NT2-A

Sennheiser 416 - industry standard for men/masculine voices. RODE NTG-3 - same guts as the 416, but several hundred bucks cheaper. Neumann TLM 103 - in a well treated space, it’s great. Another staple you’d find in pro studios (RIP pro-studios). Rode NT-2 (NOT the 2A) - Surprisingly, it’s a little bit richer than the TLM 103, plus it’s several hundred bucks cheaper. If you can find one of these gems, snatch it up! eBay is probably your best bet. Shure KSM 32 - I’ve done plenty of broadcast gigs on this guy. I prefer my 416, but this gets the job done.

Save up for a better mic. $100-115 will get you a Shure SM58 which is the classic live music mic because it’s rugged, but it’s nowhere near the quality you need for VA work. What you need is: 1. A good audio interface. For solo voice recording, the Audient ID4 (1 in, stereo out) is perfect. 2. At least one good XLR condenser microphone. In the midprice category ($150-500) I would suggest these mics: * Rode NT1 or NT2A * Aston Origin * Audio-Technica AT2020 * Warm Audio WA-87 (Neumann U87 clone) The iD4 runs around $200 used, under $300 new. The suggested mics run $200-400, you can find them for less used. Budget for these accessories: - Quality mic arm (I like the Rode PSA1) - $99 - Rycote USM universal shockmount for condenser mics - $89 - XLR mic cable - $25 - Closed-back headphones for monitoring - $99 - I like the Sony MDR7506, very comfortable. Now, you can also get relatively inexpensive bundles from dealers like Sweetwater with decent kit for a beginner. The Focusrite Scarlett Solo Studio Bundle includes a mic, interface, headphones and cable for $329, so then you just need to add in the mic arm & condenser shockmount.

Just to clarify what's going on here: * Blue Yetis are *not* recommended microphones for voice work. From experience, they have a really mixed reliability rating for the electronics (death by overheating), and they're really just designed to be plug-and-play USB mics with a built-in preamp. The capsules cannot really handle a wide range of volume, and the early versions only supported 16-bit audio, so you get digital clipping and distortion really quickly. * Be prepared to spend between $200-$500 for a quality microphone, and $200-$500 for a quality audio interface, depending on how many inputs / outputs you need. If you know what you're looking for, you can find deals on demo models and B-stock (Sweetwater is great for this). * The other half of this is your mic technique. If you're staying at the same distance from the mic and then ramping up into yelling from your normal speaking voice, yeah, it's gonna clip! You need to learn how to pull back and/or away to the side to tame volume jumps like that. Work with a teacher or coach to refine this. * A good voice director / engineer should identify lines with volume for you, so you can avoid straining your voice by jumping between levels, and get the "loud" takes done as separate lines, though some volume jumps are unavoidable. Your setup should be something like this: * A quality XLR, 48v phantom powered condenser microphone. No onboard electronics, preamps, interfaces, or USB anything. They may have switches to select polar patterns (sensitivity / which side), and to engage built-in -10db pads and low cut filters to reduce bass rumble, etc. * A "spider" shockmount for the microphone, which attaches to your mic stand or mic arm. This isolates it from vibrations that might pass through the desk. * A pop filter for the microphone, that deflects air from the mic capsule on plosives (P, B, T, etc.) to tame peaks. * A quality audio interface that provides an XLR connection and switchable 48v phantom power for your mic, has a good amount of clean gain, at least one pair of line outputs if you have studio monitors, and a good full-sized 1/4" headphone output. * Some sort of tamed space for recording - if you don't have a booth, something like a small bedroom with carpets and curtains, or a deep coat closet (with coats!) works. Plenty of DIY booth plans out there that you can make with moving blankets and PVC pipe. My recommended gear for a serious beginner: * Mics: Rode NT1 or NT2A; Aston Spirit; Warm Audio WA47 or WA87 (good clones of Neumanns); Audio-Technica AT2050. I recommend these because they're all reputable brands, the prices are reasonable but not dirt cheap, and if necessary they retain their retail value. * Interfaces: Audient iD4 (single input, perfect for VO, great quality); MOTU M2 (2-in, high quality); Focusrite Scarlett Solo (single input, very popular). * Shockmount: Sometimes there are ones of the same brand that come with the mics in a bundle, which is fine, I also recommend the Rycote USM InVision universal shock mount. * Pop Filter: The industry standard is the Stedman, a metal screen with a patented design that deflects air at an angle. But any decent one will do! But again: quality gear will help, technique will take you the rest of the way. Check the Helpful Resources sidebar section here for guides!

You can pick up a Shure Beta 87A (handheld condenser) for around $300, plus you can use it on stage, and it will sound great. Get one for everyone in the band who sings. A Røde NT2-A (switchable patterns) should run about $420, plus $70 for the shockmount and pop filter. Either of these will add a substantial amount of clarity and detail to the vocals if you've been using a $100 dynamic mic, like an SM58. In real life, it means that your vocals won't sound as if they're under a blanket in your mix. (Not being snarky.) And live—with those Beta 87As, your stage vocals will have much more definition. While these aren't U87-level solutions, they're enough to hear a substantial difference. This is like comparing a decent hamburger to a great prime rib, with the U87 perhaps being the Wagyu beef platter overseen by Chef Morimoto.

the times i swapped out the u87 i preferred: c414, rode ntk or nt2 (i dont remember which) but they were both transparent and i was happier with what i got. For stuff that was clearly warmer i borrowed a warm audio ribbon (idk the model), and even preferred the cheap mxl ribbon mic (extreme on the other end of the spectrum, arguably different use case). i was over the u87, especially for the price. id probably even prefer a number of live mics, give me a 58beta or a senn e835 instead... disclaimer, i only tried it on vocals, mostly female, i didnt own it, i just got to use it for 5 sessions i think. but i wouldn't shell out that cash out of my pocket for one. i would rather get a bunch more mics or id lean into a nice ribbon for that price, not sure which.

A rode nt 1/2 is pretty sturdy. Condenser mics can cover a lot of use cases.

I used an apogee duet for 10+ years professionally. It's great. I'd prob get a rode condenser mic if i were you. If you know how to work it, an sm57 can also take you around the world