No One Cares About Your Audio Gear - Diminishing Returns on Microphones

[@Podcastage]

I recorded 23 mic samples, if you missed the part where I point that out, here it is: kzbin.info/www/bejne/sHKxZ5VvjsusZ5o

[@KontrolStyle]

don't forget to pin this message :)

[@trevormadsen]

Hi there. I need help to chose two microphones for parallel recording of vocal + acoustic guitar. What I am looking for, are two dynamic microphones with maximum shooting direction and isolated from the sides, one for the voice and the other for guitar. It is important for me to have maximum isolation in each mic, because leakages make trouble in post production processing. (I don`t want to record overdub)

[@fredashay]

FWIW, I can't hear any difference whatsoever between any of the microphones, lol. Of course, you're just talking directly into the microphone in a studio -- it might make a difference if you're singing, capturing an acoustic instrument, or recording in noisy/windy conditions with a crowd behind the microphone ... Thanks for the video :-)

[@daviddoorbell2909]

What do you think of the RODE mini usb?

[@aristotle_4532]

There is another element. Competition does not appear to be operating properly in some brands, and that leads to prices 40% to 80% higher compared to a competitive sales network.

[@rollingrock5143]

'Hollywood' recording engineer here. Buy what you need for the job at hand. The Neumann's are mostly for clients to be confident and happy. But if you don't need it, don't get it. Get what works for you for the job at hand, even if it's Behringer. Just my two cents.

[@Ozzianman]

Ye. I am no audio engineer, I am more of a casual user. Behringer BH 470 is more than good enough for listening. The mic that I have had since I was a teen is a Samson Meteorite and I am now getting a Samson Satellite (499 NOK, roughly 43 bucks) because it was recently on a very decent discount where no other condenser mics around that price range, at least to my limited knowledge, could compete. Most of my friends use headset mics and it is not studio quality, but they sound fine. If they recorded their voice for a video or podcast, I don't think anyone but audiophiles and professionals would notice.

[@JeremyAndersonBoise]

Seriously, some Behringer gear is sonically solid. Not all, some.

[@Kragatar]

It's crazy how good the XM8500 sounds. If you mixed it into a blind test with a bunch of $100+ dynamics I would never notice.

[@kenhensch3996]

Yeah, eq that microphone and I doubt anyone in the world would be able to guess what it was.

[@Sick-Of-It-All]

@@kenhensch3996 ya, until you drop in a beer. the sm58 is built like a tank. you need to do more than reverse the numbers and add a couple zero's to compete with a tried and true mic tested since the dark ages.

[@Lectro69]

@@Sick-Of-It-All For the price of a 58 you can buy 5 xm85 if you want to drop beers in it, or you can save 80€ and with that money buy beers that you'll keep away from your mics.

[@tablatom]

Yup, i have 18 of them for live gigs. Had some well known singers go through the XM8500, no complaints, just hide the Behringer name LOL. Great SM58 copy for peanuts.

[@Eduard_Kolesnikov]

yep

[@DaveZNoisebox]

I absolutely LOVE how you do the review while talking into the various microphones. I wish more reviewers would take your approach.

[@Podcastage]

That means a lot Dave. Thank you for the kind words, and glad to know it's a useful approach. Happy recording.

[@MichaelForbes-d4p]

He's got the look and the personality, sure. But beyond that, his attention to detail and understanding of his audience sets him apart from the other review channels. I always come here first before buying.

[@alexandre7634]

I think spending way too much on audio stuff and then not even using it after 1 month is just part of the process 😁 don't you think ?

[@talhajhon8077]

Hahaha

[@audiomanmik]

HhahHHa 😂

[@lisdexamfetaminemusic]

yes, aston spirit just cause it sounds pretty

[@fynn7972]

So true...

[@jd5787]

Good alternative to therapy though... 😂

[@UnmatchedSkills]

I think the law of diminishing returns applies more heavily in general case usage for today; an affordable microphone is not going to make or break your content (so long as it's setup and is being used properly)-- and you won't see "better" content generally speaking by spending a considerable amount more. What matters first and foremost is the content you are making. For example if you are recording a song, if that song is good, it won't really matter initially so long as you're using a serviceable mic. The fancy stuff comes after. What I'm saying is, don't let the lack of "gear" stop you from trying to create whatever it is you're doing. You don't need the best of the best to get started-- and at the end of the day you could have most expensive, and highest professional equipment that money can buy-- but the quality of your own content will also fall into the law of diminishing returns.

[@DragonsinGenesisPodcast]

When I ditched my Blue Yeti (freaking garbage) for a cheaper XLR my listeners noticed. After that I invested a little in acoustic treatment for my recording space. People noticed that improvement in quality as well. But no one really asked what my gear was.

[@djtommykeys]

The Blue Yeti uses cheap electret capsules and a low spec circuit design. To me it's worth no more than $20 like a BM-800.

[@wm1573]

@@djtommykeys 20 bucks sounds about the right price goes the yeti indeed

[@stuartbird8876]

Blue Yeti isn't a terrible mic. It has a bad reputation as so many people that use (used) it had the mic too far from them or were addressing the microphone incorrectly. It also benefits from room treatment which again most people don't have. There are better choices for most, the Q2U been the most obvious or the XM8500 plus a £50 interface.

[@djtommykeys]

@@stuartbird8876 I don't give the Blue Yeti a break. Buy the Samson Q2U or a Shure SM 58 or step up to a true condenser like the Behringer TM 1 which for $120 is a nice clone of a Rode NT 1/NT1A

[@ShawnThuris]

@@stuartbird8876 People speaking into the end of the mic, or having their signal chain such that they had to turn the output to minimum. You can get perfectly good sound out of them. Agreed about the room treatment -- I think that's half the reason people gravitate to the SM7B (the other half being that it cuts sibilance). I use a Lewitt 440 now but the Yeti did a decent job before that.

[@curtisjudd]

Well said, Bandrew! I actually find that the U87 Ai doesn't fit my voice very well, as one example of where not only diminishing returns kicks in, but where fit with your voice is also a factor.

[@johnbuscher]

That’s a a really big one, but it’s hard to know if the mic suits you until you have it in hand.

[@LoversinPH]

Still THE BEST microphone comparison channel ever! You’re a legend 🔥🔥

[@JoshuaC923]

Agreed, what a legend

[@TheVelvetRoom-ul7gx]

Absolutely.

[@PJSOFT]

My recommendation is; buying just two “opposite” mics. A thick sounding one for narrations that would easily “fill the whole screen”. Such as RE20 or large diaphragm condenser. And another one is anything sounds lively and energetic, like NT3. One of them will fit any voice in any project with minimum adjustments.

[@raymota4515]

RE 20 is a great mic. BUT I put up an MXL R144 and tell my clients it will give them the "voice of god" and when they hear what a ribbon can do, they never kick on the tab. Buy two MXL 144. They are the S**T ! ALSO try them on a Tele thru a Boogie. Yowsa!

[@PJSOFT]

@@raymota4515 Nice choice, I have one also. It's dark, but with a treble boost, it sounds very neutral and smooth to my ears. However, it lacks of sparkling fine details and needs a lot of adjustments if the artist doesn't articulate well. I switched to c414, and I find it works with everyone. R144 is still my backup for rainy days, it picks up less high frequency noise from my metal garage roof, and I can use a transient shaping plugin to enhance the attacks without raising the noise. I didn't have many chances to try this technique, so I can't say I recommend it at this point.

[@Static_Age]

You were feeling yourself in this video and I am here for it. I love the positive energy! THanks for putting out some unique content and not "just another review" I love the change up.

[@xjet]

The microphone you *have* is always better than the microphone you *want* -- simply because the one you have can be used and the one you want can't (until you buy it).

[@fogreyiz]

Nope.

[@gutterg0d]

False. This is only true if what you have does what you *need*.

[@valik-stu]

shit qoute ngl

[@SmallSpoonBrigade]

@@gutterg0d The point of the quote is that if you haven't got it, then the specs on it are moot. That being said, I'm sure there are a few mics that are so poorly suited to your use that they aren't worth it even if that's all you've got.

[@brandanleiter]

I don’t think the average listener could objectively identify the difference but they’ll subconsciously notice.

[@BasicFilmmaker]

And...they were pointed in the correct direction. Yes, I'll never live that down. :)

[@Podcastage]

Why would you ever want to live that down. You’re a legend for that.

[@JR-lx8nn]

I agree. Pretty much ANY $75 to $100 microphone should do the job IF USED PROPERLY AND WITH GOOD MIC TECHNIQUE, because microphone technique is 95% of the story. I personally recommend the Sennheiser e835, with a street price of only $99 (including free shipping from a number of mainline vendor) - NOT $120. I believe DYNAMIC microphones ARE BETTER than CONDENSER microphones for this use, because dynamic microphones generally do a better job of rejecting ambient noise than condensers and sound plenty good, with a typical rise in frequency response curve above 2000 Hz - which is good for vocal clarity (um ... ahem ... two of the main reasons they are used for live vocals are lower pickup of ambient sound and that little lift around 2500 Hz for clarity) Of course one does not look as cool with a performance style dynamic microphone, but it is much easier to dial in a good result with a one. MY credentials? I have been a independent professional microphone test and review writer for more than 20 years serving the computer audio and speech recognition trade - both as a software and hardware beta tester for IBM, DragonSystems, Kurzweil AI, Lernhout&Hauspie, Microsoft, Nuance, ScanSoft, and product test and review writer for numerous online retail vendors. Of course, this is just MY take ... your mileage may differ. TT

[@offplanetfilms]

A sobering, but essential review! I have a couple of the mics mentioned (sE V7, Rode NT1). The tragic thing is, I just pulled the plug yesterday & ordered a Neumann TLM 103 before watching this! (I'm sure I'll recover when I hear it & see that lovely box).

[@panzerschreckpete]

Still rocking my Samson Q2U - bought based on your reviews and my use-case. Never regretted it, to the point I bought a second one for my back up.

[@libertyprime9307]

It's still the killer dynamic for the money imo. I use a Rode Podmic, but Q2U was my second choice.

[@stuartbird8876]

Have a Q2U and a sE V7. Honestly the Q2U (bit EQ) is still a solid contender for many applications.

[@SpoonyPizzas]

I have a Shure SM7B and GoXLR - but still think the Samson Q2U sounds better for my voice. It is a little harsh in places but adds more tone. (I'm not an audiophile - very amateur)

[@shadvegasmusic]

I haven't used that mic, but the cheap samson SDC that they sell as a stereo pair is super awesome for the price so I'm not surprised that something else by them is also great.

[@ahriik]

Pro tip: Stick with the XM8500, sE V7, NT1, LCT 440, etc and use some of the savings to support creators like Podcastage, Curtis Judd, or AudioHaze that make exceptional product reviews, so you can make more informed purchases and continue to save some cash! Btw, I love that you keep promoting the XM8500. It truly is one of those "just buy it" microphones because you'll be able to find a use for it in so many situations, while also not needing to worry about it getting damaged/stolen cuz it's freaking $20 (also easy to repair). I recommend it to pretty much everybody.

[@woothepoo9397]

Despite costing $20? Why that microphone over sub $100 dynamic mic when the law of diminishing returns comes into play?

[@ahriik]

@@woothepoo9397 Not sure I understand your question. My point is that the XM8500 is an anomaly. It could cost $100-$150 and would still be a good value. It doesn't make the SM58 irrelevant, but it stands to reason that for the price it becomes an obvious choice for so many people.

[@woothepoo9397]

@@ahriik What I mean is that sub $100 dynamic microphone is where they peaked when it comes to price-to- performance ratio. In XM8500’s case, it’s supposed to be worse because it costs $20, but I guess not?

[@ahriik]

​@@woothepoo9397 In a broad sense I'd say yes, for general applications for the majority of people, you'll start seeing diminishing returns after $100 for dynamic mics. A bit oversimplified, but an adequate rule of thumb. Most handheld dynamics under $100 tend to be based off of the SM58, but some people may not want that kind of sound. Maybe you want something brighter, in which case you may go for the sE V7, or perhaps one of AKG's dynamics. This whole idea of diminishing returns is merely a starting point due to the sheer number of variables involved when it comes to recording.

[@Max-Green]

Smart and simple, it is so nice. Now I am totally happy with sE v7 VE, X1s and 2200VE. Very affordable, and really good. And Vintage Edition finish is perfectly fits in my visual style. Just love it.

[@pn2543]

finally, now it can be told - the SM7B is a waste of 400$ for 99% of podcasters. Neodymium dynamics are a game changer, like the Behringer Xm8500. Mic placement and vocal technique are more important than the mic. Joe Rogan still pops his plosives on every single podcast even after 20 years, the SM7B is doing him no favors and vice versa.

[@1Patient]

I have been wanting the Shure mic now for some time, $519 CND (Cost prohibative) however, a $3700 USD or a $11K mic doesn't do it for me... I don't care if Joe is Plosive on his mic, I think it is more about Technique talking heads into mics, I'm sure you can find a way to make it work without the distortion or otherwise. If I'm going to use a $20 mic, I may as well stick with using my Cell Phone Mic, or the Apple Earbuds with Mic built in, etc... (I don't subscribe to, or consume any Apple products by-the-way, just wanted to clear that up quickly) 😀🍏

[@givemethesantahatfoo]

@@1Patient I'm not really getting it. A $20 mic (the xm8500) will be far, FAR better than your built in mic on the earbuds/cellphone mic. Of course, the shure mic will be better(but no where close to the degree of built in mic -> xm8500) un-EQ'd vs un-EQ'd xm8500. However, with a proper EQ on the xm8500, the lines will get blurred and it would be arguable if that difference is negligible, especially if we are talking about the average listener. So, unless you are doing professional work of some kind with instruments, or have voice work that pays the bills, I would say go for it, but you would have bought it by then. If its just for the casual podcasts/recreational stuff... there's no reason to throw out over $100 for a dynamic mic, much less $400 on the shure. Food for thought.

[@djangofett4879]

sm7b you're essentially getting an sm58 and then paying an additional $300 for the housing and the little swivel mount. it looks a lot cooler than an sm58 but it pretty much just performs like an sm58. people are paying for the look.

[@gzozeza]

​@@djangofett4879This is not really true... They have different internals (sm7 is transformerless) therefore it has a very different frequency response and transient response. If you have used both mics you can tell a strong difference. Contrary to popular belief they don't mark up a mic by 400% just for fun. Not saying anybody needs an sm7, I tend to agree that it is overkill for most people, but to argue they're effectively the same mic is disingenuous

[@stevedoesnt]

I have an sm7b and I’d have no problem at all using an sm58 on a podcast. Although, I will say, the sm7b is far more forgiving with placement.

[@twolinesslotcars]

I think this video was fantastic. You really try to help people spend their money wisely. Thank you for this valuable content. I know everyone wants the look of a SM7B. But approaching this entire subject from a view point of diminishing returns really puts your gear purchases in perspective. If I go with a SM58 instead of the SM7B.. I can get my Audio Interface and a boom arm with the same budget... and get 90% of the sound I was going for.. Thanks Bandrew for educating us!

[@GenuineRage]

the sm58 is such an awesome mic. having used both if you need a dynamic on a budget i firmly believe with some proper eq it can sound just as good if not better than the sm7b, which is likely since most people buying an sm7b dont typically know how to properly use it, whereas the sm58 has been used by experts in so many fields for so long that i feel like setting it up properly is very well-documented.

[@sikwitit773]

@@GenuineRage you can get closer with a mv7 xlr for like $150 and still have that "Joe Rogan " podcast look while still being able to use it for whatever especially vocals and it doesn't need a cloudlifter!, but at the same time I was a fool and bought the Sm7b after taking the shure Mv7 xlr back. Now I got a mic I can't use unless i A : get better Audio Interface. (which i was going to do my ur22c is loud with low headphone volume for 80 ohm and higher headphones) Or B buy a preamp and run it through Line connections. Or C stop whining and take the Sm7b back because it hasn't been opened and it hasn't been a month yet and get a Sm58 and a A85WS Foam windscreen 🤔

[@mnemosftb]

Its probably worth noting the plosives on 100$ mics can be hugely reduced with a 10$ foam head or pop filter.

[@Podcastage]

Yes a pop filter is recommended in most cases unless you have fantastic microphone technique. Good suggestion.

[@swanny8777]

That "Most replayed" infographic over the timeline of the video though 😆 Was well worth checking out. Thanks for leaving it in there for a good laugh, I've done it many a time one way or another. Thanks for the vid!

[@mindbendernine]

The Rode PodMic should also be in that "no-brainer" list of dynamic mics. Really excellent for its price.

[@adampugsley]

Throw this into a GOXLR (Tune the EQ a bit) and then run that through Nvidia Broadcast with noise removal and room echo cancellation at 80%... You have a great sounding mic!

[@eeemir_official]

@@adampugsley nothing sounds good with nvidia broadcast ))))

[@bobwilkinsonguitar6142]

One EQ module or tube compressor will shape your tone so much more than the difference between like a Beringer C3 and a Rodes Nt1a

[@Marks_journey]

There are some mics that sound so much better when you spend the money. When I got my first shotgun mic there was so much noise it was unusable. Spent some money on an NTG4+ and it was a game changed for what I do. So much better. Not perfect but I also didn’t think the higher end mics were 2.5 times better sounding. Thanks for your input on this. I’m glad I stopped getting gear envy (kind of) for the expensive stuff. You definitely helped me with that. Thank you for your videos.

[@devvoid1312]

I think a lot of people let gear envy get in their way too. There's plenty of people you see on KZbin/Twitch/etc with SM7Bs or other expensive mics, and their audio sounds mediocre because they prioritized expensive gear over the knowledge of setup and good audio; they'd be better off sticking with a cheaper mic and putting the time/money into knowledge of how to get the most out of your equipment, etc.

[@gutterg0d]

Getting more for paying more is not the same thing as getting what you pay for. At the high end you pay a huge lot more for getting very little.

[@ItzrealMusic]

@@gutterg0d that’s your opinion I think you get what you pay for why is everyone trying to get certain microphones like a Neumann u87 the sound quality right????? but then also I believe if you don’t have the right acoustic treatment setup or the preamp which is what matters the most the mic can sound like garbage period we all have our own opinions. take care now lol you sound silly

[@gutterg0d]

@@ItzrealMusic it's not opinion, you can easily measure quality.

[@ItzrealMusic]

@@gutterg0d if you say so........ let's hear a professional audio recording you can pull off without a pop filter over your mic all plosives and all & no acoustics anywhere ...lol you are saying your opinion. I have my own simple why argue with me. take care now you sound silly ....lol

[@torugonza]

wow! for the first time you are heard with all the volume that a video can give and with more brilliance in the treble. I don't know what you touched, but you're on the right track.

[@needsLITHIUM]

There are 3 main wired dynamic mics everyone uses live, especially in rock, metal, and country: Shure SM58, Sennheiser e835/e945, and sE V7. I work as local crew for concerts. These are what I continually see, show after show, from Tool to Joan Jett and the Black Hearts to Chris Combs. I have yet to see another brand for wired vocal mics at a show. I recently attended a concert with Arch Enemy and Behemoth. Behemoth was using Sennheiser mics.

[@joshdemarco4308]

Band I worked with last night all used miktek PM9s

[@needsLITHIUM]

@@joshdemarco4308 that's a new one. What genre?

[@TheOldMan-75]

Gotta be honest, I'm always surprised to hear about well-known bands using SM58 microphones. I know they are reliable and basically indestructible, but the sound always felt muddy to me. Even just using the 835 feels like major improvement.

[@needsLITHIUM]

@@TheOldMan-75 specifically the low mids are what sounds muffled, and maybe even a little boxy on the border between the upper mids and the region where most people only use it for falsetto/head voice. I also prefer the e835, hell I prefer a Behringer XM8500 or BA 85a over an SM58. My SM58 broke randomly a few years back. A friend of mine showed me the Behringer mics not long before, and I bought one out of a curiosity whim. When my 58 died, I didn't miss it, as even the crappy XM8500 was better suited to my voice. Another friend of mine has an e835 and I tried it out of curiosity, and seriously, now I only ever want to use the SM58 as a snare bottom mic. I already use e609 or Behringer B906 mics for guitar cabs, and I pair it with a Behringer XM8500, and it sounds so much better than that thin, nasal 57.

[@TheOldMan-75]

@@needsLITHIUM I finally decided to get me another e835. I was using one of Sennheiser's wireless mics for quite a while until I broke it, but the sound was fantastic. Then I switched to one of the SM58s we had lying around and used it for years because it worked fine, but I was never completely happy with it. Now it is finally time to return to Sennheiser.

[@AGoodBean]

I made 5 videos with a headset mic, 35 with a £10 behringer 1800s. Now I'm finally looking into getting a step up on audio quality and this channel has been great for understanding where to look.

[@GeneSavage]

Your content is always so good! This video is desperately needed. The content matters most, and the rest can likely be ironed out with careful handling, placement, and post-processing (not saying, "we'll fix it in post!", though!). AT2020 is an excellent comparison since so many people love that mic. Honestly, I'm in love with my Blue Ember which lists at about $100 but is going these days for $85. Sure, next time I have a spare $3700 I might get a certain Neumann, but I'm a little concerned I won't be blown away in comparison to what I'm currently using (on a $15 mic swing arm, I'll add!). Below the Neumann, I don't feel any need to upgrade for studio voiceover work, and that includes the Shure SM7 that used to be my favorite studio mic. Sorry this was so rough to produce, but know we appreciate what you do!!

[@PhilipStratton]

Feeling much better about my XM8500s I purchased a couple years ago for some light voiceover work. Great video.

[@ndavies8]

Great video! You're right. My two cents at least in my experience is - moderation and context is key. Start with what you have and as you grow and see need - invest in good quality stuff. A great pair of speakers will last you a career, one great mic can replace 3 average mics.

[@RobCmusic]

I love my XM8500. I've had it for over 10 years and used it for live vocals all that time. I've also used it to record studio vocals and guitar cabs. Definitely good value for money.

[@Ball_Black]

My first Microphone was an MXL 990. Then I got a perception 200. I got a Rode NT1. Then I got a stellar X2, and then I bought an avantone cv-12, because I figured if a microphone was good enough for Taylor Swift, then damn it is good enough for me. And then, I had a tlm 103 in my cart at Musician's Friend, then I seen this video, and it got me to thinking, what's the purpose? Every Mic that I previously owned, some with different characteristics, but they all sound good. I can achieve ultimately the same result, no matter which microphone I've used or owned. So I've come to the conclusion that, as long as you have a reasonably decent noise floor, it doesn't matter what you buy.

[@ImDembe]

I bought a XM8500 "just to test" since it was 20$ with free delivery, sold my AT2020 and have never looked back really. Sounds great and less background noise so it's well spent 20$ for sure, pair it with a 40-50$ interface and you have a winner.

[@Bettys_Eldest]

I don't record or podcast, I just do live sound for my band, pantomime, amateur dramatics, and a small annual music festival. I have three XM8500s, they do a great job. I also have a couple of Sennheiser e835s and an e935, which I use myself and for anyone who appreciates that an SM58 is not always the answer.

[@DM-sc4zy]

Did you find it a bit boomy/muddy? Coming from a Hyperx condenser I find it a bit lacking clarity.

[@thelovebat]

I personally think that the diminishing returns on the sound of mic quality begin to happen once you move past mics in the $200-$300 range. Once you start going north of $300, the diminishing returns are going to start setting in. With a mic in that $200-$300 price range, it's going to be more difficult for the average listener to discern noticeable differences in the quality of the sound of those mics compared to a microphone that's a few hundred dollars more expensive. The general baseline I think of in that $200-$300 price range is something like the Rode NT1 for condenser mics or the Shure MV7 for dynamic mics. If you have a mic like one of those, then I think both yourself and the viewers are going to be quite satisfied with the sounds of those mics for various online videos or spoken word applications. And since the majority of people are listening to the audio on things like speakers and not headphones, minor differences in the sound and the quality of the audio may not be as distinguishable so splurging on a really expensive mic isn't likely to make a difference in whether you can become successful or not. For musicians I think they have to worry about their mic choices a bit more and it may be inevitable that it will come with a price to get quality sound there, since the mics will have to take in louder and higher pitched noises for those sorts of applications. For spoken word applications involving common forms of online videos or podcasts though, I think someone doing their research will have no shortage of affordable options that will sound fine and allow them to do their thing making content.

[@SenorSenorStacks]

I put some serious effort into product research when I was gathering my starter audio setup, enjoyed every bit of it, went a bit kooky in the process, and now only use some items a few times a year… but when I do everything puts in work. To my taste, by design, the results are at or above my expectations every time, and I have room to grow and explore with each piece of kit and a system as a whole, because I accounted for just enough wiggle room with the budget I had at the time. D*mn satisfying. I really do love working with audio, and I wonder if that’d be the case had I not hunted out every piece of kit through a sea of product specs, user opinions, and the hefty amount of prerequisite knowledge for interacting with any of it (which I know realize helped my learning to actually record and work with audio before even recorded my first track)

[@DarkPa1adin]

For studio, yes I agree with your assessment. For live, there's another thing not mentioned, signal to noise ratio. Sennheiser e series are great for feedback rejection. I would pay more for it for over sm58 (for instance)

[@Bettys_Eldest]

I don't record or podcast, I just do live sound for my band, pantomime, amateur dramatics, and a small annual music festival. I have three XM8500s, they do a great job (15 years without a problem). I also have a couple of Sennheiser e835s and an e935, which I use myself and for anyone who appreciates that an SM58 is not always the answer.

[@calvingudu9237]

Great video. Yes you are right. At some point for most musicians will not see any benefit past $200. With EQ I have made great and successful records. It’s about the overall production and how one uses the mic. The audience truly do not care about what mic we use. This is all about musicians’ anxiety and vanity.

[@somecallmetim2580]

Fantastic video. For me, buying mics is a hobby. But for content producers who just need a solid tool for their work, this is super important to remember.

[@DragonKingGaav]

Agreed! It's about the content, not the gear! I did a 40 min video chat using the Blue Yeti USB mic and my phone as the web cam, and the person the other end said the audio and video are both coming in great!

[@GuidoGautsch]

Phones are better webcams than most webcams, especially if you're using a recent flagship phone like an iPhone Pro or Samsung Galaxy S series. I've been using Camo with my S22 Ultra and the quality blows pretty much webcam out of the water. And the Yeti sounds perfectly fine IF you know how to use it (many people don't)

[@onlymyopiniontech]

And this all depends on what you are doing and where you are doing it. If you are doing commercial voice over work it matters a lot. If you are making video for KZbin and your audience and the majority of your audience is listening on some type of mobile device they won’t hear the difference anyway. Pay more attention to your environment, mic location and technique. The closer your mic the less gain you need. Less gain helps with noise of all types. To me audio on KZbin means more than the video so keep it as noise free and clear as possible.

[@raymota4515]

Very well stated.

[@Sosha666]

That Behringer is a stand out for KZbin , audible depending on your preamp. There’s enough of a cut in the hf that it sound human and avoids audio codec compression nastiness when coming through tablet speakers, while being fine on ear buds. Throw basic processing on top and at least on your voice that’s a solid choice. Presuming No quality control issues which is part of what you pay for as the price goes up.

[@stephendverner]

As an engineer of 25 years I think this is an excellent overview video to help people make informed buying choices. I have been surprised though by some enigmas in the condenser realm for under $100. I bought the Tonor TC20 for about $50 and the Aokeo AK-60 for about $30 to use on my wife’s podcast. Pretty surprised by the build quality and decent self noise and overall sonic quality of the output. Love your content man. It has helped me a lot as I transition my skills from mainly working as a TD in a theatre to my roots in recording.

[@drdelewded]

30 or so years ago when I bought my first condenser mic.. $400 for a SDC was unheard of so when I was sold on one it was incredible.. This was before all the chinese made mics flooded the market... then all the Apex and MXL mics came out... Joke is, the sm57 was still $100 then as it is now.. and ive still never owned one (Ive had them left at my studio, found a couple.. not my thing)

[@michaelanthony9068]

NONE of these have enough difference to justify a price tag of over $300. GREAT TOPIC ! Thank you.

[@Featherlightstudio]

Great content as always and your point about what needed for the price is spot on. In all fairness though, more expensive mics have to perform in a much wider variety of applications than just content vocal overdubs. They need to work with lots of voices and instruments in lots of different spaces and environments, be capable of wear and tear, and still be incredibly dependable, whereas cheaper mics tend to be one trick ponies. But a 29 dollar mic that sounds that good is a pretty impressive pony.

[@GaryMeadowsMusic]

I agree, just get the best equipment you can afford and put your energy into your performance. I'm a singer songwriter and the song, the performance is the most important.

[@Radiounderground]

I have some pretty nice gear but to be honest all you need is a Shure SM58. Sounds great and you have the option to hold them on the go with portable interviews. You can also use them for band stuff too. Best all around mic ever imo.

[@stuartbird8876]

Entirely depends on your use case.

[@mind-brainstudio927]

I do voice overs and don't agree at all that the SM58 is "all you need." Maybe the Rode NT1 is "all you need" for VO.

[@Radiounderground]

@@mind-brainstudio927 you don’t need a condenser mic for unless your gonna spend tons of money on soundproofing

[@drdelewded]

I have one in my tool box to hammer nails.. You can use it to record too?

[@jerrodflusche25]

Such a great channel, glad I found ya!

[@feverSoundHK]

I love your summary, cure fact but this is exactly all we creators need to know, great job as usual

[@axelmorisson]

Hello! Recently I bought a pair of Behringer C2 condenser mics. In stereo, they go to a cheap interface on two separate channels. What I found is that while very directional, once I get them positioned correctly they sound very fine. True, they are anything but voice mics- however these last three years I had conferences and webinars and got some compliments on the sound quality, I even was asked about what gear I had. Shockingly, a 100 $ sound card and a 40 $ pair of stereo condenser mics (complete with separate 20 $ cables , cheapest for their length) was all I needed in most cases.. I tend to agree with what some folks wrote below- getting two complimentary mics that sound different and mixing them together seems to be an interesting choice, a way to add both clarity and low end to the voice w/o paying arms and legs to holy grail companies...for legendary mics that very few people can afford.

[@FLawLesSTaStE]

If I wanna record keyboard typing tests or piano instruments, where I wanna record natural sound as it is without coloring it. Do I go for small diaphragm condenser mics, normal condenser or dynamic, so confused.

[@chinmeysway]

Large diaphragm picks up sounds from far away quite well. Outside, in rooms, or closer up stuff as well. Small diaphragm also does this. Both capture detail. Small d is more specific however / more precise. Pretty sure in this vid though it’s either large d condenser mics or dynamic type. Dynamic type is where the sound source has to be right up super close to work. They don’t pick up room sounds much or what you’ve described . Hopefully that helps a bit. Small d condensers are a bit weird in practice use. They do seem to have a treble focused sound. Good for cymbals, lousy though for close up like vocals usually.

[@JoshuaC923]

I think you should be looking at the microphone receiving patterns instead of condenser/dynamic

[@Currywurst4444]

Ideally you would use a small diaphragm condenser microphone with an omni-directional capsule. Their membrane is very light so they dont filter out any quite noise and the omni capsule adds the least amount of coloration for low frequency or off axis sounds. I would use a Rode NT5 microphone with the NT45 capsule. Alternatively look at Octavia but they are produced in russia which is difficult at the moment. If 300$ is too expensive I would get a very cheap small diaphragm condenser microphone to try everything out first. Generally, when spending very little money you get the most with this kind of microphone.

[@djangofett4879]

sm57 will work for you and its pretty affordable

[@sbonventure]

What I learned from this video is that if you make videos for KZbin, it matters almost not at all what mic you get. There’s a couple harsh ones in there but for voice washed through KZbin, they’re all pretty similar and I just have to take your word for what sounds good. For KZbin higher quality is probably mostly good post processing.

[@Podcastage]

Once you hit around $100 for dynamics, it doesn't matter much if all you're doing is talking head stuff. Have good mic technique and set your levels properly and you're miles ahead of the competition.

[@Glenners]

i went from a blue yeti with an eq I tuned over time to a used audient id14 and re320 and the difference to me is great, but none of my listeners noticed lol.

[@hayleypardinan]

Drew, this is the last video us the viewers will EVER need! this so important. Thank you so much. You just have cleared a lot of questions

[@joeygwood]

IMO, the Audio-Technica AT2020 is THE starter large diaphragm condenser microphone. I used one for 10 years before upgrading to the AT4040.

[@nachbelichtet]

It’s fine, but not really a large diaphragm (16 mm diameter vs. 25) and it is a permanent polarized condenser (electret) and not a „real“ condenser. But it sounds fine.

[@MichaelForbes-d4p]

Can confirm. My whole studio(recording gear, room treatment, DAW, computer, speakers, software) was under 10K and I just produced and delivered my first Dolby Atmos mix. The artist loved it!

[@rusty4104]

I use the rode pod mic and get compliments on how well it sounds all the time, granted I do have a decent amount of eq on it. The cover I use for it makes it kind of look like an SM7b and a lot of viewers assumed that's what I had. For $100 I'll take the rode pod mic over the SM7b all day.

[@YaYousef5]

Stop eqing it in post. No one will notice the difference EXCEPT people who listen on studio monitors/headphones, where it sounds too bassy or peakey because most people like to boost the lows and highs. 🤮

[@geirwiwansivertsen7981]

Great final point you made: “Remember that most listeners will not be able to hear the differences of mic quality. Much so, because they listen via phones or earbuds that do not catch the subtle differences.

[@tbsince1954]

Yes. America does not give a crap about your expensive podcasting mic. That has not prevented me from buying an $1100 ribbon KU5a, using it to podcast, and pleasing myself no end. No one else cares, surely, but if I’m going to put all the effort into podcasting for little to no financial reward, I’m at least going to enjoy the heck out of the equipment I buy and use. Heck, I may be the only one who hears me talking so I want to sound great to myself! But your point is well taken.

[@checkmymeds]

I picked up the Shure SM48 based on your review. Could not be happier. Budget & quality 👍🏽

[@mattm7899]

Behringer's motto should be "Way better than it has any right being..."

[@spandansaha168]

Agree 💯

[@drdelewded]

I think it's "why make anything new we can just rip off everyone else"..

[@bhgemini]

This popped back up on my home page today.The $250-500 being the condenser range, because the King Bee 2 at $170 is an outlier, is so funny now that the Rode NTA Signature Series came out with a shock mount and pop filter. Amazing how great the times are now for folks starting out.

[@Teyvat_TV]

I've been using the Behringer XM8500 for almost 2 years as my Microphone for KZbin and its sound quality is amazing considering its price point. For something that costs $20 its ideal for a home studio situations (even with no sound treatment), has low self noise and has the sound quality of a $100+ Dynamic Mic it is certainly worth considering as your first microphone 👍 (You'll certainly want a Pop filter for it and for EQ I'd recommend a little around 250-400hz (for the low end "Mud") and 5-8kHz for Sibilance (for strong "S" sounds depending on the voice) I'm thinking of upgrading to something around the $400-$600 price point (E.g Advanced Audio CM87se, Aston Spirit, Vanguard v4 gen2 seem like the best choices around that price range)

[@JeremyAndersonBoise]

Good format, conversational style, solid information. 🎉 bravo, sir

[@Podcastage]

Thank you very much Jeremy that means a lot!

[@michaelmoorehouse8440]

Unless your Guild's/Team's discord is full of audiophiles wearing senns, Audezes and blessings 2s, no one is gonna be able to tell the difference between a $200 mic/interface combo and a $2000 mic/interface combo. I can definitely tell when someone is using a blue yeti in an untreated room though lol Edit: I wish the sm7b wasn't the standard for streamers/podcasters. The RE sounds SOOOO much better

[@chrisisasavage]

This is especially true for things like discord and KZbin where the audio is heavily processed anyway. I used to switch mics in discord and everyone thought I sounded better than everyone in the group no matter what i used. They were using gaming headsets. Most of the time I just had a Q2U 3 inches off my face but would swap it out and no one noticed any difference, just basically said I always sounded the clearest in the group.

[@chrisisasavage]

agree on the RE20 vs SM7B. Most of podcasters/youtubers would be better served with an RE20 imo.

[@marcuszettergren8885]

@@chrisisasavage Problem is the RE20 is twice the price of a SM7B around here.

[@BukanIbuMu]

@@marcuszettergren8885 same here

[@chrisisasavage]

@@marcuszettergren8885 well that would make a huge difference. Its a 50 dollars difference here. Crazy.

[@BennyVibes]

Just got an Audix OM7 dynamic microphone as the Sm58 just never cut through at gigs. I’ve never been happier

[@EdEditz]

I really like the MXL990 and 770 mics in the $100 price range. They sound surprisingly good.

[@Podcastage]

The bang for your buck os absolutey there. Very fair picks.

[@raymota4515]

The 990 in my locker is always at hand.

[@boonie3]

Picked up a Behringer BA 85A as a backup mic based on one of your earlier reviews of it and it turned out to be great, and to me sounded a little better than an XM8500. Considering I'm not doing serious recording or voiceover work I ended up not getting a more expensive mic and used the money on a Motu M2.

[@frida507]

What about skills vs equipment? I don't know anything about this really but I have a feeling that if you have no skills/knowledge you might not get the value out of the expensive equipment anyways and that it takes some skills and effort to get decent sound out of a low budget mic. So my guess is that as a newbie you might be best off getting something a bit over the super budget option, if you can afford, but after that you will probably get more improvement by learning how to use it properly than from upgrading. But tell me if I'm wrong!

[@mww-ew6oz]

If you look at the bottom, you'll see that these are all recorded via the same interface on the same settings with no post-processing. The only change between them, and in general, is the volume adjustment in post. The only skill or knowledge affecting how these mics sound in this video are a baseline proper gain setting & good positioning, both of which you can easily determine on your own by just messing around with both. How the mics sound in this video is exactly how they'd sound if you bought them and used them in the same interface after maybe like 15 minutes of determining the proper gain setting and mic position. Learning post processing techniques, rather than "how to use a microphone properly", is what will yield quality differences, but you want to start with a good baseline. It's also the difficult part. That's what people hire audio engineers for. It's not something that you can just learn in an afternoon, and it's not something that it's necessarily worthwhile for a "newbie" to delve into beyond the basics. Accordingly, a "newbie" would be better off starting with a "very good" quality mic and then slowly learning what they need to do in post to make it sound "great", if they have the inclination (but still ending with a "very good" quality if it's not) than they'd be getting a "good enough" mic & then trying to learn all the master-level post processing techniques to make it sound better than that (and, even, then, being constrained by the limitations of the mic). Post processing is where the skill is. This baseline, illustrated in this video, isn't. The value you hear in this video is the value you'd get if you put even a little bit of work in. There's a reason that audio processing (synchronous and post) is a career field unto itself, but putting a microphone on a table isn't.

[@frida507]

@@mww-ew6oz Thanks for your input, it makes sense the way you explain it! 🙂

[@piggradio1766]

Hello, just got to say I love your style and enjoy every video that I've seen from you. Your sense of humor and presentation are wonderful. Thanks for all the great content and all the hard work behind the scenes in making your videos so entertaining and helpful.

[@korg47237]

How you process and set the gain for your microphone matters way more than how much you paid for it. A recent episode of a podcast I listened to must have accidentally cranked the audio in post because they usually have good sounding mics but it was peaking so hard I couldn't listen to the episode at all.

[@YaYousef5]

I listen on studio monitors/head phones and it's difficult to listen to many KZbinrs because they like to boost the bass and highs and it makes it boomy/peakey, but it sounds better on phones. I have an eq profile on my computer that cuts the boomy lows just so I can listen to them without fatigue.

[@ryanchappell5962]

The amazing thing about the xm8500 is that you can buy 4 of them for $80! I actually did that for a podcast. Pretty awesome. They come with a nice case too.

[@aphrodence02]

its probably the post processing skill that will skyrocket your creation or your customers if u were a recording studio or some sort.

[@znbh]

bought the rode procaster and the sE v7 based on your recommendations and I think I've done myself a huge favor by not going for anything more expensive. thank you banderson

[@MrDvneil]

quality content, podcastage videos never reach diminishing returns. the more the better

[@rhalfik]

I have a soldering iron and I can build a good mic for a video like this for 5 dollars. Just buy a nice electret capsule and wire it to a so called simple p48. The good ones have -80dB noise. If you don't have a phantom power interface and need a preamp, then you can put together one for another 5 bucks based on SSM2019. No one will say a bad word about your sound quality. IF you want a studio quality mic, then you still can make one for under $100. The project is called OPA Alice, or if you want a "real" ie. non-electret large diaphragm condenser, then pimped Alice circuit is the way. You can use any capsule you want starting from $20 Chinesium all the way to the $500 ones. The circuitry has similar performance in most condensers. You can hear how they sound on a channel called Sound Sleuth.

[@shadvegasmusic]

wow, lots of good info here. Thanks!

[@1Know1tHurts]

That's a completely new level. Thanks for the info.

[@LaHoraMaker]

What happened to that MD-441 that appeared for like... two seconds overall!

[@VaalkinTheOnly]

I've always had the ideology that 90% of your general microphone quality can be achieved within the first $150, and if you're paying more than that you're probably buying it for something specific.

[@PippPriss]

I came to admire your content so much, thank you! Everytime you have the Neumann in your hand, I am inclined speaking together with you - "Hello Neumann!"

[@mobilechaosyt]

I think the software packages that come with Elgato and Beacon become more important than the microphones themselves. I personally use a XM8500 and the only reason why I want to upgrade is to get a microphone that is more presentable when streaming. Plus my old Scarlett 2i2 1st gen needs to be replaced by something more capable.

[@hershelshochter4703]

Quadcaster glows and has a silent capacitive mute button on top, is recognizable on streams and eye catching Give it a try

[@mobilechaosyt]

@@hershelshochter4703 I have been leaning towards getting a Rode PodMic especially since I already have the Scarlett 2i2. If I was looking for a USB microphone I would lean towards the Elgato Wave 1 because of the software. Quadcast hasn't been very high on reviewers lists, but still might be a decent option.

[@michaelross3662]

@@mobilechaosyt How about best of both worlds and get the Podmic for those sweet looks and the WaveXLR for the functionality

[@mobilechaosyt]

@@michaelross3662 Yup, that has always been the plan starting with the microphone.

[@GOW3epic]

I must say I really love the SM58 Bata. I use it for band practice in my basement. You can really get the volume up without feedback. I sounds vey good and has a great sweet spot.

[@nikilragav]

I'm listening with in-ear monitors. With none of these mics do I hear any noise in your room. As a result, since every mic seems to have have acceptable signal to noise ratio, you should be able to make every mic sound almost identical if you use a FIR filter EQ. (You can do this for Livestream or prerecorded)

[@HarvinderSingh-yy8th]

Bandrew I am thankful to you that you always keep care of budget of common people. You have became a legend.

[@Podcastage]

Thank you for the kind words.

[@chrisk.6246]

I love these "don't set fire to your hard-earned money" reviews!

[@SeniorPomidorDeveloper]

That’s right. I have recorded few programming courses for my channel. For the first courses I used the cheapest wired apple headphones with mic, with very middle quality sound. And there was a lot of comments and no one mentioned it. For the last course I used a good audio interface and 100$ mic, it produced very good quality and almost no one mentioned it in comments. If my voice is recognizable enough, people don’t care of sound quality, they coming for content.

[@HarmonicaTool]

I have refrained from buying Udemy courses because of bad audio quality. There is a point where I don't care for context quality when I know I can not listen to the reverb of a bathroom through a laptop inbuilt microphone.

[@SeniorPomidorDeveloper]

@@HarmonicaTool Exactly. Most often, the problem is not that the person is using cheap equipment; you can make excellent sound even on cheap equipment. The problem is rather that the room is extremely unsuitable for recording sound, or that the lecturer does not think about sound at all and uses a laptop microphone.

[@TisMeBc]

I was really impressed with the 100 dollar Rode Video Mic go 2 but used as a podcast style (USB to PC) not as a shotgun mic. if you havnt checked it out you might find it interesting

[@RodrigoPolo]

Any chance you'll test the Oktava MK-012?

[@citizenstrife]

I went to a convention earlier this year, and a voice actress stressed just how important "branding" can be. She told the story how another actor got a gig with the acting studio by flat out telling them, "If you can tell teh difference from what I'm using to a Neumann, then don't hire me." She didn't say what mic he used (something in the $200-500 range I guess). However, when a legit actress says the directors and techs pretty much demand Neumann's as a baseline...sheesh. Good on the guy for having enough skill to get a job without it, but I'll take her word for it. This was pre-COVID by the way. She also mentioned they standardized the kits actors would use for home studios going forward. I shudder to think how much that would cost.

[@HungryForTastyFoodAndComicArt]

Yeah, but as a person whom has recorded with a Lewitt, a Røde NTG5, an Audio Technica 4021, and a Neumann tlm 103, I dare you to *not* hear the difference between all of the others compared to the tlm 103 in a decently "treated" room through a dbx 286 or better unit.

[@citizenstrife]

@@HungryForTastyFoodAndComicArt I'm sure there is a huge difference. They were making video games and anime for worldwide appeal. I'd highly doubt any studio would record on Neweers. But it also matters what application. I have at most three (THREE) people mention how good my mic is. Maybe a few more counting D&D friends I suppose. For streaming or KZbin, it is probably more what you play, when you upload, or more importantly (who you know) whether or not you grow. The variables at play are more important than what mic you use. Again, I would cringe hearing my first recordings on a FiFine, if I still had those. But random viewers probably care very little. That is definitely Bandrew's takeaway here. "We notice, they don't."

[@HungryForTastyFoodAndComicArt]

@@citizenstrife well, yes, streaming is quite different as a "desired-end-result" to other stuff, good point.

[@drdelewded]

Ive been recording voiceovers for TV for 21 years (as an engineer) We currently use Neumann D01's ($10K) mics in our booths (Large TV/Radio Network) Though most of our VOs are done remotely through Source Connect now and our talent uses 416's, U87s some TLM103s :( (Not a fan of the 103, extra work to clean up generally) ... Anyways going back to my main point. Back when I started we had our Main network VO talent and he just didnt cut properly on U87s or U89s.. Both OG and Ais.. Meaning, we recorded his voice and it sounded great but once we put it in a mix it didn't stand out. We ended up going through a huge shoot out and ended up using the AKG C4000 on him.. a sub $1000 mic.. Point being, match the voice to the mic... or get a D01...He sounded great on that as has everyone Ive had it up against.. though they've now been discontinued haha

[@perrykeshahwalker5321]

Great presentation bro. I love your reviews

[@djtommykeys]

For me the Shure SM58 is worth every penny in its price range. The most listenable and quality dynamic mic was the Electro Voice RE20. It is silky smooth for your voice. I own and love the Rode NT1. I wouldn't spend any more money above the Rode NT1.

[@Cujobob]

The NT1 is a nice mic, but it picks up the room in a way that makes it less desirable than some other options. Yes, treating the room is important, but in reality… a lot of people are limited in what they can do. I picked up the Austrian Audio OC18 to replace my NT1 FWIW (but mostly because the Rode is rather sibilant).

[@djtommykeys]

@@Cujobob I have a makeshift moving blanket vocal booth. Sibilance is not an issue for me. I have a deep voice. I run a home project studio and find the NT1 works well for most singers, with minimal self noise. The Austrian Audio OC18 is a great mic but more money and more self noise than the NT1. I haven't done any vlogging but if I do I will likely use my Rode PodMic or my Shure Beta 58a.

[@robwoolley]

Listening to this on my car stereo every mic sounded the same :) having listened to your other vids on my Mac the sounds are so easy to distinguish

[@unnateural]

I'm pretty much a loud person on stream, I've been streaming for 2 years and I have a small following. Now regardless of what the audience thinks of what microphone you are using, I have went through 3, that were under $150, and they all sucked. It could have very well been user error, but it was very hard trying to find a good sweet spot to get the settings right. Yes, I ended up buying the sm7b, an expensive mic, and I will tell you that was worth every penny, no audio distortions at higher levels. In my own personal experience with sound quality, I wouldn't recommend trying to polish a turd. It all really depends on how serious you plan on taking your videos or streams. Don't be afraid to start cheap when you're new, but all the cheap mics I bought, well, good luck.

[@TV4ELP]

The thing with the sm7b is, it excuses a lot of things. You can throw basically anyone doing anything at it, and it will sound decently good with it, not have much problems. Is it the most detailed and bright sound? No. But it offers a very big range, doesn't really have a big noise floor and distortion is hard to create with it. A fire and forget kinda thing. I personally really don't like it from an audio characteristic standpoint and it doesn't really suit most people using it. BUT, if you don't want to spend a lot of time getting things juuust right, it is a godsend. Especially if you are louder or just more energetic and twitching around in your chair, you can benefit really big from something like the sm7b, or any other dynamic mic really. Condenser mic are more prone to the speakers positions and audio levels, if that changes much, you will hear it for sure.

[@perrykeshahwalker5321]

I own the 1st generation worker bee and honestly, it sounds better than everyone condenser microphone you showcased in my opinion. I also have the MXL 67G and I'll put its sound quality right on par with the nt1 except for its self noise which is ginormous compared to the NT1. I know some will disagree with me and it may be the way I'm using them but, those two microphones are my goto vocal mics.

[@NotAFanMan88]

I don't care, I care about my audio equipment, therefore I will spend an arm and a leg.

[@mikebauer6917]

So true. It’s like thinking nice paper is key to a best selling book. It doesn’t hurt and an author might prefer it, but the content matters so much more.

[@photoscotty]

I think you accidentally left the SM57 out of the edit.

[@matthewroe496]

Well said. You articulated what I have been trying tell people for years. Mics around $100 are the sweet spot, Any cheaper will likely sound bad and anything more expensive, Your just tone chasing. Don’t waste a bunch of money on an SM7B when you and your fans are generally won’t be able to hear the difference.

[@citizenstrife]

Ah yes. The sad truth. Unless you completely sound like you're recording from a dumpster or a bathroom, the amount you pay ends up being moot. The weird thing is that the people who know actually appreciate the money and time spent investing in the higher end stuff. But the people who don't probably find other reasons to go, "Hey I like your stuff...or maybe I don't, *clicks to another video* I REGRET NOTHING! RE-20 STILL WORTH IT!

[@drdelewded]

My old boss called it the MOM effect. His mother would complain to him that something was not right about a TV show she was watching. He would turn it on an realized it was a phase issue... (He being the manager of post audio at a tv network) she didnt understand what it was, and it was subtle but it turned her off to the program. Its the little almost inaudible things in audio that distinguish something as pro vs amateur.. They might be hard to actually pick out, but its what makes or breaks it.

[@JoshuaC923]

Thanks for making all these videos, you have no idea how much of a difference it makes for noobs for us. Thanks again!

[@walterwilliams1323]

You suffered for your art like a true artist Podcastage. Why do I keep expecting your mum to walk through that door behind you and say "Dinners Ready...and who are you talking to in here?"

[@GLRYB2GD]

😂😂😂