Best Microphone For Voice Overs 2023; Top Reviews

Here in this article “Best Microphone For Voice Overs” we’ve rounded up 12 top mics for voice over acting from USB to XLR of various types, specifications, and budget. Below, you’ll find in-depth reviews of each, as well as an elaborate buying guide to pick out your favorite.

Finding a microphone that will highlight your talent as a voice actor, and bring confidence to your recording can be a bit of a challenge. With all the different types of mics our there, such as dynamic mics, condenser mics, solid state or tube mics, and many others, how do you know which one to pick?
The good news is you don’t have to be an audio engineer or an expert in acoustic theory to be able to find the right microphone that will work best with your voice.
In this article, we’ll go through the basics of voice over microphones to make sure further recommendations make sense for beginners. If you are a voice over professional, No worries — you’ll also learn a thing or two and get a few tips for an extra studio mic or an upgrade.

With so many options to choose from, we thought we’d make your buying decision a little easier by sharing our list of best microphone for voice overs. From dynamic mics to condenser, there’s something here for everyone.

Prices pulled from the Amazon Product Advertising API on:

Microphone For Voice Overs reviews

Best USB Microphone 

Blue Yeti USB

The Blue Yeti USB microphone has been the most popular USB microphones in the last several years and we highly recommend it to someone who is going to use it for singing or rapping.

The heavy 50s-style metal construction – complete with a brilliantly designed large-footprint table stand – lends this microphone an air of seriousness.

One of the stand-out features of the Yeti is the ability to change polar patterns.

The Yeti Blue uses a proprietary tri-capsule microphone array that allows you to switch between 4 different polar patterns, customizing how the Yeti picks up sound.

They are Cardioid, Omnidirectional, Bidirectional, and Stereo.

One advantage of its 5v-powered USB makeup is that the Yeti is able to put many of the most important recording controls on board. 

There’s a built-in gain dial, essential if you’re recording quiet or distant sounds and useful for preventing later processing.

It also features a volume knob for the live-monitoring headphone amp, a mute button to pause recording, and the most important control of all: the pattern switch, which selects between the four operating modes of its triple-capsule array.

Blue Yeti has two ports. The first one is of course USB that powers the device and sends the digital signal to the computer.

This model has a standard sampling rate of 16 bit at 48 kHz. The USB cable of around 6 feet long is also included in the package. 

The other output port is a 3.5 mm headphones jack, allowing you to hear exactly what’s being captured. 

Both ports along with a shock mount thread are located underneath the device; however, the shock mount itself is not included in the package.

Blue Yeti sounds surprisingly rich for its cost. It is a sensitive mic so be prepared that it will be picking up both wanted and unwanted sounds alike. 

However, a proper positioning along with right picking patterns can help to achieve a good level of noise cancellation. For instance, if the source of noise is behind the mic, you may use a cardioid pattern; if the noise is coming from sides, a bidirectional pattern will be handy. 

This is where its functionality turns out very useful. If you play an acoustic guitar, you’ll especially like the stereo mode, which can make it sound much more natural.

The main advantage Blue Yeti boasts over its competitors is the THX certification. In fact, it was the first microphone that actually earned it. 

THX warrants for sound quality and guarantees the whole frequency range is delivered just the way it should – and this is indeed so. 

On the other hand, many other mics will often deviate from the natural pattern, coloring some frequencies and muting the others. 



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Best For Professionals

Neumann TLM 103

The Neumann TLM 103 is a cardioid microphone, operating with a pressure gradient transducer, meaning that its inner membrane is responsive to the pressure differential (gradient) from both sides of the microphone (front and back).

At first sight, the Neumann TLM 103 is a gorgeous microphone. The microphone feels heavy and sturdy. It’s quite compact. In fact, it feels like a grenade. The build quality is solid. The design is also very clean, being that there is no polar pattern selection, pads, or filter switches.

TLM-103 sound is exceptional: it offers a remarkable detail clarity along with excellent dynamics. The sounds recorded with this mic sound vivid and lively. Try comparing it with a hundred dollar range mic in a good studio environment and the cheaper device will suddenly sound dull and lifeless. 

This Neumann mic also captures even slightest inflections that are otherwise imperceptible with low-priced mics.

The microphone has a cardioid polar pattern, which means that it only picks up sounds from the front, and rejects sounds from the back (off-axis sound rejection).

However, this doesn’t mean that it won’t entirely pick up the sounds that are produced behind the microphone, as sound reflections and reverberations will cause the microphone to ultimately pick up reflected sounds, but it does a good job of minimizing these sounds bleeding into your voice over recordings.

Best Microphone For Voice Over Pros

Frequency response is another great asset of Neumann TLM-103. Although it does produce a slight accentuation when it comes to higher range pitches, this isn’t very crucial for most of the uses. 

For the rest of the range though, it gets a very stable curve with a perfect spectrum.

The self noise (ie. that of the internal circuitry) of the new mic is stunningly low compared with similar models; presumably this is another benefit of the 103’s TLM circuitry.

This is undoubtedly one of the top microphone for voice overs.

Another very impressive characteristic of the TLM103 is that it can accommodate peak signal levels of up to 135dB SPL at 0.5% distortion. The ability to handle such high volume means that the new mic does not need a pre‑attenuator.

No foam windshield is supplied, but the mic has a strong, dual‑layer wire mesh grille which is reasonably effective at reducing plosives and popping; optional foam windshields and pop shields are available separately.

The microphone comes into two colors, Nickel and Black. Both are priced the same, which means that you can pick the one that best suits your studio setup.



Best Microphone For Voice Over Acting

Harlan Hogan VO

Voice-Over legend Harlan Hogan partnered with Marshall Electronics to create the MXL VO: 1-A Signature Series microphone, the first and only mic designed for voice over performers by a voice over performer.

Voice-Over legend Harlan Hogan partnered with Marshall Electronics to create the MXL VO: 1-A Signature Series microphone, the first and only mic designed for voice over performers by a voice over performer.

The MXL VO:1-A is a large diaphragm cardioid condenser microphone which utilizes a 32mm capsule in a standard side address configuration. Measuring 1.85 inches in diameter and 7.2 inches in height, the VO:1-A is nicely finished in champagne colored nickel plating. At about 1 1/3 pounds it’s heavy enough to feel substantial, but not so heavy as to cause a microphone boom to sag. 

The Harlan Hogan VO1 is undoubtedly one of the best microphone for voice overs as it is designed and built for the same.

A metal rail surrounds the wire mesh screen that protects the capsule. Directly behind the wire mesh appears to be a very thin layer of foam, no doubt to protect the capsule from moisture during use. 

Best Microphone For Voice Over Acting

For recording voiceover tracks, a pop filter is mandatory with this microphone but, since almost no one seems to include one, or even the old-fashioned foam windscreen, you’ll need to purchase a proper pop filter separately.

The mic ships with a ring mount, a shockmount, spare elastic bands, a fleece storage pouch, a 15-foot Marshall cable, and a foam-lined travel case. Hogan’s “Voiceover Essentials” website offers a 30-day trial period, and a 3-year warranty.

In use the microphone provides a nicely balanced sound with a bit of high-end crispness, but much less than I have found in other MXL microphones. 

The low-end is present and certainly meaty enough for Big Voice male voiceover, but the proximity effect is not nearly as pronounced as expected it to be.

Although the VO:1-A is certainly a cardioid condenser, its polar pattern veers toward being omnidirectional.



Best Multipurpose Pick

Blue Snowball iCE

Blue Snowball iCE is a stylish, entry USB mic with an attractive price tag. Unlike the similar-shaped Samson Meteorite, it is not as blatantly hot and it has a detachable USB cable with a solid Type B connector. 

The midrange is by far superior and technically, it produces a much more accurate sound than the former. 

However, there is literally nothing but midrange. It sounds thin and dark at the same time, and it also produces popping.

Available in black or white, and measuring 12.7 inches in circumference (a roughly 4.2-inch diameter), the orb-shaped Snowball Ice has a plastic cover that exposes metallic grille at the front of the mic, where the Blue logo is, and also on the opposite end. 

A status LED is located at the top front face—it lights up when the included USB cable is connected to both the mic and a recording source. 

Internally, the Snowball Ice employs a pressure gradient-style condenser with a cardioid pattern.

It has its plastic shell, but it is very heavy duty and hard-wearing plastic, so there shouldn’t be a problem with durability. 

There are no external protruding controls or switches. The only noticeable control is the socket for the USB on the back. Otherwise, it is a plain design.

Despite being completely spherical, there’s still threading on the base to accept a standard microphone mount. 

best microphone for voice overs

The Snowball includes a desktop mic stand of its own, and it’s surprisingly well-built and even has adjustable height. 

Three sturdy legs fold out from the base to keep it steady on any hard, flat surface. There are even Snowball-specific shock mounts available, so you can soothe your inner audiophile.

The Snowball Ice is compatible with Windows 7, 8, and 10, and Mac OS 10.4.11 and higher, and requires USB 1.1/2.0 (or newer) and 64MB of RAM (or better). 

It’s a plug-and-play style option that will be immediately recognized by many recording programs, such as GarageBand. 

The mic is one of the best microphone for voice overs as it also delivers solid audio from a distance of about five to six inches, but with the vocalist slightly off-axis and the gain adjusted accordingly. 

In this scenario, you still get crisp highs, not much (if any) room sound, and you will get fewer plosives from inexperienced vocalists.



Best Budget Microphone

MXL Mics 770

The microphone comes with a slick, low profile spider shock mount, the MXL 770 looks like a serious large cap condenser microphone that delivers versatile performance on a variety of sound sources, including voice overs, acoustic stringed instruments, pianos, and percussion.

This one of the best budget microphones for voice overs comes in an attractive matte charcoal finish with gold lettering and trim, the MXL 770 is an affordable mic that doesn’t look cheap.

Under the refined exterior, the MXL 770 is fitted with a six-micron gold-sputtered diaphragm with a 0.87” capsule and a low-noise FET preamp. 

There’s a frequency response range of 30Hz to 20kHz, with a decent max SPL of 137dB. Note that this mic comes with a standard XLR connection and will require 48v phantom power to power it.

Best Budget Microphone For Voice Overs

The MXL 770 offers great sensitivity at 15mv/Pa and with an impedance of 150 ohms, it is quite powerful and provides perfect bass adequate for instrumental and vocal recording. 

Around the back of the mic you will find a couple of switches. The first is the low-frequency roll-off and the other is the 10db pad, which both prove very useful. 

The included shock mount is a great free add-on that prevents vibrations from the stand or the desk from reaching the mic and making their way into your recording. 

The microphone also comes along with a hard plastic case, padded with foam for storing and protecting the microphone when not in use.

Since MXL 770 uses an XLR cable, you willneed a USB audiointerface into which you would plug the mic then plug the interface’s USB cable into your computer.

It looks great, it’s built to last and it delivers a sound that, quite frankly, belongs in a much higher price category. 

This makes the MXL 770 an absolute bargain at this price. It’s perfect for beginners as much as it is professionals looking for a real bargain and – if you are looking to record instruments as well as vocals, this could be your best pick.



Best Unidirectional Microphone


Rode NT-USB delivers quite a superb sound, thanks to a quality cardioid capsule set in a standard studio fashion, only except the mic provides USB interface. 

It sounds very natural, clear and transparent, and does not suffer from those common effects such as popping and sibilance. 

The proximity effect is negligible, and it works from a number of angles. 

The Rode NT-USB is also less susceptible to vibration noise, even with the stock tripod. For best results, you may consider getting an additional suspension kit and shock mount.

The mic is larger and chunkier than some of its photographs might suggest and its metal construction has the same high-quality feel as Rode’s established studio mics. 

The capsule, set in a side-address configuration, looks to be around an inch in diameter, has a fixed cardioid pattern and is almost certainly a back-electret type. 

There’s also a free two-year extended warranty if you register your purchase on Rode’s web site.

Control and connectivity comprises a USB port, a stereo headphone mini-jack for monitoring, an overall level control and a control to balance the DAW output with the incoming pre-converter mic signal for zero-latency monitoring. 

Best Unidirectional Microphone For oice Overs

In addition to the mic itself, the kit includes a long USB cable, a soft storage case, a very chunky curved pop shield and a desktop tripod mount. 

The pop shield utilises the locking ring on the included stand adaptor to locate it. It’s also possible to attach the mic stand adaptor to a conventional stand rather than the tripod base.

You can use it with a Mac, a Windows machine or an iPad needs no extra drivers to be installed but you will need Apple’s Camera Connection Kit or similar to interface the USB with an iPad.

The mic also has a detachable pop filter only makes the NT-USB more enticing, of course. This metal shield is designed to combat irritating plosive sounds (the hard ‘P’s or ‘B’s that cause a mic to freak out), and it’s essential for the likes of live streaming or podcasting. 

You’ve normally got to buy these separately, so having one right out of the box is a welcome bonus. 

In terms of performance, this one of the best microphone for voice overs delivers fantastic audio. It’s impressively sharp and is perhaps one of the best standards of sound on a USB microphone. It’s got a talent for filtering out background noise as well.

Rode NT-USB includes all the necessary features for a painless recording. It does not require any special drivers and works well as a plug and play device. 

It has two controls on the right side that are meant for monitor volume and the mic’s gain. Underneath, there is a standard 3.5 mm jack for headphones.



Best For Home Studio

Audio-Technica AT2020USB

The Audio Technica AT2020USB+ Condenser USB Microphone is a studio-quality microphone that plugs directly into the USB port on your computer. 

It works seamlessly with the modern recording software, this microphone is designed to be used for podcasting, studio recording, rap vocal, and voice-overs. 

The Audio Technica is incredibly easy to use. You just plug it into the USB port on your PC or MAC, and it is ready to go.

This microphone is a well-put-together package that comprises everything you might reasonably need for recording vocals or instruments in a streaming or home recording setup. 

Although it does not come with a pop shield, even in the more expensive podcasting pack bundle, which also includes a pair of headphones and a boom arm, that’s not a deal-breaker, though, since pop shields are at least cheap to buy separately.

AT2020USB produces crisp and clean sound, compared to a number of models in the same price range, it comes out the winner. 

The mic has a steady frequency response that makes it more musical. This is actually the best curve you’ll ever see on a USB mic and it also makes it one of the best usb microphones for voice over acting.

Other mics in this range tend to use cheaper capsules and end up sounding harsher especially in the higher range. Those imperfections tend to get even more audible due to the digital sampling.

The body of AT2020USB is made of rugged metal intended for durable performance, and indeed, it looks like it can last a very long time. 

Even the capsule is protected by a rigid grid. It uses a square USB connector often found on printers. 

Quite frankly, it is better than mini-USB, which tends to detach and bend. 10 feet USB cable is included in the package, for which if needed you can easily find a replacement. The package also includes a tripod. 

The USB caters for 16-bit A-D conversion (which can accommodate a dynamic range of over 90dB) and a sample rate of 44.1kHz. 

As well transmitting the mic signal, the USB connection brings stereo audio back from the computer. 

Headphones are plugged into the mini-jack socket on the side of the mic and a thumbwheel potentiometer governs the headphone level, while another adjusts the balance between the direct signal from the mic (for latency-free monitoring) and the computer’s stereo output. 

Being a class-compliant device, the AT2020 USB+ needs no additional driver to be used with Apple operating systems (OS X, iOS), and a suitable driver should download automatically for Windows if one isn’t already installed.



Best With Ultra Low Self Noise

Rode NT1-A-MP

The NT1-A Large-Diaphragm Condenser Microphone from RODE is a 1″ cardioid condenser microphone. It has a self-noise level of 5 dB-A, making it a great choice for a vocal microphone, as well as for recording guitars and percussion instruments.

The Rode NT1-A is perfect for someone looking to make their first solid investment into a microphone. Whether you’re recording yourself for a podcast or you are looking for a top microphone for voice overs, this mic gets the job done.

The NT1-A is commonly regarded as one of the quietest studio microphones available that’s still realistically priced for the average person. Low ambient noise is important in voice recording, because if your mic is too noisy it can result in a messy recording.

The NT1 has a sleek, fuss-free and clean design – with no switches for bass roll off or a pad. It is finished in a very dark shade of grey. 

The machined aluminium body is nickel-plated to resist corrosion, while a military-grade ceramic coating makes the whole finish resistant to scratches or marks. 

The NT1 has a sleek, fuss-free and clean design – with no switches for bass roll off or a pad. It is finished in a very dark shade of grey. 

The machined aluminium body is nickel-plated to resist corrosion, while a military-grade ceramic coating makes the whole finish resistant to scratches or marks. 

When it comes to recording vocals for voice over actors, the NT1 is crisp and detailed, with plenty of warm low-end body in the mix and nothing absent or poking out in the midrange. 

There is an airy clarity in the top end and the double-meshed pop shield is both unobtrusive and effective.

The Rode NT1-A is a condenser microphone, and like many condenser microphones requires a little more power to get it working. 

That’s where phantom power comes into play. You’ll need a recorder like the Zoom H5 or an interface like the Scarlett 2i2 that can provide that extra +48V of power that we affectionately call phantom power. Though +24V will also power this mic adequately.

The Rode NT1-A is a cardioid mic, meaning that its polar pattern, or the directions in which it picks up sounds, is in a heart-shape. 

This is great again as a good pattern for vocals and recording voice overs as it won’t pick up any of the sound coming from behind the microphone reducing background noise in your final recording.



Best Condenser Microphone 

Neumann TLM 102 

Styled in a nickel finish, the TLM-102 Large-Diaphragm Cardioid Studio Condenser Microphone from Neumann has the ability to withstand very high sound pressure levels.

The capsule, with its high SPL rating, permits the recording of percussion, drums, amplifiers, and other loud sound sources.

The microphone is equally capable when recording lower volume sounds due to its fast transient response. However, its most important applications are in the realm of vocals and speech.

It is a large-diaphragm, transformerless capacitor microphone with a fixed-cardioid polar pattern. 

Though this top mic for voice overs looks superficially similar to other Neumann side‑address mics, it is significantly smaller than the likes of the U87. It weighs around 260g, has a diameter of 52mm, and a length of just 116mm.

The capsule, with its edge‑terminated diaphragm, makes use of more cost‑effective manufacturing methods than Neumann’s high‑end mics. 

Another cost‑cutting measure is the lack of pad and filter switches, which makes it very much a ‘no‑frills’ design — but again, this doesn’t impinge on the sound quality.

The mic comes with a secure screw-in stand mount with a solid-feeling clamp on the tilt control. It’s nominally cardioid-only, and there are no pads or low-cut filters built in.

Due to its remarkably linear response across the entire midrange, the TLM 102 is able to capture the authentic character of any voice or instrument, enhanced by a slight lift around 10kHz for silky highs. The TLM has a gorgeous bottom end too, enriched by the well-controlled proximity effect of a large diaphragm cardioid capsule.

The TLM’s technical performance is impressive too. Its self-noise of only 12 dB-A is much lower than the ambient noise in even a very quiet room. 

At the same time, the TLM 102 is capable of handling extreme sound pressure levels of up to 144 dN free from distortion. 

As a member of the TLM range TLM 102 is equipped with a transformerless output stage, which means: powerful bass, even at highest signal levels, and a very direct sound without transmission losses. 

Its self-noise of only 12 dB-A is much lower than the ambient noise in even a very quiet room. 

At the same time, the TLM 102 is capable of handling extreme sound pressure levels of up to 144 dB free from distortion.

TLM102 is available in both black and nickel finishes. The mic comes in simple foam‑lined cardboard box along with a swivel standmount. 

A silver band below the basket and the red Neumann logo add a nice visual relief to the black basket and the satin-black body. 

A thread around the XLR housing locates into the stand adapter to provide a secure support, and the Neumann logo denotes the ‘hot’ side of the capsule. However, the thread will fit other Neumann‑compatible shock mounts.



Best Dynamic Microphone 

Shure SM7B 

Shure SM7B is a legendary high-end dynamic microphone, often used on radio stations, for podcasting, voiceovers and studio recording as well. 

Many people believe that to get the best sound it is somewhat mandatory to use only the expensive condensers like Neumann and similar. 

This microphone can easily prove them wrong. Three times cheaper than TLM 103 and 8 times cheaper than U37, it is capable of producing just as good, and in some occasions, even better results! 

Having its own pros and cons, it resurrects the old topic of dynamics vs condensers, but in a nutshell, the sound quality of SM7B is exceptional.

This is the same microphone that the “King Of Pop” himself, Michael Jackson, used on his most successful album of all time to date, “Thriller”. This is one of the best microphones for voice overs, if not the best to use for vocals in its price range.

It’s an incredibly versatile microphone, with its wide, flat frequency response, and cardioid polar pattern, it’s perfect to be used in recording setups for recording vocals, instruments and even micing up amplifiers, where off-axis sound rejection is required to gain clarity in a recording take.

Also, with the addition of it’s bass roll-off and mid-range emphasis (presence boost) controls, it’s also been widely used in streaming, broadcasting, podcasting and video commentary, as it really provides a lovely rich, clean tone.

This is undoubtedly one of the best dynamic microphone for voice acting.

The microphone itself has a cardioid polar pattern, but with the assistance of the bass roll off and mid-range boost controls, the polar pattern changes accordingly, it has good frequency responsiveness.

The pre-installed pop filter effectively eliminates plosives and fricatives, meaning you can speak freely without monitoring how close you are to the recording capsule. 

Shure also provides its A7WS detachable windscreen to further reduce plosives and produce a bassier-tone. To install the windscreen properly, refer to the included user guide as it requires the use of an included attachment piece.

Whether you record from a blanket fort or professional studio, you’re going to need a mic stand. Podcasters or streamers working from a desktop should consider a mounted boom arm instead.

No matter where you take the Shure SM7B, you need an XLR cable to plug into an audio interface or mixer.

As far as the microphone’s sound, it really does provide a clean overall sound. It must be noted that the microphone has a pronounced proximity effect, meaning that the low frequencies are not picked up as readily as soon as you’ve positioned yourself either off-axis or more than 2-3 inches away, on-axis.

None-the-less, like any microphone, positioning is key. And when you’re singing, speaking or using the microphone to mic up an instrument, when you hit that sweet spot, it really provides a lovely rich tone.



Best With Internal Pop-Filter

Rode Procaster

The Rode Procaster is a dynamic mic so it doesn’t require phantom power, plus it does a great job at rejecting unwanted noise thanks to the switchable high-pass filter and cardioid polar pattern. 

Naturally, you lose a tiny bit of the nuance you would get from a condenser but overall, as a microphone for speech, this doesn’t pose the same problem as it would recording acoustic instruments or vocals, where every harmonic counts.

Despite being in the dynamic bracket though, the Procaster does a great job of recording the nuances of a vocal performance. This is aided by the fact that it’s also good at rejecting unwanted sounds from around the microphone.

The cardioid pickup pattern offers 180 degrees of rejection, so it’s best suited to directional use, specifically in front of one voice rather than many at a time. 

You also talk directly into the top of the mic, rather than the side, despite how it may appear at first. 

Performance here is aided by an internal pop-shield, however we’d always advise on the use of an external pop filter just to be safe.

This is one of the best dynamic microphone for voice over professionals as it’s frequency response is full, smooth and transparent: it has a flat midrange and some nice clarity boost with a very smooth transition – no bumps or dents whatsoever. 

The lows are hyped a bit too much due to proximity and the fact that you have to be right on top of it at a close range in order for it to work, and initially may come out as muddy and unattractive. 

However, after applying a basic low cut filter, this nuance is taken care of and the mic truly starts to shine. 

Suddenly it sounds much more expensive and now you can hear the Rode Procaster’s clarity with its sweet and silky-smooth highs.

Despite the use of spider shock mount, it looks decent on camera because the tip prolongs quite a bit and being narrow and it does not really obscure the vision.

Rode Procaster is a very versatile mic with an excellent sound quality that has proven itself for recording purposes and it’s quite affordable compared to similar mics from other producers. 

Aside from a bassy low-end, it has a smooth uniform response with a good transparency and it offers a very good background rejection, just as you would expect from a broadcast microphone.



Best XLR Microphone 

Stellar X2

Most budget condenser microphones have a noticeable harsh and bright tone that makes them hard to sit in a mix and can sound fatiguing over time. 

The Stellar X2 is different in that its capsule and circuit are carefully tuned to produce a sound that is very smooth and easily sits in any mix without the tinny harshness of low-cost condenser microphones.

Outwardly the Stellar X2 looks much like any other large–diaphragm microphone, other than being slightly smaller, at just six inches long and 1.725 inches wide.

The mic is supplied in an aluminium case with a shockmount, a foam wind shield and a soft storage pouch.

Inside the black, powder-coated, shell is a custom–built, centre–terminated brass capsule skinned with Japanese Mylar. This is a K67‑style design, and measures 34mm in diameter. This high-frequency attenuation is employed to balance the harshness commonly associated with this style of capsule, the aim being to achieve very smooth highs. 

The hand-built, transformerless JFET circuit includes tight–tolerance German WIMA film capacitors and other highly specified components, while the PCB has gold-plated tracks to optimise conductivity.

The microphone doesn’t have an over-the-top proximity effect, which can be a blessing or a curse, depending on the actor. 

Some voice actors working at home with some of the similarly priced competitors are struggling with extra mouth noise, no doubt related to that upper-mid boost.

This is undoubtedly one of the best budget XLR microphone for voice overs as on vocals the mic delivers a clean representation of the person in front of it, with no obvious coloration and a good balance of low–end density and high-end detail, all the while sounding smooth rather than aggressive. 

The lack of significant presence peaks also means the mic should suit a wide variety of voice types. 

Female singers and males with high voices tend to show up any high-frequency coloration a little more so the smooth high end of this model could well be a benefit in such cases.

For its price, the Stellar X2 is a must have. It competes effortlessly with mics costing five times the price. 

We strongly recommend this best microphone for voice over acting, which is a worthwhile addition to any mic locker. Whether you’re a voice actor, podcaster or a musician, this mic is well worth a listen.



Microphone for Voice Overs – buying guide

What Are The Different Types Of Microphones For Voice Overs.

There are wide selections of voice over microphones on the market, but generally there are two types of mics that are most common: condenser and dynamic microphones.

Condenser Microphone

Condenser microphones are best used to capture vocals and high frequencies. They are also the preferred type of microphone for most studio applications.

Also known as capacitor microphones, condenser mics are constructed with a lightweight diaphragm which is suspended by a fixed plate. Sound waves cause pressure against the diaphragm, which causes it to move.

Because of the thin diaphragm, condenser mics are used to pick up delicate sounds. They also need a power source. While this usually comes in the form of phantom power, it is not uncommon to use a 9v battery. The added power to the microphone is what gives it its characteristic high-output sound.

Dynamic Microphone

Dynamic Broadcast Microphones are often used in radio broadcasting. They are generally easier to use because they can be small and don’t require much power to work. They produce warm sound and are very conducive in stage use.

Dynamic microphones are good for general vocals that don’t necessarily need accurate and smooth reproduction, such as interviews, hosting, and live venues.

Unlike condensers microphones, a dynamic mic uses a wire coil to amplify signal picked up by the diaphragm. As a result, the output of a dynamic mic is lower than a condenser.

Another reason why dynamic microphones are great for live sound is that they are incredibly tough.

While it’s not ideal to drop a microphone, if you drop your dynamic mic, you are far less likely to damage the mic than if you were to drop a condenser mic.

Dynamic mics also don’t need batteries or phantom power, and usually, cost far less than condenser mics.

A dynamic mic requires little to no maintenance, and if you practice a reasonable level of care, it will maintain its performance for a lifetime.

Features To Consider When Choosing A Good Microphone For Voice Over Acting

Although more often than not, the quality of a recording is reflective of a room’s acoustics and your performance, not the price of your microphone.

However, there are physical and technical specifications you can assess to make sure a microphone is sufficient or suitable for professional voiceover:


A thin piece of material inside a mic that vibrates when struck by sound waves and converts them into electrical current. The main types are dynamic, ribbon, and what is most used in voiceover, condenser.

Frequency Response

Most microphone manufacturers will clearly display the frequency response of their products on the package labels. Simply put the range of frequencies at which a microphone can detect audio sounds is its Frequency response.

Knowing the frequency range of the microphone is not as important as knowing the specific frequencies at which your microphone will respond to sounds, for this reason, you need to think about what you are recording before picking up a microphone.

If you are recording vocals and guitars, then you should pick a mid or high range frequency response, and if you are recording for bass, then you should consider a low-frequency response.

Polar pattern

The directions or angles at which a microphone is sensitive to sound. (Cardioid, hyper-cardioid, super-cardioid, omnidirectional, bidirectional)

Microphone Self-noise

This is the signal the microphone produces of itself, even when no sound source is present. The proper way to measure self-noise is to put the entire microphone into a soundproof container.

Anything below 10 dB-A is extremely low noise. The exact figure is unimportant, as even a very quiet recording room will contribute quite a bit more ambient noise than 10 dB-A. Typically, extremely low self-noise figures are only found on modern day large diaphragm condenser mics, such as the Neumann TLM 103.

Dynamic Range

The range between the noise floor and maximum sound pressure level (SPL) that a mic can handle, measured by a mic’s SPL range.


An obvious main factor when keeping in mind any purchase, we do want to first note that when choosing the best voice over microphone for you, money will go a long way.

Especially if you’re doing this as a career or at least a potential lifelong journey, saving up a few extra bucks to find a microphone that provides a feasible sound quality will stand you a part from others.

These specs can help you narrow down your choices based on your voice, recording environment, and personal preferences, particularly if you’re just starting out and don’t want to break the bank on a mic.


Condenser microphones are without a doubt the best for voice over recording, however, they require the most investment and effort. If you have lots of bucks to burn, do not settle for anything less, go for these second-to-none condenser microphones.

Dynamic microphones are easier to use and more durable to the extent that it can be your workhorse for many years. However, they lack a little detail in the upper mid and high frequencies and may require extra equipment to use them with a computer.

Regardless of which top microphone for voice overs you choose for yourself, remember that the competition is not about who’s got the best tools. Instead of eyeing for the most expensive or best of the bests recording equipment, target the ones that showcase the best of your voice.

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