Guide to Condenser Microphones for Your Little Home Studio

If you are a complete novice, the concept of acoustics could be totally alien to you. While intending to setup a compact home studio, it is suggested that you are aided by an acoustic expert. The quality of sonic input decides everything about your recording. We did discuss about the best reflection filters for your home studio.

Read the article here: Best Recording Filters/Isolation Shields for Aspiring Vocalists

In the article, we had discussed about mic placements, adjustments etc. Now, you need to find the most appropriate microphone for your requirement. A condenser microphone is best recommended for your home purpose, as opposed to a dynamic microphone that is best for live performances.
There are two types of condenser microphones; I) Large Diaphragm condensers and ii) Small Diaphragm condensers.

 I. Large Diaphragm Condenser Microphones

Large Diaphragm condenser microphones are known for their warmer and natural sound. Thus they are best suggested for vocalists. They are also excellent for recording a small ensemble of instruments. The polar pattern of large diaphragm condenser microphones is generally omni-directional. These microphones are generally very sensitive to background noise. For instance, if the microphone placement is not appropriate, it could pick up the noise of the air-conditioner that is running in your room while recording. The proximity effect while recording with LDC microphones is very conspicuous which makes them the favorites in radio stations and among podcasters.

 II. Small Diaphragm Condenser Microphones

This is the one for you if you are a soloist recording an instrument. Your input is clearer, smoother and much more articulate. These microphones are much more versatile and are even used in large orchestral ensemble recordings. They are often dubbed as ‘pencil microphones’, owing to their thin cylindrical shape. Compared to large diaphragm condensers, small diaphragm condenser microphones have an exceptionally fast transient response. SDC microphones generally come with a virtually flawless cardioid polar pattern. The off-axis coloration is far superior, with good SDC microphones enabling smooth input virtually from 360 degrees! The input segregation too is exquisite with the SDC microphone rejecting unnecessary spill. Your job is to work on the microphone placement to ensure optimum input. The sensitivity to background noise is much lesser when compared to large diaphragm condenser microphones. The proximity effect though is not as conspicuous,when compared to recording with a large diaphragm condenser microphone.

Now, coming to Loopazon’s top recommendations for condenser microphones (for home studio):

1. Rode NT1-A

If you have been to radio stations, chances are less that you would have escaped this. The Rode NT1-A is so ubiquitous that podcasters and radio stations consider it at least once, while they contemplate buying a new microphone.

At $229, the NT1-A coming with a gold-plated diaphragm, and a sturdy shock-mount with a pop filter attached is quite an amazing bargain. It has a cardioid polar pattern unlike many other large diaphragm condenser microphones. The NT1-A is one of the quietest studio microphones you would have ever come across, with an equivalent noise level of 5 dBA. The NT1-A also has a wide dynamic range greater than 132 and a frequency response of 20 Hz-20 KHz. Rode offers a 10-year warranty on the microphone.

Also read about the Rode Podcaster (USB Microphone) here: The Best USB Microphones for Portable Recording

2. Behringer B2 PRO

Priced at $178 in a couple of shopping portals, the Behringer B2 PRO is a much cheaper offering for a high quality large diaphragm condenser microphone. It comes with a a gold-sputtered dual diaphragm capsule and is highly preferred among podcasters.

The frequency response of the B2 Pro is no different from that of Rode’s NT1-A. There are three polar pattern options, enabling you to switch between cardioid, omni-directional and bidirectional; a feature that gives the B2 PRO an edge over other microphones with similar pricing. It does come with a -10 dB pad to handle loud sources and a high-pass filter to cut very low frequencies (lesser than 150 Hz). The open circuit sensitivity is -36 dbV for the cardioid polar pattern, -37 dbV for omni-directional and -35 dbV for bidirectional. A good pick, if you are going for your first microphone for home studio as it comes around $50 cheaper than the Rode NT1-A. However you would have to additionally purchase a pop filter.

3. sE Electronics 2200a II

The 2200a from sE electronics is a large diaphragm condenser microphone that is almost as popular as the Rode NT1-A. Like Behringer’s B2 PRO, the 2200a comes with three polar patterns, viz. cardioid, omni-directional and bidirectional.

It also comes with a pop filter, a shock-mount like the NT1-A and a high pass filter like in the B2PRO to cut low frequencies. The USP though is its hand-crafted brass capsule. The exterior built quality is fairly good with a matte-like black finish. Besides the regular -10 dB setting, the 2200a II has a -20 dB setting to regulate lower frequencies. Much more expensive than the NT1-A and the Behringer B2PRO, it does combine the positive features of both of them. The $299 price-tag is thus reasonable. However, you needn’t necessarily spend on this if you are getting your first microphone. The B2 PRO that comes $100 cheaper would have everything you want to begin with. 

4. Audio Technica AT2035

The AT2035 is one of the most resourceful economical large diaphragm condenser microphones that is brilliant for home studios and even reasonably good for live performances. It does require phantom power supply and wouldn’t work when directly connected to your PC. If you like its tone, then this could be the perfect buy for you, as your first home studio microphone.

A shock-mount and a pop filter do come without an extra dime, which is quite incredible for a condenser microphone that is priced at $149 (Even the Behringer B2 PRO doesn’t offer those)!! There is the standard -10 dB pad to handle loud sources and an HPF to cut frequencies lower than 80 Hz. The frequency response is the same as in the Rode NT1-A and the Behringer B2 PRO. It does eliminate background noise to a considerable extent, though not to the level of good small diaphragm condenser microphones. 

5. Blue Bird from Blue Microphones

We did discuss about Blue Microphones in the article about the best USB microphones recommended by Loopazon. Almost a quarter century into this business, Blue is still one of the most reputed microphone manufacturers. They still enjoy profound popularity, be it for their expensive professional microphones or the inexpensive Blue Snowball family of USB microphones that is everywhere. Their large diaphragm condenser offering, the Blue Bird microphone is no different.

Its cardioid capsule is hand-crafted. It also has the quirkiest design among all the other large diaphragm condenser microphones discussed here. Priced at $299, it is also the most expensive LDC microphone we have discussed so far. The Blue Bird obviously has a standard high-pass filter to handle frequencies below 100 Hz and a -20 dB pad for loud sources. However it doesn’t come with multiple polar patterns and has a standard cardioid polar pattern, a bit of a letdown considering the price. Nevertheless, the Blue Bird is one of the best large diaphragm condenser microphones out there. Again, you wouldn’t need this if you are going for your first microphone purchase (for home studio).

6. Rode NT5 Matched Pair

Every microphone we have discussed so far is a large diaphragm condenser microphone. Before that, we did discuss the benefits of small diaphragm condenser microphones. Matched pairs are best recommended for small diaphragm condenser microphones. The Rode NT5, a stereo-matched pair of small diaphragm condensers ought to be among the first to be discussed.

The built-quality is incredible with a satin-nickel finish and the microphones obviously weigh less than some LDC microphones. The NT5 features a gold sputtered condenser (externally biased). The microphone capsules are removable and thus easily replaceable. It has a two position high-pass filter; flat and 80 Hz. It also has -20 dB and a 0 dB pads. The frequency response is the standard 20 Hz – 20 KHz. The NT6 is best suited for soloists. It is also excellent for recording cymbals, drum overheads and small percussion ensembles. The NT5s are known to deliver excellent sonic quality even when recording without compression. Though the NT5 is available as a single microphone, it is best recommended to purchase the acoustically matched pair. These durable microphones do come with Rode’s standard 10-year warranty with a one-year extension on registration.

7. AKG Perception 170

This one is ‘the’ SDC microphone for first-timers. Every microphone in AKG’s Perception family is a large diaphragm condenser microphone, except the Perception 170. The 170 is often reviewed to be performing much better than higher priced microphones while recording acoustic guitars and drum overheads.

This cardioid microphone is also known to efficiently reject background noise and minimize distortion to a considerable extent. Despite its incredibly low pricing, the 170 comes with an all-metal body that can withstand persistent rough use. Don’t waste time pondering! Go get this $99 pencil microphone for your first home studio!

Also read: Extract Drums with FL Studio