When you, in the persona of audio engineer, walk into a studio or onto a performance stage, what’s one of the first things you do? You think about what microphones you’re going to use and how they’ll be placed. In fact, you should be doing that when you’re just recording or picking out mics for your live shows, even if you don’t think of yourself as an audio engineer. After all, microphones are the “ears” with which you hear and through which you communicate the excitement and immediacy of that performance to an audience. Whether that audience is there in the space with you, or at the other end of the recording and reproduction chain, your choices at this beginning point are vitally important ones. We say, “No pressure,” because, with this article, we hope to put you in the enviable position of having a clue about what to grab from the mic locker to help make the audience groove along with the music. 

Knowing how to choose the right microphone for a particular application is one of the key skills for anyone with aspirations to be an audio engineer at any level. Different mics will have different sounds based on type, construction and polar pattern. Your job is to be able to make intelligent choices about which mic should go where, and why. It’s also about knowing the rules well enough to know when and how to break them to get the sound that you (or the artist you’re working with) wants to get. Happy accidents are great. Knowing how to repeat them so they’re no longer an accident, but just happy, is the goal. So, follow along with us as we take a deep dive into how you can buy the right microphones to make sure you’ve always got a good choice available. 

Table of Contents

Three Types of Mics
   Dynamic Microphones
       Nine Top Dynamic Mics
           Shure SM57/SM58
           beyerdynamic M88
           CAD Audio CADLive D89/D90
           sE Electronics V7 X/V7
           Sterling Audio P30
           Shure SM7B
           Electro-Voice RE20
           Sennheiser MD 421-II
           Sennheiser MD 441-U
   Condenser Microphones
      Nine Top Condenser Mics
           AKG C414/C214
           AKG C451 B
           Audio-Technica AT2020
           Neumann KMS 105
           RØDE NT1 5th Generation
           Shure KSM44A
           Shure SM81
           TELEFUNKEN TF17
           Warm Audio WA-47jr
   Ribbon Microphones
       Nine Top Ribbon Mics
           AEA NUVO N8
           AEA KU5A
           AEA R44C
           AEA R84A
           beyerdynamic M 160
           RØDE NTR
           Royer R-10/R-121
           sE Electronics Voodoo VR1
           Warm Audio WA-44
Special Bonus Stereo Mic Section
   AEA R88A
   Avantone Pro CK-40
   Royer SF-12/SF-24
Applications
Conclusions

Three Types of Mics

In looking at this collection of what we feel are essential mics, we’ll be covering the three principle types you’ll find on the market today—dynamic, condenser and ribbon microphones. Each type of mic has strengths and weaknesses in different applications, but, as we touched on above, sometimes breaking those rules is the way to find the sound you’ve been looking for. But it’s important to know what those rules are and where breaking them might also break the mic. For each section, for those who love to geek out on gear, we’ll also point you at one of a series of companion articles on how a particular type of mic works.

Dynamic Microphones

Dynamic mics are the workhorses of pro audio. Durable, virtually bulletproof, capable of handling extremely high SPL—you can slap one pretty much anywhere and get good sound. Hey, no less than Eddie Kramer, who was one of the sound and recording engineers at the 1969 Woodstock Rock Festival, told us that everything was miked and recorded with the venerable Shure SM57. Certainly, for live sound, vocal mics are predominantly handheld dynamics, with ribbons and condensers being more specialty items in that application. If you’re looking to learn a little more about what makes a dynamic microphone tick, check out our companion article How Dynamic Mics Work for details.

Pictured: Sennheiser MD 421-II Dynamic Microphone

In this section, we’re going to look at dynamic mics with a focus on function. For dynamic mics, that dividing line is generally between mics that are primarily vocal mics, and ones that are instrument mics, though, as you’ll see, there can be a fair amount of crossover.

Nine Top Dynamic Mics

Even though we say “nine” in the title here, you’ll find 12 mics listed. That’s because three of these are the same basic mic capsule, just packaged in a mic head that slightly changes the pattern and response to make them more suitable for particular applications. With that in mind, let’s dive right in.

Dynamic Microphone	Polar Pattern	Frequency Response	Applications
beyerdynamic M 88	Hypercardioid	30Hz–20kHz	Toms, kick drum, electric guitar, vocals
CAD Audio CADLive D89/D90	Supercardioid	50Hz–17kHz (D89), 50Hz–16kHz (D90)	Vocals, drums, brass, strings
Electro-Voice RE20	Cardioid	45Hz–18kHz	Vocals, kick drum, bass, floor tom
sE Electronics V7 X/V7	Supercardioid	30Hz–19kHz (V7 X), 40Hz–19kHz (V7)	Vocals, drums, electric guitar, horns
Sterling Audio P30	Cardioid	50Hz–18kHz	Vocals, strings, acoustic guitar, percussion
Shure SM57/SM58	Cardioid	40Hz–15kHz (SM57), 50Hz–15kHz (SM58)	Vocals, electric guitar, snare, acoustic guitar
Shure SM7B	Cardioid	50Hz–20kHz	Vocals, electric guitar, bass, drums
Sennheiser MD 421-II	Cardioid	30Hz–17kHz	Toms, snare, electric guitar, vocals
Sennheiser MD 441-U	Supercardioid	30Hz–20kHz	Vocals, strings, electric guitar, drums

beyerdynamic M88

Why You Want to Buy It: The beyerdynamic M 88 has been a top all-around performer for over 60 years, boasting a wide array of applications and true-to-source sound reproduction.

Things to Consider:

• Flat, neutral frequency response for accurate recordings
• High sensitivity doesn’t eat up preamp gain
• Pronounced proximity effect

Pictured: beyerdynamic M88 Dynamic Microphone

Handmade in Germany since the early ’60s, the beyerdynamic M 88 moving-coil microphone features a broadly transparent tonality that’s simultaneously rich in lows, naturally adding weight to close-miked instruments and voices. It’s a go-to favorite for kick drum, electric guitar and bass, vocals and even saxophone. Plus, with a hypercardioid pickup pattern, the M 88’s ultraprecise directionality virtually eliminates crosstalk on stage, so it’s as reliable in live sound environments as it is in the studio.

In addition to being assembled at the company headquarters in Heilbronn, all sonically impactful components are built there as well—an increasingly rare practice in this day and age. Alternatively, the beyerdynamic M 201 is a unique dynamic pencil microphone utilizing the same ultralow-mass Hostaphan diaphragm found in the M 88.

CAD Audio CADLive D89/D90

Why You Want to Buy It: The CAD Audio CADLive D89 instrument and D90 handheld microphones offer outstanding off-axis rejection, in addition to greater sensitivity than many moving-coil mics.

Things to Consider:

• Trademark TrueFlex diaphragm offers articulate response
• Hotter-than-average signal from high-gauss neodymium magnet
• Includes hard case and mic clip

Pictured: CADLive D90 Supercardioid Dynamic Microphone

A sleeper choice for instrument and vocal mics, the CADLive D89 and D90 start from very similar capsules, with the differences in engineering being that the D89 is tweaked for instrument use and the D90 for vocalists. No newcomer to mic design, CAD Audio is descended in part from the old Astatic mic line, which were popular mics in the world of radio. One big plus for CADLive is that they stand behind their mics with a lifetime warranty against defects.

Electro-Voice RE20

Why You Want to Buy It: A lauded broadcast microphone capable of pristine vocal capture, the Electro-Voice RE20 is excellent on kick drum and bass, too.  

Things to Consider:

• Proprietary Variable-D technology mitigates proximity effect
• Accentuated, tight bass response flatters voices and low-end dominant instruments
• Heavy-duty internal pop filter and shockmount

Pictured: Electro-Voice RE20 Dynamic Cardioid Microphone

Another studio icon that doubles as a preferred choice for many touring bands, the Electro-Voice RE20—like the SM7B—made its reputation in the studio and the broadcast booth for vocals, both spoken and sung, but it also shines as a mic for guitar amps, drums, brass and other high-SPL applications. Introduced in 1969, the RE20 started life aiming at being a full-range, dynamic alternative to condenser mics, and it’s suitable for just about any application where you’d use a large-diaphragm condenser. In fact, despite its start as a mic aimed at broadcast announcers, it has found a serious place with many studio and touring bands as a go-to for kick drums and bass amps.

If you’re interested in other multipurpose Electro-Voice dynamic mics, check out the RE320 and RE27N/D—both share the RE20’s low-end optimizing Variable-D technology.

sE Electronics V7 X/V7

Why You Want to Buy It: The instrument-oriented V7 X and vocal-centric V7 marry studio-grade sound with stage-ready reliability.

Things to Consider:

• Ships with carrying pouch, mic clip and extra black internal windscreen
• Beveled grille edge prevents rolling when set down
• Patented internal shockmount minimizes handling noise

Pictured: sE Electronics V7 Dynamic Microphone

A relative newcomer, compared to the previous two manufacturers, sE Electronics started out making gear for studio usage. Their pair of instrument/vocal mics are the V7 X and V7, respectively. Designed primarily for stage, they’re definitely usable in the studio as well. This pair of supercardioid pattern dynamics have been getting rave reviews from some major touring bands, and are good choices for higher volume stages where off-axis rejection is important.

Sterling Audio P30

Why You Want to Buy It: Sterling Audio’s P30 handheld vocal microphone combines the rugged durability of a traditional dynamic with the clarity and sensitivity of a condenser.  

Things to Consider:

• Active electronics require +48V phantom power
• Ergonomic grip for stage-roaming vocalists
• Protective pouch and mic stand adapter included

Pictured: Sterling Audio P30 Dynamic Vocal Microphone

The P30 from Sterling Audio is unique in this group, being an active cardioid dynamic mic that requires phantom power for an internal preamp. This preamp is especially valuable in situations where you might want a little more gain or where there’s substantial RFI (radio frequency interference) in the environment, as it ensures less noise at the mixer’s mic preamp. It also makes it easier, especially on live sound mixers that use lower voltage supplies, to keep those mic pres at their “sweet spot.”

Shure SM57/SM58

Why You Want to Buy It: The ubiquitous, tough-as-nails Shure SM57 and SM58 dynamic microphones deliver consistent, high-quality sound for vocals and instruments, on stage or in the studio.

Things to Consider:

• Includes microphone clip and soft storage case
• Built to United States MIL-SPEC standards
• Affordable enough to acquire a stereo pair

Pictured: Shure SM58 Dynamic Microphone

Widely acknowledged as the world’s most used mics, the Shure SM57 and SM58 are standards for a reason. The virtually bulletproof designs share a very similar capsule, but the 57 is primarily intended as an instrument mic, while the 58’s built-in windscreen/pop filter and ability to capture most vocalist’s styles under the most trying of circumstances has it appearing on stages worldwide.

Shure SM7B

Why You Want to Buy It: Another Shure design that’s graced studios the world over, the SM7B is a universally renowned dynamic microphone for pod/broadcast, voiceover/ADR, sung vocals, guitar and bass cabinets, and more.  

Things to Consider:

• -59dB sensitivity rating requires hefty amount of preamp gain
• Great for aggressive vocal styles, including rap and metal, with an integrated pop filter and shockmount
• Bass roll-off and presence boost switches increase sonic versatility

Pictured: Shure SM7B Cardioid Dynamic Microphone

In broadcast booths, podcast studios and voice-over facilities, the Shure SM7B is a truly iconic mic that’s been made even more so by the podcasting boom. It delivers that rich, warm “radio voice” for broadcast/podcast applications. It’s also great for vocals, especially for singers who like to work in close proximity to the mic. Its exceptionally wide, flat response and frequency contour switches make for a lot of versatility. It’s been used for vocals by Michael Jackson, James Hetfield, John Mayer and many others in the studio. It’s related to the SM57 and SM58, as they’re all based on Shure’s original Unidyne III capsule, but the SM7B is entirely it’s own thing, not just the same capsule in a different package. Don’t feel that it’s restricted to vocals, though. The SM7B’s ability to handle high-SPL sources also makes it a great mic for guitar and bass cabs, as well as an excellent choice for kick drum. However, the SM7B doesn't offer a lot of input gain, which means it may require an additional booster to get the levels you want. Here's a pro tip: Check out the Shure SM7dB, which offers a built-in preamp that can be switched between 18dB and 28dB of pure, clean gain. As a bonus tip, if you’re a podcaster and love the sound of the SM7B, Shure’s MV7 offers the convenience of hybrid USB/XLR output and some powerful DSP, in a mic that is very much a descendant of the SM7B. Additionally, Shure's MV7+ expands upon the abilities of the MV7 with enhanced onboard DSP processing via the Shure MOTIV mobile application and LED audio level metering.

Sennheiser MD 421-II

Why You Want to Buy It: Sennheiser’s famous 421-II is an industry-standard drum mic (preferred on toms, especially), equally suited to electric guitar, vocals and most anything you throw at it.

Things to Consider:

• 5-position bass roll-off switch
• Appears to be side address, though is actually a front-address microphone
• Mic clamp and hard case included

Pictured: Sennheiser MD 421-II Dynamic Microphone

The first of two Sennheiser mics on this list, the venerable MD 421-II is another mic that has made its reputation both in the studio and on the stage. Both a great vocal mic and a superb mic for instruments, the MD 421’s distinctive profile is often seen in critical live situations on drums, guitar cabs and brass. Its five-position bass response switch and ability to handle high SPL makes for a great deal of sonic versatility.

Sennheiser MD 441-U

Why You Want to Buy It: The Sennheiser MD 441-U is a high-end dynamic microphone boasting condenser-like performance, reproducing sounds with utmost fidelity and detail.

Things to Consider:

• 5-position low-end contour and presence boost switches
• Humbucking coil kicks electromagnetic interference (EMI)
• On the pricier end of the dynamic mic spectrum

Pictured: Sennheiser MD 441-U Dynamic Microphone

The Sennheiser MD 441-U has experienced quite the resurgence in recent years, both for vocals and instruments. All for good reason, we think. It’s an amazingly versatile dynamic mic that can find a place in almost any studio or stage situation. The MD 441-U delivers a clarity and response that you’d normally expect from a condenser with a very tight supercardioid polar pattern with serious side rejection, making it ideal for toms, individual brass and wind instruments, even vocals. For a deeper look, check out our recent article on the history of the 441-U, about just what makes it such a special mic.

Condenser Microphones

From the introduction of the first practical condenser mic by Georg Neumann (the CMV 3) in the late 1920s, condenser mics became the first choice for many critical jobs. While Neumann has continued to be a major force in microphone development, with their U 87 remaining perhaps the most aspirational condenser mic for recording studios worldwide, many other manufacturers have stepped in with worthy offerings. If you’re curious about what’s going on inside that mic head, you might want to take a look at the companion article How Condenser Mics Work to feed your head.

Pictured: Neumann U 87

As with the section on dynamic mics, we’ll be looking at condenser mics by function. As always, creative engineers find interesting applications for mics that may have been designed for something different. So, don’t take any of this as set in stone, but more as a collection of guidelines for getting started.

Nine Top Condenser Mics

Here’s a selection of nine mics we consider to be the most versatile selections in current condensers. Some are extremely well known, but we’ve thrown in a few surprises we feel deserve a closer look.

Condenser Microphone	Polar Pattern	Frequency Response	Applications
AKG C414/C214	Cardioid (C414/C214), figure-8, hypercardioid, omnidirectional, wide cardioid (C414 only)	20Hz–20kHz	Vocals, piano, strings, woodwinds
AKG C451 B	Cardioid	20Hz-20kHz	Overheads, piano, acoustic guitar, percussion
Audio-Technica AT2020	Cardioid	20Hz–20kHz	Vocals, electric guitar, acoustic guitar, brass
Neumann KMS 105	Supercardioid	20Hz–20kHz	Vocals, woodwinds, percussion, acoustic guitar
RØDE NT1 5th Generation	Cardioid	20Hz-20kHz	Vocals, piano, drums, acoustic guitar
Shure KSM44A	Cardioid, omnidirectional, figure-8	20Hz–20kHz	Vocals, acoustic guitar, overheads, brass
Shure SM81	Cardioid	20Hz–20kHz	Hi-hat, overheads, piano, acoustic guitar
TELEFUNKEN TF17	Cardioid	20Hz–20kHz	Vocals, electric guitar, drums, piano
Warm Audio WA-47jr	Cardioid, omnidirectional, figure-8	20Hz–20kHz	Vocals, toms, overheads, acoustic guitar

AKG C414/C214

Why You Want to Buy It: The formidable AKG C414 is one of the greatest workhorse large-diaphragm condensers ever made, having captured thousands of hit recordings in virtually every genre.

Things to Consider:

• -6, -12 and -18dB stepped pad
• 40, 80 and 160Hz stepped high-pass filter
• High sensitivity and low self-noise 

Pictured: AKG C414 XLS Multi-Pattern Condenser Microphones

The AKG C414 is certainly a studio standard. You would, in fact, be hard-pressed to find a quality recording studio that doesn’t have a couple in their mic locker. With its dual-condenser capsule, it offers the classic multi-pattern choices of cardioid, wide cardioid, supercardioid, omni, and figure-8 polar patterns, plus three bass-cut filters and three different levels of pad. Like the legendary AKG C12 from which it descends, the C414 is renowned for its clarity and accuracy in all those modes. Its younger sibling, the C214, uses a single capsule—the same one as the C414—with a single cardioid pattern and single bass cut and pad, to deliver the same sound quality in a simpler package.

AKG C451 B

Why You Want to Buy It: The AKG C451 B is a studio- and stage-ready small-diaphragm condenser with nearly six decades of celebrated sound under its belt.

Things to Consider:

• -10 and -20dB pads for distortion-free capture of loud sources
• Switchable 75Hz and 150Hz high-pass filters
• Includes a pouch, mic stand clip and windscreen

Pictured: AKG C451 B Small-Diaphragm Condenser Microphone

Based on the iconic CK1-capsuled C451 EB from 1969, the present-day AKG C451 B offers the same precise, intricate sonic character as its famed predecessor. This small-diaphragm condenser has also been a stage favorite since the ’80s, thanks to its consistent sound reproduction and rugged reliability—even under trying conditions. The AKG C451 B shines particularly well on cymbals, where its impressive SPL tolerance, lightning-fast transient response and extremely low distortion work together to capture every bit of sparkle and detail from a harmonically complex source.

Audio-Technica AT2020

Why You Want to Buy It: The Audio-Technica AT2020 is a no-nonsense, point-and-shoot condenser with a profound sonic signature at an unbeatable price.

Things to Consider:

• Great for musicians and engineers, as well as streamers and content creators
• Tolerates up to 144dB SPL without a pad
• Includes mic stand adapter and protective soft pouch

Pictured: Audio-Technica AT2020 Large Diaphragm Condenser Microphone

The "My First Condenser Mic" for many musicians has been the Audio-Technica AT2020, and for good reason. This extremely affordable large-diaphragm condenser is a great all-rounder, working well on vocals, guitar amps, drum overheads, brass, woodwinds and acoustic instruments. While it may not have a lot of the bells and whistles of more expensive condensers, it's got solid sound, a durable build and serious reliability.

Neumann KMS 105

Why You Want to Buy It: Legendary Neumann sound takes the stage in a ruggedly reliable handheld condenser—the KMS 105.

Things to Consider:

• Outstanding off-axis sound and feedback rejection
• Superior transient response relative to dynamic handhelds
• Fixed low-cut filter optimized for close miking

Pictured: Neumann KMS 105 Condenser Microphone

First on our list is the Neumann KMS 105 handheld condenser vocal mic. Packing a studio-quality condenser capsule into a rugged, stage-friendly handheld, the KMS 105 helps cement Neumann’s reputation as the ne plus ultra of condenser mic manufacturers. Crisp and clean, with low handling noise and able to handle SPL so high (150dB) that your ears would be bleeding, it delivers a very tight supercardioid pattern for excellent off-axis rejection, minimizing feedback issues on loud stages.

RØDE NT1 5th Generation

Why You Want to Buy It: The RØDE NT1 5th Generation is a stellar all-around studio condenser, featuring its signature high-fidelity sound and a host of cutting-edge digital inclusions.

Things to Consider:

• Analog XLR and digital USB outputs for versatile connectivity
• World’s first 32-bit float digital output allows repair of clipped recordings
• Fine-tune audio with effects accessed via RØDE app suite

Pictured: RØDE NT1 5th Generation Condenser Microphone

Since 1991, the RØDE NT1 has been a cost-effective favorite for musicians, producers and engineers, punching above its weight in sound quality and performance. Crystalline fidelity, high SPL tolerance and virtually nonexistent self-noise—not to mention budget-friendliness—have ensured its lasting popularity.

Now, the RØDE NT1 5th Generation large-diaphragm condenser continues to innovate with a patent-pending Dual Connect XLR/USB output, boasting “unclippable” 32-bit/192kHz A/D conversion. Should you decide to run this mic directly to your computer, an internal Revolution preamp boosts the signal to recordable levels—perfect for content creators who don’t necessarily need an audio interface. Plus, you can download the RØDE Connect and RØDE Central companion apps to access DSP-driven effects, including compression, a noise gate and high-pass filter, in addition to the Aural Exciter and Big Bottom from APHEX.

Shure KSM44A

Why You Want to Buy It: Shure’s multi-pattern, large-diaphragm KSM44A condenser packs the premium features and sound quality the reputable name is known for.   

Things to Consider:

• Lightning-fast transient response
• Extremely low self-noise (4dB)
• Captures ultraclean, transparent, uncolored audio

Pictured: Shure KSM44A Condenser Microphone

The KSM44A is Shure’s version of a multi-pattern, large-diaphragm condenser mic. While it may not be as omni-present as the German and Austrian mics sometimes seem, it has a devoted following amongst recording engineers in the know. It’s versatile enough to grab in almost any situation. The KSM44A shines for capturing vocal detail, and does a stellar job on high-SPL sources like a brass section or drum overheads.

Shure SM81

Why You Want to Buy It: The Shure SM81 is a go-to small-diaphragm condenser for capturing the nuanced timbre of acoustic instruments.

Things to Consider:

• 3-position bass-cut switch
• -10dB pad for louder sound sources
• Flat frequency response for accurate reproduction

Pictured: Shure SM81 Cardioid Condenser Microphone

Another mic that you’ve seen on stages everywhere, the Shure SM81 is an incredibly versatile condenser for instrument use. With a flexible, three-position tone contour switch, it’s especially good on acoustic guitars, pianos, woodwinds and drum overheads.

TELEFUNKEN TF17

Why You Want to Buy It: Featuring a bold, mid-forward voice reminiscent of classic German mics, the TELEFUNKEN TF17 is a stellar modern FET condenser with a ton of sonic mojo.

Things to Consider:

• Extended lows, prominent mids and smooth highs
• Exceptional transient response for punchy recordings
• Includes shockmount, mic stand adapter, dust cover and box

Pictured: TELEFUNKEN TF17 Large-Diaphragm Condenser Microphone

TELEFUNKEN’s Alchemy Series brings the iconic sound of increasingly hard-to-find and astronomically pricey vintage microphones down to earth for the average engineer. The TF17 is a fixed-cardioid FET condenser housing premium components, including a K 47-style capsule and a Carnhill transformer. This sonically colorful mic features a hyped midrange response, lending itself to increased clarity on vocals, guitar and piano, while its ultrafast transient response retains the dynamic detail of drums and percussion. The TELEFUNKEN TF17 is an excellent choice if you crave vintage attitude paired with the best of modern design and construction.  

Warm Audio WA-47jr

Why You Want to Buy It: The WA-47jr by Warm Audio is a contemporary FET recreation of the illustrious U 47 tube condenser, using modern materials and tech to match the depth and detail of its inspiration.

Things to Consider:

• Includes -10dB pad to withstand SPLs of up to 157dB
• Switchable 70Hz high-pass filter
• Utilizes K 47-style capsule

Pictured: Warm Audio WA-47jr FET Condenser Microphone

Warm Audio is another relative newcomer who has built a reputation on creating versions of classic vintage condenser mics. Their WA-47jr is a transformerless, FET version inspired by the iconic Neumann U 47 mic heard on so many recordings over the past five decades. Engineered to come as close as possible to the original, it’s got the vibe and personality that many vocalists look for in a studio mic, and at a pretty incredible price.

Ribbon Microphones

As we mentioned in our companion article, How Ribbon Mics Work, this style of mic captures sound in a way that is very close to how the human ear hears. This makes them one of the most natural-sounding choices in a wide variety of applications. As we also mentioned in that article, the days when ribbon designs were too fragile for regular use are long gone. Note that ribbon mics of a more traditional design tend to have a little less gain, so you’ll want a mic preamp with a good amount of gain—say 75–80dB. AEA, among others, has preamps that are built specifically for ribbon mics. Active ribbon mics generally have a preamp built into the mic body. Modern ribbons are suitable for a wide range of applications, both in the studio and live. Here are our choices to help in building out your mic locker.

Pictured: Royer R-121 Ribbon Microphone

Nine Top Ribbon Mics

These nine selections highlight the strengths of ribbon mics, while offering a range of iconic, vintage-inspired designs to those that feature cutting-edge technology and a rethinking of classic ribbon design.

Ribbon Microphone	Polar Pattern	Frequency Response	Applications
AEA NUVO N8	Figure-8	20Hz-20kHz	Overheads, room ambience, strings, orchestral ensembles
AEA KU5A	Supercardioid	20Hz–20kHz	Vocals, acoustic guitar, snare, electric guitar/bass
AEA R44C	Figure-8	20Hz–20kHz	Vocals, brass, orchestral instruments, room ambience
AEA R84A	Figure-8	20Hz–20kHz	Vocals, double bass, piano, brass
beyerdynamic M 160	Hypercardioid	40Hz-18kHz	Electric guitar, overheads, hi-hat, vocals
RØDE NTR	Figure-8	20Hz–20kHz	Vocals, electric guitar, orchestral instruments, drums
Royer R-10/R-121	Figure-8	30Hz–15kHz	Electric guitar, drums, brass, woodwinds
sE Electronics Voodoo VR1	Figure-8	20Hz–18kHz	Vocals, drums, electric guitar, strings
Warm Audio WA-44	Figure-8	20Hz–20kHz	Vocals, horns, drums, piano

AEA NUVO N8

Why You Want to Buy It: Ideal for distant miking, the AEA NUVO N8 reproduces the live tonality of instruments as they sound in a given acoustic environment.  

Things to Consider:

• Designed to record instruments from a distance
• Broad, detailed reproduction captures nuanced ambience
• Perhaps best utilized as a stereo pair

Pictured: AEA Microphones NUVO N8 Active Ribbon Microphone

The AEA NUVO N8 is their modern active ribbon that’s designed for instrument use. AEA refers to it as a “far-field” ribbon mic, in that it retains both low- and high-frequency response at a distance, which makes it an ideal choice for covering instrumental sections, like strings or brass. It’s also a great choice for stereo recording or drum overheads, either in an X/Y pattern or as a Blumlein pair.

AEA KU5A

Why You Want to Buy It: AEA’s innovative KU5A active ribbon microphone pinpoints sound sources with a tight polar pattern on stage or in the studio.

Things to Consider:

• Classic ribbon tone with minimized room ambience and bleed
• Rounded mids and highs tame harsh sources
• Designed for isolated close miking

Pictured: AEA Microphones KU5A Supercardioid End-Address Microphone

Front-address ribbon mics are not super common, due to the nature of how ribbon capsules work. The AEA KU5A takes the idea and turns out a modern ribbon mic with a supercardioid polar pattern that is superb for vocals and instrument use while offering excellent off-axis rejection. It delivers all the classic ribbon warmth and body, but in a package that enables easier use in live situations or critical studio sessions where you don’t want to isolate everything, but still want to minimize bleed.

AEA R44C

Why You Want to Buy It: The AEA R44C is a museum-quality replica of the famed RCA 44, recreating a timeless sound that’s a pivotal part of recording and broadcast history.

Things to Consider:

• Softened top end for classic ribbon color
• Active 18dB level boost is compatible with most preamps
• Pronounced proximity effect—just like the original

Pictured: AEA Microphones R44C Bidirectional Big Ribbon Studio Microphone

You may be saying to yourself, “My, but there are a lot of AEA mics in this section!” That’s likely because Wes Dooley, founder at AEA, is passionate about both the past and future of the ribbon and has designed a broad range of ribbon mics to suit different applications. We’ll start with the past and the AEA R44C. This is pretty much an exact replica of the much-in-demand RCA 44 ribbon mic. Dooley started his career sourcing parts to rebuild vintage RCAs, and his love of them shows in this mic. If you aspire to replicate some of the most stirring and lasting vocal sounds of the 20th century, this is a mic that deserves to be in your collection.

AEA R84A

Why You Want to Buy It: The AEA R84A is a versatile ribbon microphone that excels on a variety of sources in close- or distant-miked scenarios.

Things to Consider:

• Smooth, sweeping high end and powerful bass
• Manageable proximity effect can be used deliberately to beef up anemic sounds
• Active 12dB boost helps record quieter sources with ease

Pictured: AEA Microphones R84A Active Ribbon Microphone

When AEA designed the R84 series, they started with the tonality of the classic R44 and extended the frequency response while reducing proximity effect. Both of these make it especially effective as a mid-distance or close-distance mic for instruments and vocals. The “A” in R84A stands for “active,” and the phantom-powered internal preamp adds 12dB of gain for increased ease of use with lower-gain mic preamps on mixing boards.

beyerdynamic M 160

Why You Want to Buy It: Introduced in 1957 and inducted into the NAMM TEC Awards TECnology Hall of Fame in 2019, the beyerdynamic M 160 is high on the list of all-time great ribbon microphones.

Things to Consider:

• Voiced to soften harsh frequencies with a warm, balanced sound
• Compact and lightweight for easy positioning on stage or in the studio
• Handmade in Germany; each unit ships with unique frequency measurement chart

Pictured: beyerdynamic M 160 Doube Ribbon Microphone

The beyerdynamic M 160 stakes claim to one of the most impressive CVs of any ribbon mic in rock history. David Bowie’s vocals on Young Americans. John Bonham’s drums on “When the Levee Breaks.” Jimi Hendrix’s guitar and vocals on Are You Experienced.

The M 160’s esteemed performance comes from its sturdy double-ribbon transducer and hypercardioid pickup pattern, capable of enduring high SPLs rocketed out of electric guitar amps and drum kits, and isolating close-miked sources with pinpoint precision. Likewise, this ribbon microphone can round off strident upper mids and highs, imparting a smooth, silky sound quality on most sources. The M 160 is still hand-assembled by a team of specialists at beyerdynamic, and comes with an individually measured frequency response graph.

RØDE NTR

Why You Want to Buy It: RØDE’s NTR showcases ultraprecise manufacturing innovations to deliver a high-performance, present-day ribbon microphone.

Things to Consider:

• Active electronics for high-output signals
• Full-range frequency response captures complete sonic images
• Withstands up to 130dB SPL

Pictured: Rode NTR Active Ribbon Microphone

Australian mic maker RØDE pulled some interesting technological tricks when they designed the NTR, their active ribbon mic. It uses several manufacturing and electronic advances to strengthen the 1.8-micrometer ribbon and extend the frequency response 5kHz beyond where many ribbons start to roll off the high end. Despite this, the NTR retains the classic, smooth ribbon sound profile, and excels at vocals, electric guitar cabinets and drum overheads with all the usual ribbon strong points.

Royer R-10/R-121

Why You Want to Buy It: The Royer R-121 and sibling R-10 are elite modern microphones maintaining the rich sonic palette of classic vintage ribbons with rugged, dynamic-like performance.    

Things to Consider:

• Patented offset-ribbon technology increases SPL tolerance to 135dB
• Flat, balanced frequency response for natural-sounding recordings
• Old-school color with contemporary durability

Pictured: Royer R-121 Ribbon Microphone

The Royer R-121 has been one of the most visible ribbon mics over the past couple of decades and has been the flagship product for Royer Labs. It’s widely held as the mic most responsible for bringing about the so-called “ribbon resurgence,” and was the first modern redesign of the technology to hit the wider market. The natural sound of the R-121 minimizes the amount of EQ necessary, and its patented offset ribbon technology helps maintain full-frequency response, even in the face of extreme SPL. If you want a Royer ribbon (and who doesn’t?) the R-10 uses the same ribbon design and offset ribbon technology, but is designed and engineered to be a more affordable option.

sE Electronics Voodoo VR1

Why You Want to Buy It: The Voodoo VR1 by sE Electronics contains the magical smoothness of a ribbon, the three-dimensional top-end clarity of a condenser and a price tag that’s hard to ignore.

Things to Consider:

• Extended high-frequency range for additional detail
• Passive electronics tolerate up to 135dB SPL
• Includes shockmount and wooden storage case

Pictured: sE Electronics Voodoo VR1 Ribbon Microphone

The sE Electronics Voodoo VR1 offers a ribbon capsule design that uses a unique mechanical diffusor to extend the frequency range somewhat beyond the normal point at which ribbons start to roll-off their highs. It’s a great choice if you love that natural ribbon warmth, but want just a little more “air” in your sound.

Warm Audio WA-44

Why You Want to Buy It: The sultry sounds of an iconic 1930s ribbon microphone are alive and well in the Warm Audio WA-44—a faithful homage to a legendary transducer.

Things to Consider:

• Deep lows with a rolled-off top end
• Powerful proximity effect
• Consider a capable mic stand to hold its weight (6.2 lb.)

Pictured: Warm Audio WA-44 Ribbon Microphone with Warm Lifter Preamp

Featuring a custom, vintage-matched aluminum ribbon and USA CineMag output transformer, the Warm Audio WA-44 revives the renowned sound of the ’30s and ’40s to a tee. Its distinguished tone is undeniably “ribbon,” with bold bass, mellow mids and hushed highs—perfect for taming harshness and rendering virtually any source smooth and lush. “Warm” is in the name, so if you’re looking to capture the unmistakable color of an old-school ribbon microphone, the WA-44 does not disappoint.

Special Bonus Stereo Mic Section

As an extra added feature, we’d like to take a look at a trio of stereo mics—two ribbons and one condenser. A stereo mic can be a great addition to your collection and offers a lot more versatility than simply capturing a stereo image from a distance. There are lots of applications for stereo mics, from drum overheads or capturing a brass section in stereo to adding room ambience to a recording (provided, of course, that you’ve got a great sounding room). The three mics listed here are our choices for you to consider.

Stereo Microphone	Polar Pattern	Frequency Response	Applications
AEA R88A	Figure-8	20Hz–20kHz	Overheads, strings, piano, group vocals
Avantone Pro CK-40	Cardioid, omnidirectional, figure-8	20Hz–20kHz	Acoustic guitar, overheads, vocals, piano
Royer SF-12/SF-24	Figure-8	30Hz–15kHz	Drums, horn sections, string sections, piano

Royer SF-12/SF-24

Why You Want to Buy It: The Royer SF-12 (passive) and SF-24 (active) stereo ribbon microphones are arranged in a Blumlein pair to record instruments and ensembles as you’d hear them in the room.  

Things to Consider:

• Immersive stereo imaging with balanced off-axis ambience
• Can use either capsule in mono
• Near-zero self-distortion means recorded signals take well to creative EQ

Pictured: Royer Labs SF-12 Passive Stereo Ribbon Microphone

Royer Labs SF-12 (passive) and SF-24 (active) stereo ribbon mics are essentially a straight-up Blumlein pair (as we mentioned above, check our article on how ribbons work for a little more about the concept), placed in a single shell, which simplifies placement and use, because you don’t need to align the mics or use an unwieldy arrangement of stands and shockmounts to make it work.

AEA R88A

Why You Want to Buy It: The AEA R88A stereo ribbon mic boasts a wide frequency response and uniform low end for detailed, captivating recordings.  

Things to Consider:

• Capsules arranged as a fixed Blumlein pair
• Optimized for distant miking from 16" to 20'
• Effortless, realistic-sounding solution to complex recording situations (e.g., instrumental ensembles)

Pictured: AEA Microphones R88A Active Stereo Ribbon Microphone

Using a pair of the same “Big Ribbon” capsule as AEA’s R84 series, the R88 (passive) and R88A (active) deliver a full-frequency stereo experience with the same “far-field” response as its mono cousin. This is a seriously great mic for capturing live performances in an amazingly natural way.

Avantone Pro CK-40

Why You Want to Buy It: With independent capsule outputs and polar pattern selections, the Avantone Pro CK-40 condenser performs like two microphones in one, for an array of mono and stereo miking applications.

Things to Consider:

• Top capsule rotates up to 90° off-axis from bottom capsule
• X/Y, mid-side and Blumlein stereo arrangements in a single microphone
• 80Hz high-pass filter and -10dB pad cannot be simultaneously engaged

Pictured: Avantone Pro CK-40 FET Stereo Multi-Pattern Microphone

While Avantone Pro is another relative newcomer, we have to say the CK-40 is one of the more intriguing mic designs. With a pair of pressure-gradient capsules, multiple pickup patterns and the ability to rotate the top capsule up to 90 degrees, it’s possible, with this one mic to do a Blumlein pair, mid-side stereo or basic X/Y coincident pair stereo recordings. The best thing is that it’s priced to make it easy to explore the single-mic stereo capture scene.

Applications

We’d like to add just a few words on applications here. In talking about the different mics, we’ve touched on a number of them during the course of this article. At the end of the day, though, this is art, not science (although we still can’t break the laws of physics). If you want to take a mic that’s designed for one thing and try it for something totally other, that’s how some of the most amazing recordings have been born. And we say, “Go for it!”—unless, of course, it’s going to destroy your mic, in which case you might want to consider other options. The creativity and imagination of other musicians is something we treasure, and something we’re always seeking in the people we make music with. So, think of the mentioned applications as guidelines and messages from those who have come before. But, don’t bypass all your crazy ideas—the world needs them.

Conclusions

Okay—that was a lot of information to take in all at once. Mics are a deep, deep world once you start getting into it, and you’ll find that your mic closet is going to keep growing the more you record. It’s like music in general—the more you know, the more you hear, and the more you hear, the further down the road you want to go. If you need some assistance along the way, call up our Gear Advisers or stop in your local Guitar Center store and talk to the associates in the Pro Audio department. They’ll be glad to help. And keep coming back to Riffs to see new articles about tech, recording, live sound, podcasting, production and more. And guitars—we do guitars, too.