AKG - C414 COMBO

Definitely the C414. Classic, clean, industry staple workhorse mic. Nice on vocals but also great as overheads, tom mics, acoustic guitars, piano etc. I know you said no tube mics, but I can’t help but notice you’re missing a C12 and a 251. I’d reach for a C12 over those Neumanns and a 251 over the C800 a fair bit, especially on female vocals.

I used to use a SM7b or C414 into a UA6176 but always struggled with these in the mix, I had to use so many plugins on the track (EQ, compression, de-esser, more EQ, soothe...) up to a point where it would just start to sound weird and obviously pretty bad. Then I bought a used 017 Tube. Nowadays, my vocal chain is 017 Tube -> 6176 -> Audioscape Opto. I swear, what you are saying is 100% true. The only thing I have to do now is add a highpass filter then a little bit of subtle top end boost using a Pultec plugin, balance the track with the fader and that's it!! I don't even have to add compression since I already do the 76/2A thing on the way in. EDIT: I wanted to add, no need for a de-esser anymore as the highs of the 017 are already incredibly silky smooth. Also, maybe a bit off topic but, using hardware compressors is also a real game changer. I feel like plugins are fine for 3-4 db of gain reduction but sound lifeless, flat and "2D" with anything more than 6db, whereas with hardware, you can do 20+ db of gr and still sound awesome. Now, the logical question I should ask myself, is the difference between hardware EQs vs their plugin emulations as huge as it is with compressors? If yes, I think I will have to buy a Pultec.

If on a budget, SM58 or SM57. I'd lean 57. When you upgrade to something nicer you will always still have uses for a 57 or 58. They are workhorses, use them at band practices, gigs, on vocals, on an amp, 57 as a drum mic. They are also cheap and available used all the time. I've got a couple of much nicer mics (C414, Aston Spirit) and I still use the 57 and 58 all the time. Most of the budget condenser or ribbon mics I've owned have been resold (for less than I paid) to fund other studio purchases, the 58/57 stick around.

What you are asking is a unicorn. At that budget you'll mostly get mid range gear. You could find the mic that suits your voice but it'd be luck mostly. Almost no one goes "what's that microphone" on a recording. Just because -1 if it sounds good it sounds good. -2 there is not only the microphone. Preamps will weight in the sound too. The room wil allow some microphones, some placement etc... It's not that one incredible mic that will make the change if the rest of the signal chain is sub part in terms of quality. For me you're doing it the wrong way. Think long term, find the microphone you like and see what you can build slowly towards it. If you can not buy twice it's always better. On your budget/situation, the sm7b (re20 if in the us) is a sturdy no nonsense mic. You'll need a cloudlifter, as the focusrite will be a bit short in gain. This mic is something you'll keep on the long run, and is in your budget. (At the moment I usualy record voices with a U87 and a SM7b, together they give a range of sound that is very interesting) In neumann range, I'd stay away frop the 102/103. For a good large membrane condenser, you'll need a 1200/1500 budget for a starter (the TLM 49 could be nice for you in that range) Then look around for preamps, learn the difference between lamp, transistor...learn the known sounds you will prefer. Then invest in a good one. Trust me, a good preamp will make a basic microphone shine. A good mic will reveal how good or bad is the rest of your chain. Then what are your monitors? If you can't hear it, it'll be luck trying to make it sound without gear that allows you to hear all of it... This is a rabbit hole, and you can't simply get that wow sound with a entry level correct microphone. And all that plug in emulation, as much as it can do the trick, a real hardware gear really shows the difference. Uad unissons are good with the mix of hardware/plug in but if you compare to the hardware unit, the hardware has more range and depth. (I could get to the sound of the 610 plug in with the 610 hardware, but not the other way around). Well... all that the say :p Look at it from a perspective of slowly building up where you want to go in the long run A good dynamic mic (sm7b/re20) seems like what you are able to afford right now, it is never a bad investment. If you learn phase problems, you'll even be able to use your actual mic to add a bit of air and top end, but keeping that mid/low thickness of the dynamic as a base for your sound. Akg C214 is extremely bright, I'd take a nt1 instead most of the time. Comparing both the 414 is more in the range of the nt1. It is bright but remains a workhorse. Probably not the best for what you want to achieve. Good luck to you, the way is long ;)

Akg 414 id say is a great work horse condenser. But it is not a budget friendly solution like the sm57.

It depends by your chain and for what purpose you intend to use it. For a clean recording of the mic in the audio interface u87 is a good mic but nothing esoteric, for example, i prefer an akg c414 for a clean sound. But when you search a specific color and a signature sound u87 is the most versatile mic to use with most high end preamp that makes a miscellanous of colors and styles depending on the combination chosen. I think also, that most of audio engineers or artist use the u87 by 1% of his possibilities because they use only the cardioid polar pattern, but the figure 8 in a mid side for a piano recording, or the omni for a coloured room, they changes everything in terms of texture.

I would do the 414 over the 103 because a hypercardioid setting can be super useful in an untreated or partially treated room. You'll probably have to De-ess in post but recording with a bright condenser mic and de-essing in post has been standard practice in pro studios for like 50 years. But with that budget I'd also look into Sennhesier MD441. One of the nicest sounding dynamic mics ever made and incredibly tight pickup pattern/room rejection. Blows the SM7b out of the water IMO.

If you can afford a used AKG C414 I think that is one of the most versatile mics ever.

If all you are doing is voice over and you have a deep voice I’m gonna go with the 103 all day every day, IF your sound treatment can get the room quiet enough. The 103 likes a very quiet room or better yet isolation. Your 1k price point may be a problem though. Also what board are you going to be running it through? You’re going to hear a difference going through an Allen & Heath or an older Midas than compared to a Mackie or Behringer or any of the brands not known for having top notch pre-amps. This is going to apply to either mic as both of the ones you are considering need 48v phantom power. If you can give the 103 what it needs, it’s perfect for what you describe as your voice. The 414 on the other hand is 1st and foremost actually at the price point you mentioned. As to performance the 414 is a great do it all kind of mic. Whatever you need to mix in studio, it’s gonna do the job and do it well. It is much less forgiving about the room noise and can actually be used for recording more than one thing at a time, something the 103 struggles with. Is your deep voice going to sound as good on a 414 as on the 103 with proper room treatment? Not a chance. Is it going to be better than a 103 without proper treatment or running on a cheap board? Almost certainly.

Akg c414 was my knee jerk response