What's a great microphone to record video-tutorials?

[FMiguelez]

Hello.

I will be helping a friend make some video tutorials.
One of the things I REALLY appreciate in videos I like watching, is a good audio quality.

That means> Good level, compressed, no background noise, NO MOUTH NOISES, etc.

Kind of like this>
https://www.youtube.com/watch?v=oQdKHX0SUJw


I won't use my studio mic for this, so I'm stuck with an old SM57. The idea is to put it in front of me, next to my screen, but not too close to me, like in the above video.

The problem is that, with the SM57, I need to boost the input gain of my mixer to insane levels, and I still get like -40dB talking normally.
If I LEAN into the mic, it goes up to -20 to -15 dBFS, but I do NOT want to be leaning on it. I want to be comfortably sat at my chair, even laid back, like 1 to 1.5 meters away from the mic, and speaking gently (I hate it when people scream on videos).

So I want a mic that will capture good quality spoken voice with good levels even from that distance away.
Perhaps it shouldn't be too directional like the SM57, so I'm free to move around in my chair a little.
Its main usage would be for video tutorials only, so it doesn't have to be a studio-grade mic! Just something good with the above requested characteristics.

Any recommendations?

Thank you!

[stubbsonic]

57s have a "small" pickup pattern (that's how I experience them). I have to be on them pretty tightly. Which makes them ideal for isolating a source with other loud instruments around. A 58 seems less intense in that regard-- you can be less on it and it will still sound natural.

But for these purposes, I think any decent condenser mic will work well. They sound more natural at greater distances. I'd still choose a cardioid because you don't want so much room sound.

[stubbsonic]

BTW, I enjoyed that video.

[mikehalloran]

With dynamic mics, the desired output:input impedance ratio is 1:3–6 with 1:4 considered ideal.

The problem with an SM57 is that its 150 Ohm output was designed for an input impedance of 600 Ohms, the old Bell Telephone standard. Shure never changed it because it keeps selling. Modern mixers and mic pres generally have an input impedance of 1800–2700 Ohms which doesn't work very well on a 57/58/7 etc.

Load it properly and the response is flatter, proximity effect is reduced, overring is gone. In short, it can sound pretty good.

There are a number of solutions including a variable impedance mic pre, a phantom powered booster such as a Cloudlifter (I use the CLZ on mine and my ribbon mics).
http://cloudmicrophones.com/products-cl ... er-series/

A great dynamic mic that will match with any modern solid state pre or mixer strip is the AKG D5.
http://www.akg.com/pro/p/d5group

Besides being louder and having a 600 Ohm output, it's "Varimotion™" diaphragm is not just marketing hype. Voices realy are more intelligible through it. When I replaced my SM57s with these, it made a huge difference and the other band members bought some for themselves.

Street price is $79.95 — $99.95 and sometimes you can do better, at least here. Harmon keeps the price down by assembling them in Poland. BTW, no one counterfeits this mic. It's not well known enough.

Besides a couple of D5s, I own eight of the D870. It's the same mic with a round windscreen that was discontinued in favor of the D5. The 870 internal pop filter isn't quite as good.

[Killahurts]

That means> Good level, compressed, no background noise, NO MOUTH NOISES, etc.

Kind of like this>
https://www.youtube.com/watch?v=oQdKHX0SUJw

He's using a lavaliere Mic. Proof of this is at about 1:45, he turns to get a book while still talking. No volume drop, no phasing.. only a little change in ambience- and that together with the big round bass he has, makes me think it's an omni directional mic, and a high quality one at that. The camera angle is such that he can have it fairly close without it appearing on screen.

[Killahurts]

Also, at about 9:30, his air conditioner comes on. Definitely Omni.

[FMiguelez]

57s have a "small" pickup pattern (that's how I experience them). I have to be on them pretty tightly.

I really see that. I practically have to eat the mic for it to pick a decent signal, and it already has maximum input boost from my Tascam DM24.
I admit this mic has always been "just there", and I never took care of it... I wouldn't be surprised if it is somehow damaged. But when it picks up my voice, the timbre is fine... for a 57.

But for these purposes, I think any decent condenser mic will work well. They sound more natural at greater distances. I'd still choose a cardioid because you don't want so much room sound.

I'll probably just TRY my studio mic in this setup. But I won't like having it there in front of me for these purposes... It may fall, or something stupid.

BTW, I enjoyed that video.

Matt is awesome. That series, the "Patreon" series are much better than his Talk Show series... I've been following him with the former for a while already.

There are a number of solutions including a variable impedance mic pre, a phantom powered booster such as a Cloudlifter (I use the CLZ on mine and my ribbon mics).
http://cloudmicrophones.com/products-cl ... er-series/

A great dynamic mic that will match with any modern solid state pre or mixer strip is the AKG D5.
http://www.akg.com/pro/p/d5group

Thanks for the recommendations. I will check them out.

I just visited a "web casters" forum, and a lot of people seem to like this mic (USB Blue Yeti) for doing this kind of thing>
https://www.amazon.com/gp/product/B002V ... PE4WORQ4F5

It seems that, anymore than that, take most people right back to more expensive studio mic models.

Oh, I just tried a cheap wireless mic with a headset that I've had for ages, and it sounds like utter crap

He's using a lavaliere Mic. Proof of this is at about 1:45, he turns to get a book while still talking. No volume drop, no phasing.. only a little change in ambience- and that together with the big round bass he has, makes me think it's an omni directional mic, and a high quality one at that. The camera angle is such that he can have it fairly close without it appearing on screen.

Nice!
How observant of details of you

Also, at about 9:30, his air conditioner comes on. Definitely Omni.

See what I mean? I love that!

[stubbsonic]

With dynamic mics, the desired output:input impedance ratio is 1:3–6 with 1:4 considered ideal.

The problem with an SM57 is that its 150 Ohm output was designed for an input impedance of 600 Ohms, the old Bell Telephone standard. Shure never changed it because it keeps selling. Modern mixers and mic pres generally have an input impedance of 1800–2700 Ohms which doesn't work very well on a 57/58/7 etc.

Load it properly and the response is flatter, proximity effect is reduced, overring is gone. In short, it can sound pretty good.

This is illuminating and VERY helpful to know. Maybe I'll dump my 57s. Or look at some little DIY circuit to address the impedance problem.

[mikehalloran]

... Or look at some little DIY circuit to address the impedance problem.

It takes less time to build than to read this article.

http://www.recordingmag.com/resources/r ... l/330.html

He goes for 500 Ohm — certainly within the acceptable range.

[terrybritton]

The podcasting crowd loves the Samson mics, and an inexpensive Audio Technica one that has both a USB output and on-board headphone jack for hardware monitoring.
This review hits all the ones that are popular these days, but the Samson Meteor and Audio Technica AT2020 are likely the best values.

http://www.micreviews.com/guides/top-10 ... podcasting

I use a Shure Beta 87a, pointing directly downward just over my head and it produces very good audio with no EQ or anything applied. See this video to see it in action in a tutorial I'm doing on Voicemeeter (the video manual).



I tried using my Rode NT2000 but it really was too sensitive and picked up everything.

Still, the secret to no mouth noises is to drink only water (no coffee, tea, soda, etc.) before and during the recording event. Hydration is KEY. It also took much discipline to stop myself from "ticking" with my tongue between phrases. (Many people HATE that!) Stay off the mic enough that saliva noises are not being picked up.

Also discovered that no "boom mic" on a headset I could/would afford sounded particularly good.

(I've done 170 videos so far! Wow! So, feel free to ask me for any other pointers or assistance, like perhaps a listen to your test videos.)

Terry

[daniel.sneed]

Expensive, but IMHO, DPA 4088 headset (+ xlr belt preamp) is great for any speech project.

[stubbsonic]

It takes less time to build than to read this article.

http://www.recordingmag.com/resources/r ... l/330.html

He goes for 500 Ohm — certainly within the acceptable range.

That's great! I have some OM-2s that I use in the place of 57s and they are fine. But I also have three 57s that I use all the time. Is it true that this mod is only useful if can put that resister near the input (i.e. not near the mic)?

[mikehalloran]

Is it true that this mod is only useful if can put that resister near the input (i.e. not near the mic)?

No. You could install it into the mic if there's enough room.

The recommendation to install it at the male connector is practical because of the typical solder connections—it's easier than the female connector. This puts it at the console end.

As mentioned, you can build it into a barrel connector. Markertek usually has the best prices on those. Makes no difference if you connect it to the mic or console.

I have an old Shure mic mixer from the late '60s — the ones with 5 knobs, one for each channel plus output volume. It's noisy and I've not used it in decades. Until I learned of the impedance issue, I wondered why my Shure and EV dynamics sounded better through it.

[labman]

Hey there FM. Been using the Miktek Procast SST. Love it for that kinda stuff.

[mikehalloran]

Back to FM's original post.

The complaint about the SM57 included low output. The resister mod will properly load the mic with all the benefits that includes but it will lower the output another 1–2dB depending on the preamp.

The Cloudlifter CL-1 addresses both issues. Besides adding a 20–25dB (very clean) boost, it also claims to load these mics properly. It's aimed squarely at the EV RE20 and Shure SM7 (uses the same capsule and transformer as the SM57/58), all with the same 150 Ohm output.

With long cable runs, Cloudlifter recommends placing the unit close to the mic to reduce the chance of boosting any noise picked up by the cable.
http://cloudmicrophones.com/products/cloudlifter-cl-1/

The AKG D5 that I recommended also solves both problems. Its potential drawback is the supercardioid pattern. If hanging the mic as Terry recommends, a boosted 57 might be the better choice. The D5 is AKG's version of the Beta 58a but less expensive (I think it sounds better).