “pick up a fleas fart from the next room.”
Neumann U 87 Ai Switchable Studio Microphone - Nickel Color
Finally! The Granddaddy of them all. The mic that has been doing VO since 1967 and still kicking at the very highest peaks of top end studios and pro VOs. If you MUST have the best of the best that everyone knows and want a mic that gives you the ability to say “yea I use the u87” so you can watch everyone’s shocked face while they realize how much money you dropped while owning a piece of history? This is that mic. That said, it’s pretty darn sweet sounding.
AUDIO INTERFACES
Under $100? PreSonus Revelator io24 USB-C Compatible Audio Interface
The least expensive option on the list! This interface is USB-C and compatible with Mac or Windows. It has onboard DSP if you decide to take that route for recording but the big feature? It comes with Studio One Artist software included FREE! If you haven’t decided on a DAW to use, you can get one of my top 3 recommended DAWs included with this interface so it’s a bang for the buck offering!
$101-200 - Focusrite Scarlett 2i2 3rd Gen USB Audio Interface
You could pick this one, the Universal Audio Volt series, the SSL-2, and so many other. I’ve used the Scarlett, the Volt, and the SSL-2. They all do great. Why did I pick the Scarlett to put on this list? I used one from 2013-2022 so 9 years of longevity with my personal situation (not a guarantee for yours) was a big selling point for me! And it just does ‘the thing.’ And it does it quite well.
$201+ - Universal Audio Apollo Twin USB Heritage Edition
This is where things can get expensive! The onboard DSP, special plug-ins, and special installation instructions can make this interface a bit of a beast to deal with…but the results are simply fantastic. There’s a reason this one costs what it does and why it keeps getting updated instead of shelved. It is amazing. Beware that there are specific ones for Windows and Mac systems though so be careful which one you choose. The USB one linked here is for Windows. There’s a Thunderbolt version for Macs.
STUDIO HEADPHONES
Sony MDR7506 Professional Large Diaphragm Headphone
The studio standard headphones found around the world. The ear cuffs are a little small and depending who you ask, these are not as naturally flat sounding but, in my opinion, the minor amount of color added to the frequency does not lead to bad sounding VO tracks. These are more than enough for 99% of VO applications and parts are readily available so they can last you a long time.
Sennheiser Professional HD 280 PRO Over-Ear Monitoring Headphones,Black
I personally use a set of Sennheiser headphones because their frequencies tend to be more flat and the ear holes are usually a bit bigger. The spring tension on them and coiled cable (unless they’ve updated) can get a bit heavy after a while but bang for buck, these are hard to beat.
beyerdynamic DT 770 PRO 80 Ohm Over-Ear Studio Headphones
These headphones are simply amazing feeling headphones. The pads have plenty of squish to last on your head for a long time and the sound quality is super. In my opinion, if all you do with these headphones is voiceover, there’s really no need to reach for a higher price point than these.
XLR Cables
D'Addario XLR Cable - Microphone Cable - Shielded for Noise Reduction - XLR Male to XLR Female - Classic Series Balanced Mic Cable - 25 Feet/7.62 Meters - 1 Pack
The entry level XLR cable that I recommend whenever I get the chance. 95% shielded has served me well for a long time. I used one of these cables for 8 years for live sound and streaming purposes. If you pick up a RODE microphone, it comes with a fairly capable cable in the box. If not, and you need one, this is a great budget cable that served me well for a long time.
10 Foot - Balanced Microphone Cable CUSTOM MADE By WORLDS BEST CABLES - using Mogami 2549 (Black) wire and Neutrik NC3MXX-B & NC3FXX-B Gold XLR Plugs
My second recommendation for cables is WBC or Worlds Best Cables. Watch out for these cables because Mogami wire and Neutrik Gold’s are just about as top of the line as you can get. The only reason these ended up in the middle tier on the list is because the longest offering currently was 10ft or 3 meters which may not be long enough in some studio applications. I usually find that 15ft or 4-5 meter cables is a good sweet spot for running cable without it being tight. Obviously if you need longer applications, you may need to look at taking a step down to the silver line where they use different cable and Neutrik silver connectors if you want to stay in this mid range price point.
Mogami Gold STUDIO-15 XLR Microphone Cable, XLR-Female to XLR-Male, 3-Pin, Gold Contacts, Straight Connectors, 15 Foot
This is the Gold standard for studio XLR cables and has been for a very long time. There’s really not much else I can say about these. If you want the best of the best, these are them.
DAW (Digital Audio Workstation) and editing software
My top 3 are Adobe Audition, Studio One Artist (https://amzn.to/42cnsyI), and REAPER. There is plenty of support for each of these DAW’s within the community.
For editing software, I am WAVES certified so I have to mention a few of them ;) Clarity DeReverb and Clarity VX are good for reflection removal and noise reduction respectively. NS1 is still one of my favorite noise reduction plugins if used lightly. The F6 Floating EQ is a bit more forgiving than some of the hard EQ’s found within DAWs. The Scheps Omni Channel is my favorite Channel Strip plugin on the market. You can 10% off your first order through WAVES by using my link here: https://www.waves.com/r/1084052
The other suite of editing software I love? Izotope RX Standard. I can live with most plugins being removed from my arsenal. The Mouth Declick from RX Standard? I can’t go back! It’s less destructive to the audio behind the click and if I could do chef’s kiss hands right here so you could see then I would. It’s pricey but worth it IMO. And the other suite of things you get like a standalone editor, deesser, denoise tools, etc? Those are pretty solid too :)
I recommend Uncle Roy Yokelson for Adobe Audition assistance through Antland Productions. Don Baarns is excellent with support and classes through VOJumpstart for Studio One and Izotope RX products. George the Tech also offers assistance with all the software mentioned. Also know that in many cases a stock plugin within your DAW could be more than adequate already. I could easily use Adobe Audition’s Deesser versus buying an extra WAVES plugin. But if you’re deciding to use Audacity, sometimes Audacity and WAVES don’t like each other! So no point in buying WAVES F6 EQ plugin if it doesn’t work well with the program right? Meanwhile in Audition, REAPER, and Studio One, all these plugins will work no issues.
One of my most controversial takes is that I would highly suggest learning a DAW that is something that can help develop build in efficiencies. This is NOT Audacity. If you absolutely cannot afford any DAW software (get the Presonus interface I mentioned and it’ll come with it), Pro Tools makes a free software that is limited but still allows you to learn a software that is applicable beyond Voiceover too and it’s called Pro Tools Intro.
Space Treatment and Reflection Deadening
Focusound 24 Packs Acoustic Foam Panels 2" X 12" X 12" High Density 25kg/m3, Soundproofing Foam Noise Cancelling Foam with 120 PCS Double-Side Adhesive
While this is one of the least expensive ways to treat a small area with some materials, I would be a hypocrite to not recommend it because even though it’s not the best option, it’s how I started. I treated a storage closet with a few packs of wedge foam like this and then covered portions of it with sounds blankets (those are coming) for extra reflection protection. Is it soundproofing? No. Is it Noise cancelling? I don’t even know what that means. You’re looking to deaden the room and as long as you get foam thats at MINIMUM 2” thick, it’ll help a little in some cases.
Filmcraft Studio Sound Blanket with Grommets 72 by 80 inch Heavy Duty Polyester (Single Blanket)
When using a blanket like these, the first instinct is to pull it tight and make a nice flat surface so it’s easy to look at but sadly, folded up or having it look wavy like a pulled back curtain gives the sound waves more spaces to get trapped so consider that!
Audimute Sound Absorption Sheet | Sound Dampening Blanket - Soundproofing Sheet - Reduce Noise - Acoustic Foam Alternative | - (Black)
These were presented to me by an audiobook coach as a means to treat a room so you use the openness of the room to create a less reflective ambience for audiobook narration. Consider these if using a quiet bedroom.
GearIT Portable Vocal Recording Booth with Carry Bag, Utility Tray, Mobile Tablet Mount, and Mic Mount/Headphone Hook; Sound Isolation Room for Home Studio
I am going to preface this suggestion by saying that this should NOT replace the idea of a Whisperroom, Studio Bricks, etc. This is not that and offers little in the means of isolation. This is merely a blanket fort that is premeasured for you to put together and comes with a cool bag to make traveling easier. The name of the game with these types of things is that the room it’s in still needs to be a fairly quiet space because all the blankets are meant to do is deaden the reflections of your voice leaving the hut and bouncing around then coming back. Moving blankets and PVC from your local hardware store fairly cheap if you are willing to put in some elbow grease and measure some stuff or google plans for them.
ATS Acoustic Panel 24x48x4 Inches, Beveled Edge, in Black
These panels exist simply for those folks who don’t have the ability to put together the panels themselves with lumber, Rockwool, and burlap. Again, these do minimal treatment for isolation but the 4” thickness of these is quite good for the reflection deadening.
Before sinking a lot of money into your space, I highly recommend getting with a qualified audio engineer to discuss your recording space and discuss the exact needs YOUR space requires. Every space is different and every change you make leads to it reacting differently. Get with Uncle Roy at Antland Productions for a free initial evaluation or pay an engineer from George the Tech’s team or Edge Studio or Jim Edgar or Jordan Reynolds or Dan Lenard or Voquent or a host of other folks that can evaluate your audio space while lending a professional ear. The point is, when you are starting and if you intend on using it to make side or full time income, you NEED to treat this like a business. Treat these consultations as investments into the business instead of just costs out the door. Paying for a quality home studio setup coach is just as important, in my opinion, as paying for someone to help you with your acting chops!
If your brain has melted over, I get it. The tech side of things can be intense. All the more reason to get some help with it up front! How much is your time worth? Would you rather spend all this time fumbling over learning how to locate your optimal desser frequency or would you rather spend time practing some reads or doing auditions to get jobs?