Podcastage

00:00 - Dynamic Mic Specs (Sensitivity)

02:30 - Condenser Mic Specs (Equivalent Noise / Self Noise, Max SPL)

00:00 - Understanding Different Frequencies
01:35 - Reading a Frequency Response Graph
03:33 - Different Microphone Tone Samples
05:38 - What Tone is Right For You?

00:00 - Intro
00:18 - Demo of Polar Patterns
01:27 - Discussion of Polar Patterns
04:00 - Which Pattern is Right for You?

Which polar pattern is the best option for your situation of online content creation. In this episode I demo cardioid, omnidirectional, and figure-8 (bidirectional) so you can hear the polar patterns and then discuss which pattern is the right option for your situation.

Which mic type is right for your content, studio mics, large diaphragm dynamics, condensers, cavaliers, headsets, shotgun mics, in this video I discuss 4 common mic uses and share my thoughts on the best mics for those uses.

On episode 1.2 of PGOA, I talk about the differences between Dynamic and Condenser microphones, share what I believe to be the pros and cons of each, and then spent a lot of time discussing and demoing the contentious topic of “Do dynamic mics reject more noise than condenser mics”?

THE DIFFERENCES

Condenser microphones are active and will require phantom power, while MOST Dynamic mics are passive and do NOT require phantom power (there are very few active dynamics that will require phantom power.)

Condenser microphones also typically have a much higher sensitivity (or output a much louder signal) compared to their passive dynamic counterparts. This means that you’re not going to need to worry much about preamps available gain or noise level with condensers. Also, if you’re micing quiet sound sources at a distance, condensers would likely be the route to go.

Condensers also tend to sound more natural than dynamics, because they pick up sounds that cover the entire human hearing range of 20Hz - 20kHz, while dynamics typically roll off some higher frequencies.

Dynamic microphones have a simpler construction than condensers which makes them more able to be rugged. So if you’re tough on your gear, dynamics may offer a better option.

Dynamic microphones do a great job at handling loud sound sources (drums, loud guitar cabinets), while some condensers have a relatively low MAX SPL which means if a sound gets too loud it will distort.

DO DYNAMICS REALLY REJECT MORE BACKGROUND NOISE?

It has been said for years, and I have even repeated it that “dynamic microphones do a better job at background noise rejection than condensers.” Generally I believe this still holds true, but I don’t necessarily think it comes down to the fact that they are dynamic or condenser microphones, I believe it comes down to the polar pattern and the frequency response.

Additionally, because dynamics typically have a lower sensitivity (output a quieter signal) than condensers, people tend to use them closer to their mouth which will improve the signal-to-background-noise-ratio, which may also contribute to this idea that dynamics are better at background noise rejection.

It’s important to point out that there will be dynamics and condensers that are great at background noise rejection while others are terrible at it. That’s why it’s essential to listen to demos of the mics you’re researching so you can identify if a mic is good or bad at this rejection.

On episode 2 of PGOA, I discuss the differences between XLR and USB microphones and which connection may be the best fit for your project. If you just want simple and easy to use, then USB may be the proper route to go, but if you want more versatility, control, and options, and you have the budget; XLR will serve you well.

Should you get an XLR or USB Microphone?

This can be simplified to a single question: Do you want a simple plug and play device (USB), or do you want a more versatile, more complex, but often times higher quality device (XLR? . But let’s explore each connection type a little closer.

USB MICROPHONES

PROS

You don’t have to worry about getting the right components because everything is in a single unit.

Many of the affordable options are plug and play. You connect the mic, set your level, and you are done.

Over the last few years, There has been quite a few USB mics that introduced DSP (digital signal processing), which allows you to add real time effects (compression, EQ, denoise) to your recording.

CONS

In comparison to XLR mics, the selection is somewhat limited.

You’re not able to update any component of the signal path (mic, preamp, converter, headphone amp, etc.) because everything is in a single package.

Due to the digital nature of USB mics, the longevity these mics is somewhat limited compared to the completely analog counterparts.

Some older USB mics have issues when trying to record multiple USB mics to the same computer.

XLR MICROPHONES

PROS

There is a huge variety available (compared to USB mics) which allows you to find the exact right tool for the job

I find trouble shooting simpler with XLR mics because you can isolate each component in the signal path (mic, cable, preamp, converter, headphone amp).

Due to the modularity of this system, I find it much more upgradable because you can upgrade each individual component.

Easier to record multiple mics to the same computer compared to USB.

Can easily record XLR mics away from your computer with a portable recorder.

CONS

This setup can be much more expensive than a USB setup.

If you’re new to audio, it can be somewhat overwhelming and seemingly complicated compared to a USB mic setup.

DO USB MICS SUCK?

I have seen a lot of people argue that the audio quality you get out of USB mics is terrrible. I don’t think this is necessarily true. I think you can get pretty good quality out of a USB mic for audio published online. You just need to realize all that you’re buying when you buy a USB mic.

For example: If you’re buying a $100 Blue Yeti, you may be spending $40 on the microphone, $10 on the preamp, $20 on the converter, $20 on the headphone amp, and $10 on the stand/accessories. If you’re comparing that sound quality to a $100 XLR mic that would be an unfair comparison because that XLR setup would be $100 for the mic, $10 for the cable, $150 for the audio interface (preamp, converters, headphone amp). If you compare similarly priced XLR setups to a USB mic, I think the performance is fairly comparable.

I also think that there is a bit of a cap with the quality of USB mics. What I mean by that is, no one is producing a USB version of a Neumann U87 Ai or other classic studio mics. So although you can still get good quality audio out of USB mics, if you are looking for the highest quality studio sound, you’re still going to have to go the XLR route.

Why does microphone selection even matter?

The mic that you choose to record with is one of the biggest contributing factors to the final audio quality of your recording (your environment and proper setup are also HUGE factors but we’ll cover those later). This choice will impact the tone of your recording (i.e. is it Bright, Dark, or Neutral), how much reverb is picked up, and how much background noise is picked up (i.e. Air Conditioner, Fans, Keyboard, Annoying Neighbors).

NOTE: This is the kick off episode of the new series titled PGOA (Producing Great Online Audio), where I’ll walk you through from start to finish how to get great sounding audio for your podcast, YouTube video, or stream. In this first “module” I’ll be walking through what you need to know when selecting a microphone. At the end of these 7-8 episodes you should have a firm understanding of what to look for when buying a mic for your project.

PS: The reason I added “ONLINE” to the series title was to avoid potential lawsuits from those golf people.

Audio & Video: https://podcastage.com/rev/mk300

Today i review the Miketek MK300, a relatively affordable multi pattern condenser mic with a -10dB pad and 100hz high pass filter. I would classify this mic as a bright and clear sounding mic with a pretty heavy focus on a treble and air focus while still exhibiting good bass extension. 

RECORDING SETTINGS:
Interface: Focsurite Scarlett 18i20 2nd Gen
Conversion: 24-bit / 48kHz
Gain: ~12:00
Boosted in Post: +7dB

SPECS:
Polar Pattern: Cardioid, Figure-8, Omni
Freq Response : 20Hz - 20khz
Sensitivity: -35dB
Self Noise: 15B
Max SPL: 137dB
HPF: 100Hz (12dB/oct)

Buy the Miktek MK300 (Affiliate Link)
Amazon: https://geni.us/mk300
Sweetwater: https://sweetwater.sjv.io/mk300

Buy the Focusrite 2i2 (3rd Gen)- Same Performance as 18i20 (Affiliate Link)
Amazon:  https://geni.us/2i32rd
Sweetwater: https://imp.i114863.net/k6g4d
B&H Photo: https://bhpho.to/42lcWDF
Thomann: https://www.thomann.de/intl/focusrite_scarlett_2i2_3rd_gen.htm?offid=1&affid=2060

NOTE (FULL DISCLOSURE): As an associate, I earn from qualifying purchases. For more info check my FAQ page links below.

00:00 - Intro / Setup
00:20 - What’s in the Box
00:43 - Build Quality / Walkthrough
01:11 - Specifications
01:25 - Polar Pattern Test (Tone / Rotation)
02:12 - Plosive Test
02:23 - Distance Test / Proximity Effect Test
02:40 - Background Noise Test 
02:55 - Untreated Room Test
03:14 - Shock Rejection Test
03:33 - Mic Resonance Tap Test
03:47 - High Pass Filter Test
04:10 - Pad Test
04:39 - Audio Technica AT2020 Comparison
05:01 - sE Electronics X1a Comparison
05:22 - AKG P220 Comparison
05:45 - Neat King Bee v2 Comparison
06:09 - Earthworks Sr117 Comparison
06:39 - Rode NT1 5th Gen Comparison
07:01 - Lewitt LCT440 Comparison
07:23 - Neumann U87 Ai Comparison
07:50 - Music Test
10:06  - Pros & Cons
11:18 - Overall Thoughts
12:46 - Recommendation

Today i review the sE Electronics X1a, a budget studio condenser microphone. This offers a cardioid polar pattern, -20dB pad, and 100hz high pass filter. The sound is more on the neutral side compared to it's direct competition with extension into the bass, neutral clear mids, and a slight bump in the treble and air frequencies. At the time of review the mic costs $100 and at this price it offers a tamer top end than it's competition.

RECORDING SETTINGS:

Interface: Focsurite Scarlett 18i20 2nd Gen

Conversion: 24-bit / 48kHz

Gain: ~12:30

Boosted in Post: +8dB

SPECS:

Polar Pattern: Cardioid

Freq Response : 20Hz - 20khz

Sensitivity: -34dB

Self Noise: 16B

Max SPL: 150dB (with pad)

Impedance: 50 Ohms

Buy the sE X1a (Affiliate Link)
Amazon: https://geni.us/sex1a
Sweetwater: https://sweetwater.sjv.io/sex1a
B&H Photo: https://bhpho.to/46lDYyy
Thomann: https://www.thomannmusic.com/se_electronics_x1a.htm?offid=1&affid=2060

Buy the Focusrite 2i2 (3rd Gen)- Same Performance as 18i20 (Affiliate Link)
Amazon:  https://geni.us/2i32rd
Sweetwater: https://imp.i114863.net/k6g4d
B&H Photo: https://bhpho.to/42lcWDF
Thomann: https://www.thomann.de/intl/focusrite_scarlett_2i2_3rd_gen.htm?offid=1&affid=2060

NOTE (FULL DISCLOSURE): As an associate, I earn from qualifying purchases. For more info check my FAQ page links below.

00:00 - Intro / Setup
00:23 - What’s in the Box
00:40 - Build Quality / Walkthrough
01:18 - Specifications
01:29 - Polar Pattern Test (Tone / Rotation)
01:45 - Plosive Test
01:59 - Distance Test / Proximity Effect Test
02:19 - Background Noise Test 
02:36 - Untreated Room Test
02:55 - Shock Rejection Test
03:12 - Mic Resonance Tap Test
03:28 - High Pass Filter Test
03:51- Pad Test
04:18 - MXL 990 Comparison
04:39 - Audio Technica AT2020 Comparison
04:59 - Lewitt LCT440 Comparison
05:20 - Avantone CK6 Comparison
05:44 - Neat King Bee v2 Comparison
06:09 - Earthworks Sr117 Comparison
06:36 - sE Electronics X1 Comparison
06:59 - Rode NT1 5th Gen Comparison
07:24 - sE Electronics sE2200a II C Comparison
07:54 - sE Electronics sE4400a Comparison
08:27 - Neumann U87 Ai Comparison
09:01 - Music Test
10:53 - Pros & Cons
12:30 - Overall Thoughts
13:38 - Recommendation