Best Sellers

Industry standard, studio legend, mic for the masses. The Shure SM57 is responsible for a staggering percentage of the recorded sounds you've probably heard. It is the Swiss Army Knife of mics - infinitely capable, but not highly specialized. And for less than $100, we're OK with that.

You would be hard-pressed to find a venue that doesn’t have a set of Shure SM58 mics on hand. As the go-to vocal mic for millions of professionals and amateurs since its launch in 1966, the SM58 hardly needs an introduction. Its reputation has been built on three simple traits: durability, quality and affordability.

A secret weapon of everyone from platinum producers to broadcast legends, but with a price within reach of bedroom recordists, the Shure SM7B is both a classic vocal mic and versatile studio swiss army knife. While many people think of condensers as ideal for recording vocals, the cardioid-patterned SM7B is a dynamic mic, and as such possesses the rock-solid stability of its little brothers - Shure's stalwart SM57 and 58. Perfect for close-miked narration, silky smooth female vocals or getting a beefier tone from a guitar cab - if you could only have one microphone, the SM7B would be an excellent choice.

If you're in search of a big, fat kick drum sound that hits you in the gut, the Shure Beta 52A is likely all that you'll need. This industry-standard microphone has a frequency response and pickup pattern perfectly suited for the job, and takes the guess work and corrective EQ out of the equation for a "finished" sound straight to the mixer or DAW.

The Neumann TLM 103 has been a workhorse microphone for everyone from bedroom enthusiasts to professional broadcasters and major recording engineers since its release in 1998. Extremely low self-noise and impressive technical specifications fuse with an authoritative tone that nods to classic Neumann microphones to offer top quality recordings regardless of budget.

The Sennheiser e609 is the epitome of "point and shoot" microphones for guitar amplifiers, both in the studio and on the stage. With a tight supercardioid pattern for great rejection and a frequency response especially tailored for guitar amps, you can simply hang this modern classic in front of your rig, practically on top of the speaker, for a classic sound with plenty of midrange punch and focus.

Known as a radio and voice-over standard, the Electro-Voice RE20 can do so much more than podcasts. With Variable D design and a high-pass filter to curb bass muddiness, this large diaphragm cardioid is great for low end and close proximity work involving vocals, kick drums, upright bass or electric bass cabs.

The Sennheiser e609 is a durable, versatile dynamic instrument microphone designed to take on huge amounts of level from close distances -- guitar amps especially. This update to the popular e609 seen on stages all over the world adds switchable presence settings to tailor high frequencies, and sonically has more in common with the vintage MD409. Their full sound and fast response is amazing on all sorts of instruments, but hang this puppy in front of a guitar amp and you'll smile ear-to-ear.

Ubiquitous, iconic, legendary -- the Sennheiser MD421 II microphone can be found in stages and studios across the globe. With its high SPL handling, great rejection and versatile filter options, the MD421 has long been a standard large diaphragm dynamic, and a staple on guitar amps, toms, and vocals. Shop Reverb.com and compare prices on new & used MD421 II microphones for the best deals.

Featuring shaped frequency response, supercardio design and sturdy construction, the Beta 58A is one of the most popular vocal microphones on the market and an industry standard. Affordable yet renowned for its quality, this mic works well in any genre and for bedroom recording or live performance.

The Audio-Technica AT2020 is a budget cardioid-pattern condenser microphone great for home studio beginners and experts alike. It comes in two models, with either an XLR or USB output, and offers a custom-made low-mass diaphragm for improved frequency and transient response.

Few microphones are more ubiquitous and beloved than the Neumann U 87 Ai, found in recording and broadcast studios in every corner of the planet and heard on hundreds of thousands of recordings and arguably the benchmark by which other FET microphones are judged. Originally released in 1967 and wholly unchanged since 1987, the U 87 Ai is a phenomenal do-it-all condenser microphone that's equally at home in front of a singer, hanging above a drum kit, or peeking into a grand piano.

The Shure SM81 is a classic cardioid condenser mic that shines bright on acoustic instruments. This small diaphragm staple, originally released in the 1970s, has found a home with countless studios and stages thanks to its detailed pickup, exceptionally low noise, and rugged build quality. Unhyped and true from one end of the frequency range to the other and nearly impossible to clip, the SM81 remains a tried-and-true mic that should be in every engineer's collection.

Drawing from the playbook of classic AKG mics, the C414 XLII condenser microphone offers a detailed, bright sound without being harsh or edgy. Switchable polar patterns, attenuation, and bass cuts make the C414 XLII a true workhorse mic that can work wonders on any instrument or voice.

The Audix D6 dynamic microphone is one-stop-shopping for the fat, tight modern kick drum sound. Compact and rugged, the D6 is easy to position and built to last while giving you that finished kick sound on the stage or in the studio.

Designed to take a beating, the Sennheiser e604 is a cardioid dynamic mic that was made just for the rim of your drum. Its low sensitivity makes it relatively impermeable to distortion, transmitting high SPLs without clipping, and the pattern of the e604 is prime for catching just the sound of the drum you're miking, rather than picking up bleed from the rest of the drums in your kit. Just clip it on to your tom or snare and this affordable little mic is ready to record.

The Sennheiser e604 three-pack is a solid, affordable solution for mic'ing toms both live and in the studio. These compact dynamic mics clip directly onto the rim of the drum for perfect placement without a microphone stand, saving you time and space during quick changeovers on stage. The e604s are ultra-durable and can take on a ton of SPL, making them a great choice even when the drummer is hitting the skins with a vengeance.

The Shure BETA 57A is a dynamic microphone that excels at versatility due to its high output supercardioid design. Whether in the studio recording drums and amplifiers or at home recording vocals or various project needs, the BETA 57A provides warmth and reliability in all situations along with its shock mount system and legendary Shure build quality.

The Sennheiser MD 421 was released in 1960 to much acclaim, with a very tight cardioid polar pattern that borders on "supercardioid" at many frequencies and a clear, present sound that was far superior to most dynamic mics of the era.

The MD 421-U models (U-4 and U-5) feature a 3-pin XLR connector and a switchable high-pass filter that goes from "M" for music (full bandwidth) to "S" for speech (low frequencies attenuated). The U-4 model's original clip had a mount threaded for 3/8" stands, while the U-5 was threaded for 5/8" American stands. Being that most examples seen and sold today have replacement clips, this page will show both versions as they are otherwise interchangeable.

The AKG D112 MkII takes the classic sound and function of the original D112 and gives it a new spin -- literally. The MkII model features an integrated mount which allows you to angle the microphone into different positions without moving your mic stand. Zone in on the exact placement of the microphone and revel in a huge, fat kick drum sound without the need for additional EQ.

When it comes to mics, AKG is known for high end, made-in-Austria icons like the C414, C451, and C12 that are out of reach for most consumers. The AKG C214 brings the same studio grade quality and design people expect from the company's professional line at a price point accessible to the working musician.

The Neumann TLM 102 packs classic Neumann sound and build quality into a petite package, with a price tag that mere mortals can afford. With a newly-designed capsule and modern transformerless electronics, this large diaphragm marvel features impressive self-noise and SPL specs while delivering that intimate, up-close sound that made the classic Neumanns the most widely used microphones in professional studios around the world.

The RODE NT1-A is a large-diaphragm cardioid condenser mic that has become an affordable industry standard, serving up a huge dynamic range from 20Hz to 20kHz, a high SPL handling of 137dB, and warm, rich tone. A low self-noise level of a mere 5dBA makes it one of the quieter microphones on the market today, making it the perfect mic for virtually any recording situation, like vocals, guitar, and percussion.

Taking after the bullet mics Shure introduced in 1949, which in and of themselves were evolutions from the first desk-mounted announcement microphones, the Shure 520DX is the most up-to-date iteration of the company's green bullet harmonica mic. Known for its distinctive "blues harp voice," the 520DX features an onboard volume knob that allows you to dial in on the fly, and its 1/4" plug gives you the opportunity to plug into any high-impedance device. Use it for your harmonica or if you're digging the lo-fi sound.

The Shure SM58S takes the most widely-used handheld vocal microphone ever produced and adds a nifty on/off switch to mute the mic when not in use. The same exact sound -- perfectly tailored for vocals -- and legendary durability from the standard 58 remain in tact...all that's different is the presence of the switch.

The Sennheiser e935 is a cardioid dynamic microphone designed specifically for vocals, providing a healthy output and a clear sound. A tough metal housing. hum-compensating coil makes electrical interference a non-issue, and the shockmounted capsule reduces handling noise and sensitivity to bumps and impact making this an ideal live vocal mic.

The e835 is a handheld dynamic mic made by Sennheiser. This mic is designed for general PA and vocal functions. Another version is made with an on/off switch.

Years of Production: 1998 - present

Type: Dynamic

The Beyerdynamic M160 ribbon microphone is a truly indispensable tool, used on thousands of recordings including legendary Jimi Hendrix and John Bonham tracks. This hypercardioid ribbon mic is a directional laser beam, allowing you to pull the mic off the source a bit without getting much (if any) unwanted bleed from nearby amps and instruments. Pair up the M160 with the bidirectional M130 for a Mid-Side (M/S) stereo array that brings an inviting realism to anything you record. Shop Reverb for the best deals on new & used Beyerdynamic M160 microphones today.

The Shure Beta 91A is a workhorse boundary condenser microphone especially tailored for use inside of a bass drum. Lay it flat on a pillow inside the kick and flip the contour switch for a finished sound that usually takes multiple microphones and a healthy dose of EQ. Shop Reverb for the best deals on new & used Shure Beta 91A condenser microphones -- your kick drum will thank you!

The Sennheiser e945 is a top-grade handheld vocal microphone with a natural, detailed sound and rugged build quality that's ready for the road. This mic features a brilliant, slightly bright sound that sits the vocal directly on top of any mix and arrangement. The e945 features a supercardioid pickup pattern, giving you great isolation from feedback and nearby amplifiers and instruments, so your voice is what comes through loud and clear, and the shockmounted capsule means you can perform without worry of handling noise.

The standard SM7B is one of our era's most popular and versatile mics. It's as great for singers and instrumentalists as it is for podcasters. But one thing about the standard version: It needs a lot of gain to get up to a decent recording volume. In the SM7dB, Shure has placed a preamp inside the body of the mic, giving you plenty of gain even before you hit your audio interface or external mic pre.

Considered by many to be the breakthrough product which brought ribbon microphones back to the mainstream, the Royer R-121 is a modern classic and a staple for engineers, producers, and musicians for recording loud guitar amps and brass instruments. A patented offset ribbon assembly gives the ribbon more room to move in high-SPL applications, and yields two different tones between the front and back of the mic.

The Sennheiser MD 441U keeps a legend a live. This long-time studio staple dynamic microphone features a wide, tailorable frequency response and crystal clear sound. Able to withstand immense SPL levels without overloading and distorting, the MD 441U is among the best microphones of any time or type for recording snare drum and blaring amplifiers.

The Sennheiser MD 421 was released in 1960 to much acclaim, with a very tight cardioid polar pattern that borders on "supercardioid" at many frequencies and a clear, present sound that was far superior to most dynamic mics of the era.

The MD 421-N model features a 3-pin DIN connector and a switchable high-pass filter that goes from "M" for music (full bandwidth) to "S" for speech (low frequencies attenuated).

The Neumann KM 184 small diaphragm condenser microphone makes drum, instrument, and ensemble recording a breeze with its natural sound and near-perfect cardioid pattern. This modern update to the classic KM 84i offers a wide frequency response, high SPL handling, and self noise low enough to take on even the quietest applications. The SKM 184 matched pair is a great choice for all sorts of stereo instrument, room and ambience recording, from drum overheads to large orchestras and ensembles.

The Audix i5 is a dynamic instrument microphone that can do it all. Like its rival, the Shure SM57, the Audix i5 is a top choice for snare drums and guitar amps both in recording and live reinforcement situations. This mic is ruggedly built and supremely reliable which makes it an easy choice for any venue looking to expand its mic locker.

The Lewitt LCT 240 Pro is an extremely versatile cardioid condenser microphone for everyone who’s eager to take the next step in professional recording. Everything from vocals to kick drum can be covered thanks to its highly nuanced and transparent sound, and with a price tag of just $149 brand new, it's become a wildly popular option for engineers seeking a tight sound on a tight budget without sacrificing sound quality.

The Neumann KMS 105 handheld condenser microphone gives you studio-quality vocals live on stage. The KMS 105's supercardioid pattern and transparent off-axis response give it incredibly high gain before feedback, something you'd not necessarily expect from a condenser microphone. This microphone's transformerless electronics reproduce the true sound of your voice with amazing detail and nuance that no dynamic microphone could ever dream of. With a low-frequency response specifically tailored for up-close vocals without overwhelming proximity effect, the headbasket of the KMS 105 also greatly reduces troublesome pops and plosives, giving you a crystal clear sound that cuts right through the mix without issues.

The Sennheiser MKH 416 Shotgun Mic is a veritable Swiss army knife of sound with applications everywhere from music to film and beyond. Designed as a hybrid between pressure gradient and interference tube microphones, the MKH 416's svelte shape and low noise RF design make this an ideal candidate for field recording and outdoor events.

The Sennheiser e902 is a dynamic microphone designed specifically for capturing bass drums, bass amps and other low-frequency sources with incredible clarity. The e902's frequency response extends all the way to 20Hz, the bottom of the human hearing range, but transients from kick drums also come through beautifully. Get all the thunder down under on stage or in the studio with the e902.

The Aston Origin is a budget-minded cardioid condenser microphone with an impressive transparent timbre and stunning UK build quality. This large diaphragm workhorse makes use of an innovative headbasket with a "Wave-Form" structure surrounding integrated knit-mesh pop screen to deal with internal resonances and standing waves, as well as plosives when tracking a vocal to aid in its neutral pickup. When you're working the mic up close, take advantage of the switchable pad and bass rolloff switches to protect your preamp from overload and your sound from becoming too boomy. As flat as can be from low to high frequencies, the Origin offers amazing realism and just a hint of sparkle and character to make your tracks shine.

The AKG C414 B ULS is about as versatile as a condenser microphone can be, which is what's made them a studio staple consistently over three decades. With four selectable polar patterns (cardioid, supercardioid, bidirectional, omnidirectional) on the front and three-position switches on the rear for attenuation and bass rolloff, the C414 B ULS is also the last of the 414s to make use of an output transformer. When compared to the more modern iterations of this mic (TLII, XLS, XLII, C214 and C314), the ULS has a bit more vibe and character to the sound while retaining that "natural" quality that's made every version of the 414 what it is today.

For those who like the AKG C414 XII for vocals, the AKG C414 B-XLS is perfect for all your instrumental recording needs. With five switchable polar patterns including cardioid, hypercardioid, figure-of-eight and more, the B-XLS is an incredible versatile instrument mic, and its high SPL handling capability gives it a wide range of potential. A huge dynamic range coupled with low self-noise and high sensitivity helps the AKG C414 B-XLS stand out in the C414 series.

The Sennheiser e904 is a workhorse dynamic microphone designed specifically for drums and percussion. The e904's compact size and brilliant mounting system that clips directly onto the rim of a drum make it easy to position for a huge full sound with minimal fuss. Transients come through crystal clear, getting all the crack and attack from your snare and toms on stage or in the studio.

The sE Electronics Voodoo VR1 is a passive ribbon mic with a wide frequency response that covers the entire human hearing range -- not something you'll typically hear from a ribbon. Smooth, natural transients mate with a relatively bright tone to go where most ribbons need extensive EQ to go. The VR1 is compact and durable, making it easy to position and even easier to get the sound you desire.

With its full-bodied tone and impressive specs, the Audio-Technica AT4040 is an amazing little condenser microphone with an amazing little price tag. Capable of handling very high SPL without folding or distorting, the AT4040 is the kind of large diaphragm condenser you can simply leave on the mic stand and be ready to record anything and everything in the room, from acoustic guitars to drum kits to the perfect lead vocal take.

The Shure Beta 87A condenser microphone combines studio clarity with a rugged form factor. Offering an incredibly tight cardioid polar pattern for isolation from other sounds, the Beta 87A excels at multiple applications through its smooth frequency response with a presence rise in the upper midrange.

With the RE320, Electro-Voice takes an already-standard bass drum microphone and beefs up the bottom-end with a switchable kick drum EQ. The rugged build, balanced tone, and high SPL handling of the regular RE20 remains in tact, but the equalization curves built into the microphone make it that much easier to get powerful kick drum sounds without the need for external processing.

The Rode NT5 is the flagship small-diaphragm cardioid condenser mic for RODE, offering up the perfect pencil mic for recording in virtually any situation. Drum overheads, acoustic instruments, close-mic'ing cymbals, even recording live performances -- the RODE NT5 does it all. Low self-noise and a full frequency response give the NT5 an awesome clarity of sound, and its cardioid pickup pattern is tight; tight enough, in fact, that it would be great for almost any live application, rejecting the noise you don't want getting through. And the NT5 even works with an interchangeable omnidirectional capsule for even further versatility.

The Sennheiser e602-II dynamic microphone packs all the punch you want for your kick drum and bass amp. With a huge low-frequency response and the ability to take tons of SPL, the e602-II is right at home inside of the bass drum or crammed up against the speaker in your SVT cabinet. This microphones large capsule design enhances bass frequencies, and the built-in stand mount makes angling the microphone a breeze once it's in place. Grab yourself an e602-II today and find out what live sound and recording engineers around the globe already know.

Looking for an entry level large diaphragm condenser mic? Look no further than the Audio-Technica AT2035, an excellent cardioid condenser mic at an even more excellent price. Use it in your home studio or in professional settings; either way, its ability to reproduce details with extreme clarity and its low self-noise make it a winner, particularly for the price. A switchable 80 Hz high-pass filter and -10dB pad give you the option for onboard versatility, allowing you to record vocals or loud instruments at close distances without getting a muddy, boomy quality.

Calibrated specifically for picking up lower frequencies, the AKG D112 is a super-durable large-diaphragm cardioid dynamic mic perfect for use with basses and, particularly, kick drums. Even if you're heavy on the kick, the D112 can handle up to 150dB of SPL without any clipping or distortion, and the mic's frequency range extends especially low, giving you impressive response even below 100Hz. And with a presence boost specifically at 4kHz, the D112 will give even your bassiest sounds a cutting punch.

The Beyerdynamic M 88 TG hypercardioid dynamic mic is the perfect mic for your touring needs. Affordable, super responsive, and durable beyond belief, the M 88 TG was crafted to handle even the roughest of live performances or bumpiest tour buses. But not only is it built for the road, the M 88 TG has a great sound; with an extended frequency response, including impressively accurate bass reproduction, high capacity for handling loud SPLs, and a -20 dB humbucking filter, the M 88 TG can give you the sound you need.

The Neumann KM 184 small diaphragm condenser microphone makes drum, instrument, and ensemble recording a breeze with its natural sound and near-perfect cardioid pattern. This modern update to the classic KM 84i offers a wide frequency response, high SPL handling, and self noise low enough to take on even the quietest applications.

The sound and reach of vintage tube microphones is a forever-moving target, not only due to differences between two or more models but also how several microphones of one type have aged over time. Manley Labs looked to nail down the best qualities of the most sought-after European mics from the 50s and 60s when designing a new microphone, and the Reference Cardioid is the perfectly ripe fruit of their labor. A larger-than-life bass response with primo proximity effect mates with a nice push in upper mids to perfectly sit any vocal or instrument into even the densest arrangements.

Digging the vintage Unidyne style? Then check out the Shure Super 55 Deluxe, a dynamic supercardioid microphone with retro style and modern sound. A wide frequency response, ranging from 60Hz to 17kHz, that's tailored specifically to vocals, making the Super 55 perfect for podcasting, broadcasting, singing, or any other vocal recording you can think of, this mic is designed to endure harsh conditions with its rugged, classic-looking enclosure. And thanks to its supercardioid polar pattern, the Super 55 Deluxe will be sure to only pick up what you want heard, rejecting the noise from around you.

Compact and affordable, the AKG C1000 S is a great multi-application small-diaphragm condenser mic. Designed to be the ultimate in economical versatility, the C1000 S can switch polar patterns from cardioid to hypercardioid, has both bass-cut and -10dB pad options, features three distinct frequency settings for clarity and presence, and can actually run on two AA batteries if phantom power is unavailable.

The MXL 990 is a great starter condenser microphone, with a bright and detailed sound for your instruments and vocals. This side-addressed small-diaphragm condenser employs transformerless electronics for transparency and clarity, and the cardioid polar pattern only picks up what's in front of it, reducing noises and reflections behind the mic. With a wholly affordable price that any musician can manage, the 990 was a breakthrough product for MXL and remains a home studio staple.

The Shure BETA 56A dynamic instrument microphone is a workhorse mic, specifically designed for use on snare drums and toms in tight spaces but versatile enough to be used on a range of instruments. The compact design makes placing the BETA 56A a breeze, and the built-in swivel mount means you can dial in the exact mic placement you need for the best sound.

The Aston Microphones Spirit is a studio-grade condenser mic designed to capture anything and everything with an open, detailed sound. Switchable polar patterns, attenuation and high-pass filter make the Spirit suitable for virtually all sources and applications, with the company's signature "Wave-form" mesh head and integrated pop filter making it particularly useful for close vocal recording. Transformer balanced electronics lend just a touch of harmonic enhancement, giving the Spirit a hint of character and soul rarely heard in a microphone at this price range.

The AKG P420 is a large diaphragm condenser microphone with switchable polar patterns, high sensitivity and huge SPL handling, making it a workhorse mic for your project studio. With a neutral midrange and a slightly accented high-frequency response, the P420 will have your vocals and acoustic guitars sitting beautifully on top of the mix without the need for additional EQ. A switchable high-pass filter and -20dB pad make the P420 a great choice for recording loud amps and drums up close, giving you a crystal clear, bright sound at any distance.