Best microphones: Best mics for all different situations

Microphone selection is key in properly capturing the character and detail of your source signal. But with so many options it can be difficult to find the best microphones for your workflow. We’ve run down different categories of microphones before, so here we do an overview of some of our favorites overall.

Best large-diaphragm condenser microphone: Neumann U87 Ai

Ask any recording engineer to list their dream large-diaphragm condenser microphones and you’re pretty much guaranteed to find a U87 on the list. The sonic detail and quality of sound is the stuff of legend.

The frequency range is the broadest possible at 20Hz to 20kHz. Three polar patterns – cardioid, omni, and figure-8 – cover the major recording scenarios. Condensers can be delicate, but new builds of the U87 can take pretty high SPL levels, rated at a max of 127dB. To be safe you can throw on the -10dB pad and you can cut lows with the high-pass filter.

It’s one of the best microphones you need for your studio and sounds fantastic on any source, but it is very pricey.

Best small-diaphragm condenser microphone: sE Electronics SE8

There are specific use cases for small-diaphragm condensers. They excel at capturing transient detail which makes them a perfect match for sources with a fast attack like drums and acoustic guitar.

The “small” in the name doesn’t just refer to the capsule, but the enclosure as well. Also called “pencil condensers” they come in small housings that make fitting them into tight spaces easy, another reason they’re one of the best drum microphones.

sE Electronics’ sE8 has a very broad 20Hz to 20kHz frequency response and can handle high SPL with the switchable -10dB and -20dB pad. It also has two high-pass filters at 80Hz and 160Hz to cut rumble and excessive low end from the proximity effect.

It’s not the most expensive SDC out there, but the combination of sound quality and features make it an excellent microphone for your studio at just under $300.

Best dynamic microphone: Shure SM57

You might have expected Shure’s other famous model – the SM58 – to take this spot. And you wouldn’t be wrong. The reason we went with the SM57 is because it has just a little more versatility. And it’s basically just the SM58 without the windscreen anyway.

It’s unlikely you’ll go into any professional audio situation and not see at least one SM57. They’re affordable, durable, handle high SPL, and have great off-axis rejection. A wide midrange frequency response makes it ideal on all kinds of sources from guitars and drums, even vocals.

There is a low end rolloff, but it’s designed to cover the midrange anyway. It can be used on sources like kick drum and bass guitar, but there are better options for sources that live in the bass range.

Best microphone for beginners: Audio-Technica AT2020

Beginners are often faced with two obstacles when they’re picking out microphones – understanding how different types and models function, and which ones meet their needs when budget is limited.

A large-diaphragm condenser is a good all around choice because they cover a lot of ground. The AT2020 has a frequency response that covers all kinds of sources and takes up to 144dB of SPL. 

It’s cardioid only and there aren’t any additional features like a pad or high-pass filter, but it’s a workhorse and one of the best microphones for beginners.

Best ribbon microphone: Royer R-121

There’s no denying it. Ribbon microphones are awesome! They sound amazing, have a warm and fat tone profile, as well as a full and natural sound. With a frequency response of 30Hz to 15kHz it’s great on low end sources, but midrange detail is what it’s all about.

It’s a fixed figure-8 polar pattern, so mic placement is key. When it’s placed within 30 inches of the source the rear response is slightly brighter, but overall the frequency response is consistent. And you don’t have to worry about sound pressure like with old ribbons. It takes a solid 135dB SPL so it’s great on loud sources like guitar amps and drum kits.

At $1,500 the R-121 is an investment. But it sounds great, has a solid build, and pairs well with all kinds of other types of microphones.  A ribbon model like the R-121 is definitely one of the top microphones you need for your studio.

Best acoustic guitar microphone: AKG C414 XLII

If you were stuck on a desert island and could only choose one microphone, there isn’t a better choice than the C414. The frequency response is as wide as it gets at 20Hz to 20kHz. It takes high sound pressure levels, rated at a max of 134dB.

The lows are full, there is clarity and articulation in the midrange, and the highs just sing. But the real value is in how versatile it is. It has nine, yes nine, polar patterns that include cardioid, hypercardioid, supercardioid, omni, and figure-8. Each has a middle point between them that makes a total of nine.

Three attenuation pads at -6dB, -12dB, and -18dB let you throw it on loud sources like drums and horns, and three bass-cut filters remove unwanted lows. A peak-hold LED alerts you to even the most transient of overloads, and lock mode lets you disable any features you’re not using so no settings get changed accidentally. 

It’s not just one of the best acoustic guitar microphones. It’s one of the best microphones, period.

Best microphones for drums: sE Electronics V Pack Arena

For the sake of this list we went with a kit for the best drum microphones. Sure, you can mix and match each microphone on a kit. But why not go with an option that sounds great, is curated specifically for each part of the drums, and comes in a convenient set for easy transport?

The arena pack is a 7-piece bundle that includes dynamic microphones for the kick drum, snare, toms, and a duo of small diaphragm-condensers to cover the overheads. Everything comes in a rugged flight case to keep each mic protected and neatly organized and mic clips to mount them to the drum shells and microphone stands.

FAQ

What’s the best microphone for recording instruments?

It depends on the instrument. For acoustic instruments like guitar or piano, condenser mics work well because they capture more detail than dynamics.

Small-diaphragm condensers are focused and pick up transient detail well. Large-diaphragm condensers have a full, warm sound and are a great choice to capture a number of different types of instruments.

For loud sources like drums or brass, dynamic microphones or ribbon mics are a good choice because of their ability to handle high sound pressure levels. 

Should I use a condenser or dynamic microphone?

Condenser microphones are more sensitive and have a broad frequency response. This makes them excellent for studio vocals, acoustic instruments, and voice-over work. 

Dynamic microphones are less sensitive and better at rejecting background noise, which makes them a good choice for live performances and loud sound sources. They’re also more rugged.

How important is the microphone’s polar pattern?

The polar pattern is very important. It determines how a microphone picks up sound from different directions.

Cardioid patterns focus on sound from the front while rejecting noise from the sides and rear. Omnidirectional patterns pick up sound equally from all directions, making them great for group recordings or capturing room ambiance.

There are also more specialized patterns like figure-8 supercardioid, and hypercardioid. Understanding these options helps you choose a mic that fits your recording context.