Review / Microphone / Various: Difference between revisions

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I have split the review and comparison into two groups: Condenser and dynamic microphones.

=== Context ===

As a singer, I am looking for a microphone for a male lead vocalist with a darker tone. I can struggle to be heard in a busy mix. With the wrong microphone, my voice is inarticulate and muffled. I tend to prefer the faster response and articulation I get with a good condenser microphone, over most lower-end dynamic microphones. However, for a loud stage, I will sacrifice fine-grained detail for projection to be present and forward in the mix. I also need excellent off-axis rejection to minimize microphone bleed from other sound sources.

== The Lineup ==

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The [[Sennheiser MD 445]] is my first choice. Sennheiser released this microphone in late 2020. It has an extremely tight supercardioid polar pattern. The [[Gain Before Feedback|gain before feedback]] sets it ahead of everything else on the list. It has a lift in the upper midrange and details in the highs that comes close to sounding like a good condenser microphone. This also helps me to project, compete, and be heard in a busy stage mix.

The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling, the ~~Sennheiser~~ MD ~~445~~ has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone. The sound is excellent, with less emphasis in the upper midrange compared to the MD 445.

The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling (MD 445), the MD 435 has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone. The sound is excellent, with less emphasis in the upper midrange compared to the MD 445. For a female vocalist, I would consider this instead of the MD 445.

The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection~~. I also know the latter to be extremely rugged~~. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.

The Beyerdynamic M88 has been around since 1962. For decades it has been one of my go-to dynamic microphones. It has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.

The Audix OM5 sounds good, has a tight hypercardioid polar pattern, and there is a ToneMatch Preset for it.

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The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, the others on the list sound better to me.

=== Application ~~- Hand Held Microphone~~ - Soloist ===

=== Application - Soloist ===

# Neumann KMS 105

# Sennheiser e 965

~~# Sennheiser MD 435~~

# Audix VX-5

# AKG C535

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# Shure Beta 87a

Where sound quality takes precedence over everything else, the Neumann KMS105 is first. It has very low handling noise, so as a handheld unit or on a stand ~~with lots of mechanical noise, this would do very~~ well. I also found it to have the best resistance to wind noise and popping "p"s when "eating the mic." ~~I think you would find it very suitable~~ for female vocalists or any vocalists whose voice holds plenty of nuance. This microphone can be very present even at lower volumes. There is plenty of room for dynamics in the hands of a skilled artist while maintaining detail in softer passages.

Where sound quality takes precedence over everything else, the Neumann KMS105 is first. It has very low handling noise, so as a handheld unit or on a stand it works well. I also found it to have the best resistance to wind noise and popping "p"s when "eating the mic." It has been my first choice for a microphone for my voice since 2004. It has also been great for female vocalists or any vocalists whose voice holds plenty of nuance. This microphone can be very present even at lower volumes. There is plenty of room for dynamics in the hands of a skilled artist while maintaining detail in softer passages.

There is a quality shared by the Neumann KMS105, the Microtech Geffel UMT 70S, and the Sony C48. If it could be said that a microphone sparkles, shimmers, or glistens, these microphones do that. Not being a sound engineer, I don't have the words to describe it, but I hope you understand what I mean. It is the same kind of difference you hear going from a dynamic microphone to a condenser, only more so. Think of the difference between red and the candy-apple red you get with many layers of lovingly applied lacquer.

~~The Sennheiser e 965 was introduced in 2008 at close to~~ the ~~same price as~~ the ~~Neumann KMS 105 (above)~~. ~~In 2020~~, ~~Sennheiser dropped~~ the ~~price as part~~ of a ~~75th-anniversary promotion~~, and ~~it is now an exceptional bargain~~.

There is a quality shared by the Neumann KMS105, the Microtech Geffel UMT 70S, and the Sony C48. If it could be said that a microphone sparkles, shimmers, or glistens, these microphones do that. I don't have the words to describe it, but I hope you understand what I mean. It is the same kind of difference you hear going from a dynamic microphone to a condenser, only more so. Think of the difference between red and the candy-apple red you get with many layers of lovingly applied lacquer.

It is interesting because it has a switchable polar pattern (Supercardioid/Cardioid). This gives you the flexibility to use it with a vocalist who cannot consistently sing directly into the microphone. The others on this list are less forgiving. It also has a built-in -10 dB pad and a low-frequency roll-off for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use the close-microphone technique ("eat the mic").

The Sennheiser e 965 was introduced in 2008 at close to the same price as the Neumann KMS 105 (above). In 2020, Sennheiser dropped the price as part of a 75th-anniversary promotion, and it is now an exceptional bargain. It is interesting because it has a switchable polar pattern (Supercardioid/Cardioid). This gives you the flexibility to use it with a vocalist who cannot consistently sing directly into the microphone. The others on this list are less forgiving. It also has a built-in -10 dB pad and a low-frequency roll-off for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use the close-microphone technique ("eat the mic").

I got the Audix VX-5 in 2018. It is an excellent microphone that took the number two spot on my list. Since then, the Sennheiser e 965 ~~and Sennheiser MD 435 have~~ bumped it down to number three.

I got the Audix VX-5 in 2018. It is an excellent microphone that took the number two spot on my list. Since then, the Sennheiser e 965 has bumped it down to number three.

The AKG C585, Rode S1, and the Shure Beta 87a sound very similar to me. Well defined, accurate, but lacking the lustre of the Neumann KMS105 and Sennheiser e 965.

@@ Line 36: / Line 36: @@
 I have split the review and comparison into two groups: Condenser and dynamic microphones.
+=== Context ===
+As a singer, I am looking for a microphone for a male lead vocalist with a darker tone. I can struggle to be heard in a busy mix. With the wrong microphone, my voice is inarticulate and muffled. I tend to prefer the faster response and articulation I get with a good condenser microphone, over most lower-end dynamic microphones. However, for a loud stage, I will sacrifice fine-grained detail for projection to be present and forward in the mix. I also need excellent off-axis rejection to minimize microphone bleed from other sound sources.
 == The Lineup ==
@@ Line 100: / Line 103: @@
 The [[Sennheiser MD 445]] is my first choice. Sennheiser released this microphone in late 2020. It has an extremely tight supercardioid polar pattern. The [[Gain Before Feedback|gain before feedback]] sets it ahead of everything else on the list. It has a lift in the upper midrange and details in the highs that comes close to sounding like a good condenser microphone. This also helps me to project, compete, and be heard in a busy stage mix.
-The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling, the Sennheiser MD 445 has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone. The sound is excellent, with less emphasis in the upper midrange compared to the MD 445.
+The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling (MD 445), the MD 435 has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone. The sound is excellent, with less emphasis in the upper midrange compared to the MD 445. For a female vocalist, I would consider this instead of the MD 445.
-The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.
+The Beyerdynamic M88 has been around since 1962. For decades it has been one of my go-to dynamic microphones. It has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.
 The Audix OM5 sounds good, has a tight hypercardioid polar pattern, and there is a ToneMatch Preset for it.
@@ Line 108: / Line 111: @@
 The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, the others on the list sound better to me.
-=== Application - Hand Held Microphone - Soloist ===
+=== Application - Soloist ===
 # Neumann KMS 105
 # Sennheiser e 965
-# Sennheiser MD 435
 # Audix VX-5
 # AKG C535
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 # Shure Beta 87a
-Where sound quality takes precedence over everything else, the Neumann KMS105 is first. It has very low handling noise, so as a handheld unit or on a stand with lots of mechanical noise, this would do very well. I also found it to have the best resistance to wind noise and popping "p"s when "eating the mic." I think you would find it very suitable for female vocalists or any vocalists whose voice holds plenty of nuance. This microphone can be very present even at lower volumes. There is plenty of room for dynamics in the hands of a skilled artist while maintaining detail in softer passages.
+Where sound quality takes precedence over everything else, the Neumann KMS105 is first. It has very low handling noise, so as a handheld unit or on a stand it works well. I also found it to have the best resistance to wind noise and popping "p"s when "eating the mic." It has been my first choice for a microphone for my voice since 2004. It has also been great for female vocalists or any vocalists whose voice holds plenty of nuance. This microphone can be very present even at lower volumes. There is plenty of room for dynamics in the hands of a skilled artist while maintaining detail in softer passages.
-There is a quality shared by the Neumann KMS105, the Microtech Geffel UMT 70S, and the Sony C48. If it could be said that a microphone sparkles, shimmers, or glistens, these microphones do that. Not being a sound engineer, I don't have the words to describe it, but I hope you understand what I mean. It is the same kind of difference you hear going from a dynamic microphone to a condenser, only more so. Think of the difference between red and the candy-apple red you get with many layers of lovingly applied lacquer.
-The Sennheiser e 965 was introduced in 2008 at close to the same price as the Neumann KMS 105 (above). In 2020, Sennheiser dropped the price as part of a 75th-anniversary promotion, and it is now an exceptional bargain.
+There is a quality shared by the Neumann KMS105, the Microtech Geffel UMT 70S, and the Sony C48. If it could be said that a microphone sparkles, shimmers, or glistens, these microphones do that. I don't have the words to describe it, but I hope you understand what I mean. It is the same kind of difference you hear going from a dynamic microphone to a condenser, only more so. Think of the difference between red and the candy-apple red you get with many layers of lovingly applied lacquer.
-It is interesting because it has a switchable polar pattern (Supercardioid/Cardioid). This gives you the flexibility to use it with a vocalist who cannot consistently sing directly into the microphone. The others on this list are less forgiving. It also has a built-in -10 dB pad and a low-frequency roll-off for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use the close-microphone technique ("eat the mic").
+The Sennheiser e 965 was introduced in 2008 at close to the same price as the Neumann KMS 105 (above). In 2020, Sennheiser dropped the price as part of a 75th-anniversary promotion, and it is now an exceptional bargain. It is interesting because it has a switchable polar pattern (Supercardioid/Cardioid). This gives you the flexibility to use it with a vocalist who cannot consistently sing directly into the microphone. The others on this list are less forgiving. It also has a built-in -10 dB pad and a low-frequency roll-off for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use the close-microphone technique ("eat the mic").
-I got the Audix VX-5 in 2018. It is an excellent microphone that took the number two spot on my list. Since then, the Sennheiser e 965 and Sennheiser MD 435 have bumped it down to number three.
+I got the Audix VX-5 in 2018. It is an excellent microphone that took the number two spot on my list. Since then, the Sennheiser e 965 has bumped it down to number three.
 The AKG C585, Rode S1, and the Shure Beta 87a sound very similar to me. Well defined, accurate, but lacking the lustre of the Neumann KMS105 and Sennheiser e 965.