Finding a microphone that can handle all the abuse of a live performance, as well as life on the road, while still capturing the full range of your voice, is one of the most important decisions a singer can make.
The Shure SM58 is the best handheld microphone for live vocals and my personal choice after years of use. It’s durable and consistent, and I’ve never encountered a situation where it detracts from a performance. While it might not necessarily enhance your voice, it ensures reliable sound quality without taking anything away.
The Sennheiser E 835 is my favorite alternative. I love its focused pickup pattern and brightness. When there’s a lot happening on stage, this microphone excels at reducing mud and minimizing feedback, making it a dependable choice in complex live environments.
Finally, the Neumann KMS 105 is the best condenser microphone I recommend. It’s a high-end choice and is more suitable for quiet, folk, and jazz singers who want their voices to be held with a bit more subtlety and definition.
Contents
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Why you should trust me
Let me start by saying that I have well over a decade of experience as a singer-songwriter, multi-instrumentalist, producer, and audio engineer.
For those of you who might not know, in the early days of my career, before I found my footing in studio work, I was performing with my own bands while working live events on the side to cover rent.
Most of the shows I worked were at small venues and bars until I found myself serving as a Technical Director in the heart of New York’s avant-garde and experimental theater scene. Here, aside from perfecting my audio skills, I also began exploring lighting, video, carpentry, and set design.
I quickly learned how suddenly the task of running audio cables alongside lighting and video could become a nightmare, depending on the skills and experience of those around me – not to mention the constraints of whatever particular building we were operating in.
I learned to track down pesky interference, ring out monitors, and amplify lavalier mics, even when performers were dressed in gowns stitched together with fifty one-inch speakers.
I made vocalists shine in seemingly impossible shows, even if the theater was a loft never designed to handle the amount of equipment we were employing.
It was a beautiful nightmare as I cut my teeth, but I did it. I came out the other side knowing the best microphones for any vocalist in any live performance situation.
How I chose and tested
I chose my top picks based on the same criteria I always use when recommending microphones. These criteria are as follows:
- Frequency response: What part of the frequency spectrum does the microphone capture, enhance, or diminish? How does this affect the practical application of the microphone, and does it make operating the board easier or harder? Vocal ranges typically span between 40 Hz and 10 kHz, with the most prominent frequencies usually sitting around 100 Hz – 400 Hz, as well as higher-range information between 1 kHz and 5 kHz. Some microphones excel at capturing this information neutrally and accurately, while others add slight coloration that can alter the overall performance.
- Versatility: How well does the microphone perform across different musical settings, applications, and sound sources?
- Cost to value: Does the microphone’s performance justify its price? I’ve only included microphones where I believe the cost is fair for the value they deliver.
Here are my top picks for the best microphones for live vocals:
- Best for most singers: Shure SM58
- Best alternative: Sennheiser E 835
- Best for intense performers: Audio-Technica AE6100
- Best condenser: Neumann KMS 105
See the Honorable mentions section for other mics that didn’t quite make my top list but are worth checking out.
Best for most singers: Shure SM58
- Type: Cardioid dynamic
- Frequency response: 50 Hz – 15 kHz
- Sensitivity: 1.85 mV/Pa
- Impedance: 150 ohms
- Tested price: $99
What would this list be without the Shure SM58, perhaps the most iconic microphone of all time. This microphone was invented sometime in the 1960s when Shure decided to put a grille over the SM57. Its low price and durability have made it something of a staple amongst performers.
In fact, the SM58 microphone is so well trusted that you’re just as likely to see it at a dingy comedy cellar as you are at the Sydney opera house.
This microphone is fairly forgiving in terms of its specs. It has a frequency response of 50 Hz to 15 kHz and its polar pattern is rather wide, allowing you to move around the mic and maintain a consistent sound.
Essentially, if you’re on the hunt for a live vocal microphone, you can grab an SM58 from your local shop for a pretty modest price and not have to think about it afterwards. I have a handful myself, and I employ them often.
If you want a microphone with a little bit more clarity in high-end, you might be told to look at the Shure Beta 58A. This microphone has a slight peak in the mid range frequencies, as well as a bass roll-off which will give your voice a bit more presence.
However, I’ll note that I’ve grown some disdain towards this microphone, I find the high-end too brittle and grating for my tastes, so maybe try to test it out first before buying.
Read the full review to find out more.
What I like
- Super durable.
- Reliable sound quality.
- Very affordable.
What I don’t like
- Slightly limited high end unlike newer models.
Best alternative: Sennheiser E 835
- Type: Cardioid dynamic
- Frequency response: 40 Hz – 16 kHz
- Sensitivity: 2.7 mV/Pa
- Impedance: 350 ohms
- Tested price: $99
The E 835 is fairly similar to the SM58, except the Sennheiser has a wider frequency response. It’s also extremely affordable, making it one of the more popular choices for live vocal mics.
Likewise, it’s extremely durable and is more than capable of withstanding the trials and tribulations of touring life. Its frequency response also closely resembles that of the SM58, however, the Sennheiser’s frequency response is notably smoother – especially around the top end.
Overall, this is one of my personal favorites. It’s especially great when you have a lot going on on stage, it’s incredibly focused pattern will help reject a lot of unwanted noise and build-up.
What I like
- Wide frequency response.
- Smooth high end.
- Durable.
What I don’t like
- Nothing to note.
Best for intense performers: Audio-Technica AE6100
- Type: Hypercardioid dynamic
- Frequency response: 60 Hz – 15 kHz
- Sensitivity: 1.78 mV/Pa
- Impedance: 250 ohms
- Tested price: $190
While any dynamic microphone is perfectly capable of handling the most intense performers, the AE6100 is specifically designed to take on the worst offenders.
This is a hypercardioid microphone, meaning that it will latch onto your voice and help it pierce through your mix. I tend to reach for it when a rapper or a metal act steps on stage, hoping it’ll help cut down on mud.
There are downsides though. The narrow polar pattern means that it rejects off-axis sound, so to truly get the most out of your hypercardioid mic, you need to keep close to the microphone. Unfortunately, this means that proximity effect and plosives will naturally become somewhat of an issue.
Thankfully, Audio-Technica has raised the bass roll-off to around 60 Hz to help tame any muffledness from proximity effect. You lose a little bit of range but receive a microphone with a high SPL and solid isolation in return.
What I like
- High SPL.
- Solid isolation.
What I don’t like
- Proximity effect could be an issue, but is easily mitigated.
Best condenser: Neumann KMS 105
- Type: Supercardioid condenser
- Frequency response: 20 Hz – 20 kHz
- Sensitivity: 4.5 mV/Pa
- Impedance: 50 ohms
- Tested price: $730
For those of you who are familiar with microphones, you probably know Neumann to be one of the most prestigious and sought-after microphone manufacturers of all time. Their microphones have a reputation for their brilliant detail, warmth, and accuracy. The KMS 105 brings all of this to a live environment.
The capsule is taken after the K50, which is often found in Neumann microphones that tend to run from five to six figures on the market. Without drowning on, if you’re looking for the best condenser microphone you can get for a live performance, the KMS 105 has you covered.
The Neumann KMS 105 is a supercardioid condenser microphone with a frequency response of 20 Hz – 20 kHz. It also requires phantom power.
Read the full review to find out more.
What I like
- Incredibly detailed.
- Great for nuanced performances.
What I don’t like
- It’s expensive.
Honorable mentions
Here are a few microphones that almost made the cut.
- Telefunken M80. The M80 is a great choice for nearly any singer, as it combines the robustness of a dynamic mic along with the sonic abilities of a condenser. It’s on the pricier side, at around $250, but its performance is well worth the expense.
- Lewitt MTP W950. This microphone offers a stellar performance and innovative design. While some might not think its price tag is justified by its performance, the microphone’s wireless capabilities give it a leg up.
- sE Electronics V7. The V7 is an ultra-affordable and slightly crisper alternative to the SM58 or Beta58A. It’s an incredibly durable, reliable, and well performing microphone.
- AKG C5. The C5 is a wonderful handheld condenser microphone that offers clarity, brightness, and body to live vocals. It’s a little bit more expensive, resting at $220, but I think it’s worth the investment.
Recent updates
- November 26, 2024: I’ve updated the article to include the latest models and refined the picking criteria based on recent tests. I’ve also mentioned my top picks early on for your convenience.
- March 2, 2024: I’ve verified the accuracy of the recommendations and confirmed that no significant changes were needed for this update.
- January 2, 2023: I’ve reviewed all the picks to ensure they remain accurate and widely available, with no changes made to the recommendations.
- August 22, 2022: I published the original selection of the best microphones, drawing from my experience in live performances and equipment testing.
Conclusion
To wrap things up, this is by no means the last or only list that you should look at when choosing which microphone best suits you. There are many factors at play here, and it’s important to keep your style and budget in mind as you peruse through the infinite variety of mics available to you.
When all is said and done, you need to be comfortable with your decision. If you can’t settle for less than the best, then by all means, don’t settle. Just make sure that the microphone that ends up in your hands is the microphone that will enable you to give the best performance that you possibly can.
