The Shure SM7B is designed for broadcast and has a large diphragm as well as a flat response, so all frequencies are picked up equally. For a full discussion about the SM7B, see the 'Recording Hacks' page here
The SM7 also has switches on the microphone to roll off the bass response, very useful for speakers with very deep voices, as well as a control for mid-range enhancement which gives a useful boost to the frequencies which almost intelligibility.
(For details of the SM7 and a special offer click the mic)
Neumann are an excellent manufacturer of some realy first class microphones, often seen in high end music recording studios and at some of the biggest (richest) radio stations.
The Rolls Royce of their range is the U87 which currently sells for around £2,000, depending which of the accessories you want with it.
The basic types of
- Condenser / Capacitor
- Carbon Granule
- Moving Coil
Condensor microphones often have a bias charge applied, usually 48v DC. They're the most common type in recording studios and radio work. Another variant of these is the RF biasing type, which uses a small RF oscillator to bias the device, giving very sensitive microphones for high quality work.
For a more robust microphone, perhaps for an energetic DJ who is usually speaking with a music background, it may be better to use a dynamic mic. As well as being more tolerant to physical abuse, they can also handle louder noises than condensor mics and have a better tolerance to overload.
Dynamic microphones generally have a better tolerance to 'promiximity effect' which makes the audio sound 'boomy' if the speaker is too close. Some mics, such as the Electro-Voice RE20, have a special 'variable D' design which all but eliminates proximity effect booming.
Some microphones are often described as undirectional. They have a well-defined cardioid pickup pattern which minimises background noise. Good examples are the Shure SM58, often found on stage. They are used in some radio studios and cost just over £100 - click Amazon's logo for information.
This a truly remarkable mic. One that sounds terrific in any studio situation. Designed and built by RØDE in Sydney Australia, with a fantastic sound. With the NT1 you don't just get the mic: you'll also get a host of essential accessories, included in the box so you can get to work immediately.
For beautiful sounding vocal recordings and more. Full bodied sound with a smooth, flattering presence lift, it finds many harmonics which help relly bassy male voices.
One of the lowest self-noise ratings of any microphone, ever. Enjoy professional, hiss-free recordings even without a pre-amp.
Click here to have one delivered tomorrow, for just £129.
- SM6 adjustable shockmount
- pop filter,
- dust bag,
- 6m XLR cable,
- instructional DVD.
- 10 Year Warranty,
all at no additional charge.
Rode manufacture three special broadcast microphones which may be of interest; the Broadcaster, the Procaster and the Podcaster.
The three microphones are very similar but the Broadcaster is a condensor mic with a large diaphragm costing £285 while the Podcaster is a dynamic version costing £124.
Both these models are metal built, so are immune to RF breakthrough and should last for many years; the Broadcaster has a wider frequency response and has a built in “on the air” light .
The integrated pop-filter effectively minimises plosives without negatively impacting on transparency. As a dynamic microphone, the Procaster is significantly less sensitive than a large-diaphragm condenser microphone.
This makes Rode Procaster particularly suited to inexperienced speakers, e.g. interviewees, and broadcasters who have to struggle with background noise. The Procaster costs just £109 from Amazon.
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Its very important HOW any microphone is mounted. A radio studio microphone should ALWAYS be properly mounted, preferably from the ceiling but from a nearby wall or desking if necessary. The mounting arm needs to be adjustable so that it can be moved to an optimum position for the speaker.
An ideal swivel mount arm is the RODE PSA 1 which is ideal for radio studio or podcasting. The PSA Microphone Mounting Arm mates with most microphone brackets. It has a good long reach horizontally and vertically and can be rotated through 360°. A good alternative might be the EALLC boom, which has the traditional scissor action and is a well damped. It's featured here in a section of mic booms and other accessories - click the boom on the right to see them.
One of the most reliable microphone shock mounts that is designed to stand up to a lot of use in a radio studio is this one from RODE at £30 - click the mount for details.
Explosive sounds, due to the short capsule of air rushing out as you speak, are a nuiisance but can be easilly prevented using a pop shield. This can be a simple foam sock over the microphone, or a larger disc of dual layer gauze mounted on an adjustable arm and clamped to the body of the microphone. The fine mesh of the filter breaks up the initial rush of air and lose its turbulence. There are dozens available here costing from a couple of pounds upwards.
click the one above for details.
Very useful when shooting
video, or interviewing on a one-to-one basis where a stick mic is inappropriate.
They are inexpensive
from £15 upwards
No need to drag a heavy recorder around with you as your Smartphone can do the job even better. All you need is the iRig app, which instantly turns your smartphone into a greaty quality digital recorder. You can edit on screen and shoot the finished recording back to base in records. Go to the iRig page via the logo for details.
The RØDE Procaster has a dynamic large-diaphragm optimised for voice frequencies and a robust full-metal housing as well as a integrated pop filter. Includes a transport case and microphone mount. 10-year warranty. Specially developed by RØDE for broadcast use in professional radio studios.
this Audio Technics AT4033
at Broadcast Warehouse