I've been an audio engineer for 20 years specializing in rock and metal recordings. I also play guitar and produce original music for my band and other content creators.
At publication time this was the Equal Highest Rated Large-Diaphragm Condenser Mic Under $200 along with the sE Electronics X1 S Vocal Pack.
Its versatility is expanded further with its relatively high SPL handling at 148dB Max SPL, along with its built-in 10dB pad and Low-frequency roll-off (80Hz, 12dB/octave) switch.
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Positioning is a bit limited with its cardioid polar pattern, but on the flip side, this helps minimize background noise, which makes this mic viable for studio recording use.
All in all, the Audio-Technica AT2035 is a good condenser mic for all around use, great for home studios thanks to its tonality and low noise floor.
The sE Electronics X1 S Vocal pack is an all-in-one combination including a shockmount and a pop filter. This makes it great for people looking for their first mic and want other essentials packaged in.
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It has a relatively high maximum SPL with low cut filters at 80hz and 160hz making it suitable for louder voices and instruments.
The X1 S strikes a balance between transparency and harmonic richness. This combination coupled with the loud SPL handling makes it a great mic for users with startup project studios / home studios. This is a good choice if you prefer the balanced response of large diaphragm microphones.
Note that the mic itself is slightly heavy and tilts less sturdy mic stands. This can be solved by using a mic stand that can handle heavier mics.
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So if you're looking to buy your first mic and want it to be great for all-purpose use, get the sE Electronics X1 S Vocal pack. It has a neutral sound signature that is more commonly heard on more expensive microphones. The pack also includes essential items you need for recording vocals.
Here is a Large-Diaphragm condenser mic that I own that has a great, upfront sound with lots of detail. It might not be for everyone though. Read on to find out why.
Rode Microphones famously pitted this microphone against a Neumann U47 in this video. That prodded me to give it a shot to see if it can get me anywhere near the experience I had with working on tracks recorded with the seemingly magical, German-engineered U47
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The Rode NT1 (Black) is one of the most commonly recommended Condenser Mics at this price. It's relatively simple: Cardioid-only, no other switches or pads. The mic itself is a departure from the NT1-A and has nothing in common (tonally at least) with the original NT1.
This version, released in 2017, aims more towards the vintage end of the spectrum with regards to tonality. My first impression of the mic was great. Depending on the package you get, some stores offer the Rycote Lyre-style shockmount with a paddle-like metal pop filter, while others carry a more traditional metal shockmount with elastic bands plus a fabric pop filter. Regardless of the paired accessories, the mic is the same in either. I had the one with the metal shockmount which was built solidly.
Moving onto the mic itself, the finish feels great to the touch. It has a high quality matte black finish with the logo, serial number and other details laser etched on the body. The edge terminated capsule is visible through the headbasket. The one on mine came slightly misaligned but it was only a matter of unscrewing the endcap and realigning the capsule and closing it. Not really a problem for me but it might be for some that are particular with how their products come out of the box.
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The Rode NT1 is made in Australia with high quality components and are housed inside a 6061 Aluminum enclosure with the details laser etched. (S/N blurred for privacy)
Plugging it in and firing up the phantom power, I got to do a preliminary mic test with the peaks hitting around -10dbfs. Consider the NT1's sound as more of a blank canvas rather than an already finished painting and things will suddenly fall into place. One feature to support this is the NT1's extremely low self-noise. This enables the use of heavy tone shaping without bringing up the mic's inherent noise floor (not counting environmental noise of course). Recording in a well-treated room and you will be rewarded with a recording that can take a lot of processing and still sound good.
On other aspects, handling noise was actually very minimal. The capsule is internally shockmounted with a Rycote cradle. I use the NT1 for streaming and voice overs and moving the mic around while I do so doesn't result in overbearing thumps and thuds.
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With all this praise, I have to note that I have a few caveats with the kit. The shockmount is solidly built but very heavy. The fabric mesh pop filter is built into the shockmount and it adds to the weight. Unless you're using a straight mic stand, you will need a heavy duty boom mic arm to carry the weight of the mic kit.
It comes in cardioid only pickup pattern with no pads or filters. This limits its versatility especially with loud sound sources. The tonality is useful enough for most cases, however.
The Rode NT1 is a great mic for vintage tones without the vintage price. The bundled accessories make it great for startup studios and home producers.
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The Shure PGA181 is a versatile condenser mic that lives up to the pedigree. Unlike standard top-address microphones like the SM57, the PGA181 challenges norms by accommodating unconventional placements, daring to hang in front of a guitar cabinet, despite being rarely recommended by experts.
One of its most striking features is its maximum SPL of 138dB. This makes it a good condenser for handling loud sound sources. Often referred to as the 'desert island microphone' in forums, the PGA181's frequency response is clear and adaptable, excelling in various scenarios, from capturing vocals to delicately handling orchestral percussion.
While praised for its adaptability, some reviewers view it as a 'Jack-of-all-trades, master of none.' Additionally, its weighty build might pose issues with certain microphone stands, requiring sturdy support. Nevertheless, the Shure PGA181 remains a reliable and versatile choice for music production projects, making it an excellent starting microphone for those beginning their musical journey.
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Lewitt Audio was founded by Roman Perschon out of a desire to make innovative products that don't just rehash older designs from audio yesteryear. The LCT range is their take on the Large Diaphragm condenser design and includes cutting edge systems like the 1040 Tube Condenser.
The demand for a more affordable, project studio oriented product saw the release of the LCT 440 Pure. A distillation of their design philosophy into only the most essential pieces. The 440 Pure is a cardioid only LDC with no other features. On paper, this might not sound like much to offer, but the mic comes in an attractive package of both a shock mount, and 2 pop filters (foam and metal mesh).
It definitely sounds different from other mics in its class like the Aston Origin and Rode NT1. With so many glowing reviews for it, I was surprised that no one has made the comparison to top-tier, very expensive microphones yet.
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It has a neutral midrange with a sweet, airy high end that you can only get from classics like the Telefunken ELA M 251e and the Sony C800g (with some examples of the 251e having slightly more harmonically rich low mids vs the c800g). I have been fortunate enough to record audio with these mics and I can easily say the 440 Pure shares the same pop vocal sheen that the aforementioned mics offer. What it lacks compared to these mics is the subtle harmonic content that gives a feeling of compression on specific frequency ranges.
The microphone's design is bears a fleeting resemblance to those of Austrian mic manufacturer AKG. It's worth noting that Lewitt Audio was formed by an alumni of AKG, Roman Perschon.
I would love to pick Roman Perschon's brain about how they tweak the tonalities of their microphones someday because I feel it's no coincidence that the LCT 440 Pure sounds eerily similar to these sought after mics. Expect a longer format review in the future once I've gotten more mileage from it
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One handy thing is that the pop filter is small enough to not obscure vision for singers or speakers reading from lyrics and scripts.
I should point out that some people the mic too sibilant; a trait it shares with the two expensive mics i keep mentioning. If you're looking for Neumann smoothness, look elsewhere as the LCT440 Pure has a very modern and airy sound designed to cut through in a modern pop mix.
Many people who have never worked with high end microphones like the Telefunken ELA M 251e and Sony c800g might not understand what makes the Lewitt LCT440 Pure's timbre and tonality so great. While it doesn't have the harmonically complex midrange of the 251e or the extreme high end detail of the Sony C800g,
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