Microphones
Tone begins at the source.
These microphones are proven for reliability, versatility, and session durability. No novelty pieces. Only tools that deliver consistently.
Vocals (Dynamic)
Most singers will use a dynamic vocal mic before anything else. Forgiving, durable, handles everything from whispered verses to full-volume takes. If the performance is there, these will capture it.
Workhorse
Shure SM58
There's only one answer here. The SM58 is on more stages and in more studios than any other mic ever made. Virtually indestructible, sounds good on most vocals, and I've used these for decades. Buy one, use it for 20 years, hand it to your kids.
The only real limitation? It's not the most detailed mic. But that's also why it works. It's forgiving. Sometimes that's exactly what you need.
Studio Standard
Shure SM7b
The podcast/broadcast standard that also happens to be amazing for vocals. Michael Jackson used one on Thriller. Need I say more? Warmer and smoother than the SM58, more detail, built-in pop filter that actually works. Needs a lot of clean gain, so budget for a good preamp or a Cloudlifter. But the sound is worth it.
Instruments (Dynamic)
The mics that stay on the stands between sessions. Guitar amps, drums, brass, anything loud. If your studio runs sessions, you'll own multiples of these.
Workhorse
Shure SM57
The other industry standard. Snare drums, guitar amps, toms, brass. This mic just works on everything. It's been on more records than you've heard in your lifetime. Affordable, indestructible, sounds great. There's no reason not to own several. I have four or five scattered around the studio and they're on almost every session.
Studio Standard
Sennheiser MD 421-II
If the SM57 is the workhorse, the 421 is the Swiss Army knife. Five-position bass rolloff switch, works on literally everything. Kick drum, toms, guitar amps, brass, even vocals in a pinch. Bigger and heavier than the SM57, and more expensive, but the versatility is real. This is the next mic you buy after you have your SM57s covered.
Studio Standard
Electro-Voice RE20
Broadcast standard that's also incredible on kick drums, bass amps, and low-frequency instruments. The variable-D design means almost no proximity effect. It sounds consistent regardless of distance, which is rare. Every professional studio has one for kick drum. Every broadcast booth has one for voice. There's a reason. Not a general-purpose mic, but when you need low-frequency detail without mud, this is it.
Large Diaphragm Condenser
These go where detail matters and the room cooperates. Vocals, acoustic instruments, room ambience. If your space is treated, a condenser rewards you. If it isn't, work on the room first. A good condenser will tell you everything that's wrong with it.
Workhorse
Audio-Technica AT2020
This is where most people start, and honestly? It's a solid choice. Clean, detailed, won't color your source too much. Works on vocals, acoustic guitar, room mics. It's not exciting, but it's honest. The built-in shockmount is basic and you'll want a better one eventually, but for $99 you're getting legitimate recording capability. You'll outgrow it. That's fine. That's what it's for.
Workhorse
Neumann TLM 102
This is where you cross into professional territory. Neumann sound in a small capsule, handles high SPL, built to last decades. Bright in the highs, which can be good or bad depending on your source. But the clarity is real. This mic makes pretty much everything sound like it belongs on a record. If you're doing client work and need something that just works on everything? This is it.
Studio Standard
Neumann TLM 103
This is a reference grade vocal mic at studio standard price. It uses the same capsule as the U87, which tells you most of what you need to know. Detailed, full, handles dynamics well. It does one thing and it does it right. If the TLM 102 is the condenser I put on instruments and overheads, the 103 is the one I put in front of a singer. More money than the 102, but on vocals you hear where that money went.
Reference
Neumann U87 Ai
The industry standard for 50+ years. There's a reason every professional studio has one. Three polar patterns, warm but detailed, works on absolutely everything. Vocals, acoustic instruments, room mics, percussion. Expensive? Yes. Worth it if you're building a professional studio? Also yes. This mic has been on more hit records than any other mic in history. That's not hype, that's just reality.
Small Diaphragm Condenser
Precision tools. Drum overheads, acoustic guitar, piano, hi-hat, strings. Anywhere you need accuracy without a large diaphragm's coloration. Usually bought in pairs.
Starter
RODE M5
If you need a stereo pair for overheads or acoustic instruments and you're not ready to spend serious money, start here. Clean, accurate, won't break the bank. They're not the most exciting mics, but they don't lie to you either. Good for learning how to mic things properly without a massive investment.
Workhorse
Rode NT5
A real step up from the M5s. More detail, better build, and they handle high SPL without flinching. These are legitimate session mics for overheads, acoustic guitar, piano, anything that needs accuracy. Matched at the factory, reliable, and at this price there's not much competition. If you're past the starter phase and want small diaphragm condensers you won't outgrow quickly, start here.
Studio Standard
Shure SM81
Industry standard for overheads, acoustic instruments, hi-hat. Clean, accurate, handles high SPL without complaining. I've used these on countless sessions. They're not sexy, but they're honest. Built like tanks, sound great, last forever. If you need small diaphragm condensers that just work, this is it.
Reference
Neumann KM 184
The reference. More detailed than the SM81, better off-axis response, Neumann build quality. These are what you hear on major label recordings. Matched pairs are expensive ($1,400+), but if you're building a dream studio and need the best small diaphragm condensers available? This is it.
