Mic Archive

Voice

Tenor

Voice: Solo voices by type (soprano to bass, treble, countertenor) and the generic female and male voice. Many sources write for 'vocals' in general; that advice is filed here.

Part of the Voice family; that family's advice shows here too.

Range
C3–C5
Overtones to
about 3.1 kHz
Peaks up close
up to 105 dB SPL
Sources
10 (9 independent)

Recommended mics

Mics sources recommend

24 setups from 10 sources, 9 of them independent of any mic maker. Each mic shows how many sources name it for that role, and how many of those are independent. Listed alphabetically: there is no ranking.

Studio

Distant

Close

The 20 setups behind this: placement and quotes
  • Distant Voice advice Schoeps Colette with MK 2 capsule
    solo voice, classical, short distance, linear and no proximity effect
    "The choice often falls on the Schoeps Colette system with the free-field-equalised MK2 capsule" for classical solo voice (translated; generic classical singing).1
  • Close Voice advice condenser, large-diaphragm, omni (pressure receiver)
    solo voice, classical, studio
    DPA makes "a large-diaphragm condenser with pressure receiver", an alternative for classical voice (translated; model not named in the text).1
  • Close Voice advice Neumann U 87 or Neumann U 47 or AKG C12 or Sony C-800G
    close, studio vocal (pop)
    Pop vocals: transistor large-diaphragm condensers like the U 87; tube mics like U 47 or C12; C800G for soul and R&B (translated).1
  • Close Voice advice AEA KU4 or AEA RC44
    close, studio vocal (jazz)
    For intimate jazz vocals, ribbons such as AEA KU4 or RC44 are "more than great" (translated).1
  • Close Voice advice Electro-Voice RE20
    close, studio vocal (rock)
    "Many swear by dynamics such as the EV RE20" for rock vocals (translated).1
  • Distant Voice advice Neumann U 87
    solo with piano or orchestra, 1-1.5 m, 30 cm above head height
    Studio engineers placed the mic 1-1.5 m away, about 1 ft above head height; "They always used U-87" (one studio).2
  • Distant Voice advice Shure SM81
    solo classical voice, budget, about 1 m
    Forum reply: "as a bare minimum" the SM81; "probably to do it right you'd be looking at Schoeps or DPA".3
  • Close Voice advice Shure SM7dB or AKG C414 XLII
    close, studio vocal
    Chosen as best all-round vocal mic; successor to the SM7B (paraphrase). ... Listed as best studio vocal mic; "a studio staple" (paraphrase).4
  • Close Voice advice Rode NT1 Signature
    close, studio vocal, beginner
    "Ultra-flat response ... perfect for beginners" (MusicRadar, best for beginners).4
  • Close Voice advice Audio-Technica AT2020
    close, studio vocal, budget
    Top choice for recording vocals on a budget, around $100/GBP100 (paraphrase).4
  • Close Voice advice Shure SM7B
    close, studio vocal, untreated room
    Picked as best dynamic for untreated rooms (paraphrase of heading).5
  • Close Voice advice Aston Stealth or Neumann U 87 Ai or AKG C414 XLII or Warm Audio WA-44
    close, studio vocal
    Picked as best do-it-all dynamic microphone (paraphrase of heading). ... Picked as best classic studio condenser (paraphrase of heading). ... Picked as most flexible multi-pattern condenser (paraphrase of heading). ... Picked as best ribbon mic for vocals (paraphrase of heading).5
  • Close Voice advice Lewitt LCT 440 Pure
    close, studio vocal, budget
    Picked as best budget condenser (paraphrase of heading).5
  • Close Voice advice Austrian Audio OC18
    close, studio vocal, mid-price
    Picked as best mid-price large-diaphragm condenser (paraphrase of heading).5
  • Close Voice advice Royer R-122 MKII
    close, studio vocal
    "A good match for vocals due to its higher output level and slightly brighter response."6
  • Close Voice advice Neumann U 87
    close, studio vocal
    "Wonderful microphone for vocals because it lacks sibilance and gives a warm, dark sound" (go-to for soprano and tenor).7
  • Close Voice advice large-diaphragm condenser, cardioid (default); dynamic or small-diaphragm or omni also work
    close, studio vocal
    "Most pop vocal work is done using some kind of large-diaphragm, cardioid-pattern capacitor microphone, but there are exceptions."8
  • Close Voice advice Shure SM57
    close, budget vocal
    Found in nearly every professional studio; works from lead vocals to kick drums (paraphrase).9
  • Close Voice advice Shure SM7B or Audio-Technica AT4040 or AKG C414 XLII or Neumann TLM 103 or Neumann U 87 or Telefunken TF11
    close, studio vocal
    Listed among mid-priced vocal mics (paraphrase). ... Widely considered a de facto part of a professional engineer's mic locker (paraphrase of AKG claim). ... "Perfect for helping vocals stand out in the mix". ... "May be the single most beloved high-end microphone"; won over countless singers. ... "Crystal-clear vocal sound" with fast transient response (paraphrase).9
  • Close Voice advice Neumann M 49 V
    close, studio vocal, high end
    Listed as a top-end vocal mic with a rich history (paraphrase).9

On stage

Handheld

The 2 setups behind this: placement and quotes
  • Handheld Voice advice Telefunken M80 or sE Electronics V7 or Shure SM58 or DPA d:facto 4018 or Audio-Technica AE5400 or Aston Apex or Sennheiser e 965 or Earthworks SR314 or Shure Nexadyne 8/C or Austrian Audio OD505
    handheld, live vocal
    Picked as best overall live vocal mic: "studio-grade clarity to the stage" (paraphrase). ... Picked as best budget live vocal mic; "build quality and performance" above its price. ... Picked for durability: "super dependable and delivers a consistent, authentic, vocal tone". ... Picked as the live vocal mic with the more detailed frequency range; noise rejection "top-drawer". ... Picked as best condenser for live vocals: "detailed, clear sound for a competitive price". ... Listed in the top ten live vocal mics (picked for style). ... Picked as best switchable-pattern live vocal mic (paraphrase of heading). ... Picked as the live vocal mic with the best frequency response (paraphrase of heading). ... Listed as a top-ten live vocal mic (best upgrade). ... Picked as best active dynamic: "a high-end dual capsule gamechanger at a great price".10
  • Handheld Voice advice Shure SM58
    handheld, live vocal
    "The go-to for anyone needing a rugged vocal microphone" on the live circuit (paraphrase).4

Studio and stage

Close

Handheld

The 2 setups behind this: placement and quotes
  • Close Voice advice Shure SM58
    close, studio or live vocal
    "Some singers like to work with dynamic mics such as Shure SM58s, because the tonality suits their voice."8
  • Handheld Voice advice Shure SM58
    handheld, live vocal, budget
    SM57 and SM58 are mentioned in budget guides without fail; durable, versatile (paraphrase).9

Range

about C3 to about C511131 Hz – 523 Hz

McKinney; extremes Bb2-F5.

ChestC3–C#4full
MiddleD4–F#4between primo (D4) and secondo (G4) passaggio, lyric tenor
TopG4–C5covered, ringing

Overtones reach about 3.1 kHz (the highest harmonic within 40 dB of the strongest, at a moderate level; louder playing reaches higher)12.

Where the sound comes from

The sound

Trained male voices cluster formants 3-5 near 2.5-3 kHz (the singer's formant), which lets them carry over an orchestra; the model shows it as a second peak around the 12th-13th harmonic.

Recording it

Good to know

How loud

Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.

Playing level
90 dB or more(A)at 1 m; trained actors and singers, on-axis, three dynamic levels; a few vocalists averaged above 90 dBA13
Peaks
105 dBat 1 m; a well-trained singer, a call or a sung tone (general figure, not one measured singer)14
95 dB(Z)at 1 m; one trained tenor, loudest sung vowels, anechoic room: maximum third-octave band level at 1500 and 3000 Hz15
Player's exposure (dosimeter)
88.84 dB(A)dosimeter on the right collarbone, 5-7 in (13-18 cm) from the ear; university choir (85 voices) tenor, one singer, mean Leq over five rehearsals and performances of opera choruses with orchestra (each about 1 h)16,17
87.69 dB(A)dosimeter on the right collarbone; same tenor, choir-only rehearsal (period 1, about 66 min)16,17
92 dB(A)chorister (dosimeter); Finnish National Opera choristers, mean exposure; 100 dB(A) in choir-only rehearsals secondary16,17
84.8–95.1 dB(A)dosimeter on the shoulder; St Paul's Cathedral: an adult tenor (lay clerk) in rehearsals and Evensongs with boy choristers; 95.1 dB(A) in a 59-min Evensong with organ, 93.4 in a 23-min rehearsal; LCpeak up to 119.5 dB(C)18

University choir tenor: mean Leq 88.8 dB(A), highest 96.6 dB(A) (one singer, the lowest of the four). Finnish opera choristers: 92 dB(A) mean for tenors.16

Sources

  1. Bonedo (Germany): Welches Mikrofon ist am besten fuer welche Stimme geeignet?magazine · bonedo.de
  2. DV Info Net forum: Recording an opera singer (thread archive)forum · dvinfo.net
  3. HomeRecording.com forum: Recording an opera singer (2015)forum · homerecording.com
  4. MusicRadar: Best vocal mics 2026magazine · musicradar.com
  5. MusicTech: Best microphones for vocalsmagazine · musictech.com
  6. Royer Labs FAQ: Which Royer mic would you recommend for recording vocals?manufacturer · royerlabs.com
  7. Sonicbids blog: The Best Microphones for Every Voice Typemagazine · blog.sonicbids.com
  8. Sound On Sound: Vocal Recording & Production Masterclassmagazine · soundonsound.com
  9. Splice blog: The 13 best vocal microphonesmagazine · splice.com
  10. MusicRadar: Best live vocal microphones 2026magazine · musicradar.com
  11. Wikipedia: Voice type (ranges after McKinney 1994 and Boldrey 1994)reference · en.wikipedia.org
  12. Csound Manual, Appendix D: Formant Values (sung vowels, soprano/alto/countertenor/tenor/bass)csound.com
  13. Boren, B., Roginska, A. & Gill, B. (2013) Maximum averaged and peak levels of vocal sound pressure, AES Convention 135aes.org
  14. Journal of Singing: Titze, Singing and Calling Outdoors (74(4), 2018)Ingo R. Titze · academic · 2018 · vocology.utah.edu
  15. Journal of Singing: Hunter and Titze, Overlap of hearing and voicing ranges in singing (61(4), 387-392)Eric J. Hunter; Ingo R. Titze · academic · 2005 · pmc.ncbi.nlm.nih.gov
  16. Cook-Cunningham, Grady and Nelson: choir singers' noise exposure (IJRCS 4(1), 19-35)academic · 2012 · acda.org
  17. IJRCS: Cook-Cunningham, Grady and Nelson, Hearing doses of university choral singers (4(1), 2012), PDFSheri L. Cook-Cunningham; Melissa L. Grady; Heather Nelson · academic · 2012 · acda-publications.s3.us-east-2.amazonaws.com
  18. Noise & Health: Dance and Zepidou, Sound Exposure of Choristers (21(98), 41-46)Stephen M. Dance; Georgia Zepidou · academic · 2020 · pmc.ncbi.nlm.nih.gov
  19. Katz and d'Alessandro: voice directivity measurements (ICA 2007)academic · 2007 · groupeaa.lisn.upsaclay.fr
  20. Sound On Sound: Session Notes - Classical Vocal & Piano Ensemble (Mike Senior)magazine · soundonsound.com
  21. Sundberg, J. (1974) Articulatory interpretation of the "singing formant", JASA 55, 838-844academic · doi.org