@Vitaliy_Kiselev Would it be any trouble to rename that thread "pricier mikes"? Some of the pricier microphones we discussed are ribbon microphones or small diaphragm condensers as opposed to large diaphragm condensers. I'll be happy to copy some of my comments over but didn't want to mention things that didn't fit the title.

Is there a reason no one likes the Oktava Mk012 with the 3 capsules ? http://www.oktava-shop.com/view_prod.php?id=6 Card hyper and omni for 234 EUR. Is there something the other mics will offer that the omni capsule does not, for voiceover ?

Oktava has an extra option for a large diaphragm capsule. I think its about 300 EUR for 4 capsules.

Just got a couple of Golden Age R1 Mk3 Ribbon mics to try out - I think they're most pleasing - no need for an expensive pre (a la API etc) as they use phantom and a FET front end to keep the noise down and gain up, best of all they're only £150

http://www.recording-microphones.co.uk/Golden-Age-ribbon--microphone.shtml

Let's not forget with all the talk about mics - you need to put them on a good pre or there's no point - but I assume that'll be another thread ;p

@dancerchris they're Ribbon Mics sir not condensers - usually with traditional ribbons (Coles Royer etc) you need high gain & good quality pre to get the best out of them in terms of noise floor etc, but these guys have tried to circumvent this by applying 48v phantom And FET front end to get the gain up.

@soundgh2 I was trying to point out that with "hot" mics it doesn't require a stellar pre to do decent recording. Your FET front ended ribbon mics (or for that matter any mic that has been made "hot" with some gain circuitry) fit into the "hot" mic category. BTW I've owned ribbon mics for over 30 years and do love the character they give vocals. (They do require lots of gain though without any internal boost).

The Oktava cardioid small diaphragm is excellent for voice over, but the Studio Projects B1 is similar in quality and is cheaper. The SP is just too large to boom, so factor that in (unless you replace the case, which is a tricky mod).

A lot of good advice on this thread. I write and engineer music for 25 years and doing video (including super8 film) and some CG for a little less. I also teach both.

I think the best advice I give them is that "awesome, breathtaking performance or song writing is more important than good equipment. Just get the equipment that give you no issues, concentrate on the performance not the technical bits, and go amaze us with the performance of the decade". Or something like this.

For home studios, that usually are not acoustically treated I sagest a dynamic mic. I good old SM58 for voice, that could also been used "live" is the first suggestion.

BUT every vocalist or instrument has his/her sound and there is no fucking perfect microphone of everything-everyone. PERIOD. Just some good starting points to get the job done quickly (U87, U47, C12, SM57, SM7, MD421, MD441, D112, etc).

Back to the topic.
Sennheiser MD-421, especially the old cream ones, MD-441, RE-20, Shure SM-7 are some of the best large diagram dynamic mics that are been used in broadcast and voice overs. Just google some voice over artists and see for yourself. Some voice over talents have found their "perfect" mic and signal chain (preamp, eq, comp) and go with that instead.

Bottom line.

Performance is more important than that silver bullet, latest, shiniest, geekiest equipment.
Just my .02 euro

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