RØDE - NTG3

No lav takes advantage of 32bit, it's a tiny mic and it can get distorted, 32bit is a way of "avoiding" clipping but if the mic or capsule gets to a certain point of overload, it won't work. You can connect it to your camera and record inside the transmitters at 32bit and use that if something went wrong during transmission or on your levels in the camera. A good shotgun for that price could be a used 416 (make sure to get it from someone trusted or a store with a reputation, there are lots of fake 416), Rode NTG3 is great (really close to a 416), some Sanken mics are around that price used on ebay, keep in mind those mics require phantom power, if you have the handle with the XLR ports for your camera, that will work just fine, if not you'll need that accessory or a separate recorder like a Zoom F3 or above. More info on how 32bit works [here](https://youtu.be/mxWH8V5BaYk?si=rYxVGAfnpFf-T7jf)

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.

No budget? Gotchu. Go with a Shure SM7B then with a Cloudlifter CL-1, a dbx286 channel strip, and a Mackie ProFXv3 16, with a Rode PSA1+. If you want the mic off-camera, grab a Sennheiser MKH-416 or a Rode NTG3 if you have a deeper voice, instead of the Shure (can also dump the CL-1 with either of these). You'll also want some cans, so some Beyerdynamic DT770 Pros (32 or 80 ohm) would work pretty well, or just a set of Audio-Technica ATH-M50X. I like the stupid-cheap KZ-ATEs though, even if they seem out of place on this list. Solid setup, and if you need better, you'll know what you want to buy without needing to ask.

Depends on their setup. The most-recognizable mic is the Shure SM7B. Well-known for providing a great sound (with the right support hardware chain) with notable warmth and proximity effect for those looking to get that 'radio voice' going on. $400 for the mic, then another hundred for something like a Cloudlifter CL-1 to drive it properly, and $100-200 for an XLR interface Shotgun mics, the MKH-418 is one of the go-to lower end units (as in, costs under $2K), but I like some of the Rode stuff; the videomic is well-known, and I use an NTG3 myself as it pairs with a deeper voice very well. If you mean starter streamer gear, the AT2020 is a solid pick, as is a Shure SM58 or 57 with a Behringer U-Phoria XLR interface. Fifine have seen a good bit of uptake lately, but it's... very cost-effective for the qality (no typo), to put it nicely.

They make some excellent microphones. I’m waiting for a deal on a RODE NTG3. Captures deep voices very well from when I got to try it. Unusual style microphone for voiceovers, but I adore the way it sounds.

I’m confused by these comments saying shotgun mics don’t work well indoors, they’re the industry standard for production audio and sit down interviews. A NTG-3 or a 416 is going to pretty much always capture useable sound, even if something like a MKH 50 would be more forgiving in the space. Hyper and super cardiod patterns are qualities shotgun mics possess.

Hey, I’d go with something like a Sennheiser MKH416 or Rode NTG3 shotgun mic, they’re super directional and can sit just outside your frame. You’ll still pick up some outdoor ambiance so slap on a decent blimp and windjammer and get as close as the shot allows. If that doesn’t cut it, try a tiny lavalier condenser hidden under the collar, wired or wireless, for cleaner vocals and guitar. At the end of the day it’s all about compromise: distance, directionality, and wind protection will make or break your sound. Give it a shot and tweak accordingly.

Fellow Australian here. Unless you’re working on a film or TV production, there’s almost zero chance you’ll ever go into a studio. 99% of voice acting is done from home studios these days. The issue with USB mics isn’t that USB is fundamentally bad, it’s that the mics and preamps themselves are generally not good in a USB mic because they’re not aimed at professionals. Have a look for a Rode NT1 5th Generation. They’re about $350, but they actually sound good via USB and you can use them via XLR with an interface once you can get one. I have tested mine via USB vs XLR with both an Arturia Minifuse and a Focusrite Scarlett and I could not tell the difference. Noise levels are actually lower via USB. ETA: I meant to say look for a *used* NT1 5th Gen. It’s been out for nearly 3 years now so I reckon you’d find one on FB marketplace. Check Cashies too, I got an NTG3 from Cashies for an absolute bargain because they didn’t actually realise what it was 🤣

I use a second hand Rode shotgun mic, homemade pop filter, homemade mic stand, positioned about 2" from my mouth when I'm recording voiceover. My voice comes out clear, no background noise despite not sanitizing my environment at all. Moving closer to the mic is my recommendation, if you haven't already, it does wonders.

Did pretty much my whole feature doc I used neewer cm28 and a rode shotgun.

There aren’t many amazing TRS mics I’m afraid. Rode makes the NTG which might be worth a look. Or get a preamp for the camera that supplies phantom. If you could find a secondhand me64 or me66 with a K6 module - those are Sennheiser shotguns that you can use a battery instead of phantom & adapt to TRS