Top 6 Cheap Dynamic Mics For Vocals Under 50$, 100$, 200$ & 300$

6Best CHEAP Dynamic Microphones For Vocals With Best Value |

Today we’ll be looking at dynamic microphones—specifically, the top 6 cheap dynamic microphones with the best value for vocals in 2023.

As mentioned in our article on ribbon microphones, dynamic microphones use electromagnetism to convert sound energy into acoustic energy. However, this process involves more steps for dynamic microphones, and the ribbon is replaced by two mechanical parts: A diaphragm (like the cone of a speaker) and a voice coil (A coil of conductive wire).

The diaphragm receives the impact of the sound waves and, as a result, moves back and forth. This movement causes the attached voice coil to oscillate in sympathy. Because the voice coil is suspended between two opposing magnets—The first magnet surrounds the voice coil, and the voice coil surrounds the second magnet—a charge is created.

This charge is sent through two signal wires (a positively charged wire and a negatively charged wire) and is received by pins 2 and 3 of the XLR connector.

The design of dynamic microphones does limit their ability to respond to transients and higher frequency ranges which highlights why condenser microphones are preferred for vocals. However, dynamic microphones are preferred in live scenarios because of their low sensitivity and better gain-before-feedback.

And, in specific scenarios, the tamer high-end captured by dynamic microphones is preferred compared to the brighter, potentially sharp, high-end of a condenser.

Top 6 Cheap Dynamic Microphones 2023 For Vocals With Best Value

1. Shure SM58S

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The SM58 is standard among microphones for live vocals but was initially designed for studio use in the late 1960s (The SM stands for Studio Microphone).

The SM58S is a cardioid, end-addressed dynamic microphone that has one minor difference from the standard SM58, and that is the addition of a built-in on/off switch.

Key Features:

  • Shock-Absorbant Grill
    SM58’s transducer is protected by a spherical grill designed to dent upon impact. Like the crumple zone on a car, the grill absorbs any impact it may be subjected to. However, a heavily dented grill can affect the high-end response of the microphone. Nevertheless, the shock-absorbent grill is malleable enough to remove dents if you unscrew the sphere and carefully hammer them out with a bulbous handle/pole and a hammer. Otherwise, you can purchase a replacement grill.
  • Built-In Pop Filter
    The grill features a built-in pop filter alongside a layer of foam placed over the resonator cap, which acts as a second layer pop filter. This built-in pop filter does an excellent job of lessening the impact of plosives and sibilance. However, it does not lessen plosives completely. Mic placement can significantly impact the sound if you struggle with plosives and sibilance. Place the mic below and aim it up towards the vocalist’s mouth. The sound waves will be captured passing over the microphone rather than directly towards the diaphragm. Otherwise, aiming for the corner of the mouth can also help.
  • Pneumatic Shockmount
    Shure microphones feature a unique design in their cartridges called a Pneumatic shock-mount. This design allows the microphone to separate undesirable vibrations (Handling noise, stand rumble, etc.) from the sonic vibrations captured by the diaphragm. The basic idea is that air pressure within the microphone fluctuates in response to vibrations and minimizes the diaphragm’s movement without direct stimulus.
  • Built-In On/Off Switch
    The SM58S separates itself from the standard SM58 with the addition of an On/Off switch. This switch can be helpful when leaving the mic on standby to avoid the pickup of any ambient sounds.
  • Frequency Range
    The frequency range covers an area of 50 Hz to 15 kHz. The low-frequency response is very prominent compared to other microphones on this list and adds a distinctive quality to its tone.
  • Frequency Response
    The frequency response is marginally flat, with two prominent peaks in its upper half. The response starts with a gradual roll-off from 100 Hz to 50Hz. A very slight boost occurs from 100 Hz to 300 Hz in the low to the low-mid range. From 300 Hz to 1kHz, the mid-range has a slight dip before gradually increasing to a 5dB boost between 4 kHz and 6 kHz. A dip between 7 kHz and 9 kHz separates the first boost from the second at 10 kHz. Lastly, the boost at 10 kHz is followed by a steep roll-off towards 15 kHz

Character & Sound:

The Sm58 has a thick and pillowy tone. The tone varies slightly depending on space and vocalist/speaker. Lower register speakers can expect a thicker bass response with a crisp high-end. Because of the thick low-end tone, the microphone can sound muddy.


Shure’s SM58S has an affordable price tag, and the built-in on/off switch can be helpful when the mic is on standby. In addition, it is incredibly durable; Shure perform rigorous quality assurance tests on their microphones.

The SM58 has even been subjected to being ridden over by a tour bus and still works. Lastly, this microphone has excellent off-axis rejection from the rear.


Pickup on the side can color the bass tone negatively by adding a tubby tone. The bass response is very prominent, and, when coupled with the proximity effect, you may struggle with the low end with this microphone.

The lack of presence leaves the tone unbalanced, making it difficult for vocals or speech to cut through or sit on top of a mix.

2. AKG D5

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AKG’s D5 is fast becoming a fan favorite, rivaling Shure’s SM58 and Sennheiser’s E945 at a more affordable price.

The D5 is a super-cardioid dynamic microphone with a built-in shock mount that boasts a clean and crisp sound with great gain-before-feedback and directionality.

Key Features:

  • Dual Shock-mount
    A dual shock-mount is built into the microphone’s housing and is designed to negate the pick-up of any mechanical noise when handling the microphone. However, it doesn’t reject mechanical vibrations entirely in practice, so you will still hear a low-end rumble when handling the microphone.
  •  Super-cardioid Polar Pattern
    The D5 has a super-cardioid pick-up pattern. In theory, this pick-up pattern should offer better rejection from the sides with a slight pick-up from the rear, but the documented polar pattern shows a slightly wider response: The 120° to 150° area has a sensitivity rating of -15 dB for 125 Hz – 500 Hz and -20 dB for 1 kHz. The 120° mark has a sensitivity rating of -20 dB for 2 kHz to 8 kHz. And lastly, the 150° mark has a sensitivity rating of -25 dB at 16 kHz. The midrange has very little rejection from the sides compared to other microphones.
  • Frequency Range
    The frequency range covers from 70 Hz to 20 kHz. The lack of sub-bass is evident in the tone and works in this microphone’s favor because it means less EQing needs to be done for vocals to cut through in a mix. Not needing to EQ the bass end is especially favorable for anyone that does not have access to a high-pass filter.
  • Frequency Response
    The frequency response has a gradual roll-off from 200 Hz to 20 Hz. It remains flat until 1.5 kHz before a +2 dB bell-curve boost occurs, which lowers at 2.5 kHz. Next, there is a gradual 6 dB boost from 2.5 kHz to 5 kHz, followed by a slight dip to + 4dB from 6 kHz to 7 kHz, and lastly, a 6 dB boost from 8 kHz to 10 kHz before rolling off towards the 20 kHz mark.

Character & Sound:

The D5 has a clear and crisp sound. You won’t find much low-end in this microphone, making it ideal for capturing vocals. The mid-range has a good presence, and the high-end cuts through a mix well. The low sensitivity helps when rejecting unwanted sounds off-axis, so you can expect the tone to remain uncolored.


AKG’s D5 has great gain-before-feedback, which will help with achieving a clean and consistent signal.


Despite the dual shock-mounted transducer, handling noise can still pose a problem when holding the microphone. In addition, the rear pick-up can pose a problem in live scenarios where stage monitors are aimed at the vocalist.

3. Superlux PRA D1

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The PRA D1 is the most popular dynamic microphone for vocals in Superlux’s range of microphones. In addition, it comes with a lot of body at a very affordable price.

The Superlux PRA D1 is a super-cardioid dynamic microphone with a similar tone to the SM58 but at a much lower price point.

Key Features:

  • Sensitivity
    The sensitivity rating is -54dBv/PA, which translates to a voltage of 2mv/PA. In other words, the microphone would produce a signal of -54 dB without any gain if the microphone receives a sound with an SPL of 94 dB. This low sensitivity is ideal when capturing sounds in environments with a lot of ambient noise because the direct sound (being the loudest sound received)
  • Super-cardioid Polar Pattern
    The PRA D1 has a super-cardioid pick-up pattern with an off-axis sensitivity of -25 dB at the 135° mark. This -25 dB sensitivity applies to the 250 Hz to 500 Hz area and the 2 kHz to 4 kHz area. Frequencies lower than 250 Hz do not get rejected off-axis well, which may cause coloration in live spaces.
  • Frequency Range
    The frequency range covers an area of 50 Hz to 16 kHz. However, the low-frequency range does mean the proximity effect can make a considerable difference in bass response since it will extend into the sub-bass range. If you find the tone too muddy, apply a high-pass filter to remove up to about 100 Hz to clean up the low-end.
  • Frequency Response
    The frequency response has a similar response to other dynamic microphones for vocals. The bass response rolls off from 200 Hz down to 50 Hz. The proximity effect can change this response dramatically, so using an EQ to compensate is recommended. From 200 Hz to 1 kHz, the response remains flat and is followed by a gradual boost of about 6 dB, which rounds itself out at the 10 kHz mark. From 10 kHz to 16 kHz, the response rolls off steeply.

Character & Sound:

The tone has a very prominent body because of an exaggerated low end. The mid-range and high-end are prominent enough that the tone is clear, but you may find the low-end becomes the focus of the tone. For speaking or streaming, this focus on the body could be ideal. However, singing it will mask the low-end of the mix enough that other sounds will fight for space in the mix.


The Superlux PRA D1 has a very affordable price. However, despite their low price, they perform well and have been compared to the lauded SM58.


The distance from the mic can make a considerable impact on the output volume, so you will need to carefully balance the distance from the mic for volume with the proximity effect.

Plosives are not rejected well, which could become a nuisance since the microphone’s sensitivity does mean you will need to position closely for vocals/speaking. The exaggerated low-end could become a source of muddiness when using this miking in a performance context.

4. Behringer XM8500

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Behringer’s XM8500 is a durable, dynamic microphone built for the performing musician on a budget.

The XM8500 is a cardioid dynamic microphone with a tone that cuts through a mix like a knife through butter.

Key Features:

  • Built-In Pop-Filter
    The microphone’s spherical grill is lined with foam designed to reduce the impact of plosives. The plosive rejection can be beneficial in live sound environments where you will not be able to use a mountable pop filter.
  • Cardioid PolarPattern
    The polar pattern’s specifics are not documented. However, the off-axis rejection is smooth and does a great job isolating vocals.
  • Frequency Range
    The frequency range spans an area of 50 Hz to 15 kHz. The upper-midrange of the spectrum is favored by the XM8500, as you will notice in the frequency response detailed below.
  • Frequency Response
    The frequency response has two small peaks in the bass and low-mid range and is accompanied by the high-end boost found in many dynamic vocal microphones. First, the bass rolls off from 100 Hz to 60 Hz. Next, there is a slight boost at 300 Hz, which explains the punchier body. Next, a slight boost sits at 500 Hz. From 700 Hz, the response slowly rises towards a 10 dB boost just after 4 kHz. Next, there is a dip between 6 kHz and 7 kHz, followed by another boost at 10 kHz. Finally, the frequency response ends with a steep roll-off tending at 15 kHz.

Character & Sound:

Behringer’s XM8500 has a prominent mid-range tone. However, the low-end tends to become muddy if used for a lower register vocalist. Using a high-pass filter to remove or lower the sub-bass-to-bass area can help clean this area enough to allow the mid-range to stand out more and open the lower area of the mix to allow more bass-prominent sounds.


The off-axis rejection is very smooth. Alongside the smoothness, there is a significant difference between the volume of the direct sound and the off-axis pick-up. The built-in pop filter is effective at reducing the impact of plosives.


Sibilance can become a problem with this microphone because of the exaggerated high-end. If working in a controlled environment where the microphone remains stationary the entire time, the sibilance can be mitigated with creative positioning. Still, you may find it difficult to mitigate in environments where microphone placement is less static.

5. Shure Beta 58A

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Shure’s Beta 58A is an improvement from the SM58 that features a change in frequency response and polar pattern.

The Beta 58A is a super-cardioid dynamic microphone with a lowered bass response that extends well into the low-mid range. You can expect improved noise rejection and higher output as well.

Key Features:

  • Built-In Shock mount
    Shure’s Beta 58A also has a built-in shock mount. The shock mount and lowered bass response make a noticeable in rejecting handling noise. As a result, you can expect minimal pickup of handling noise when holding the microphone or, when attached to a stand or boom arm, moving it.
  • Super-cardioid Polar Pattern
    A super-cardioid
    pattern rejects sounds from the sides better than cardioid patterns. At 120°, the microphone’s sensitivity is lowered by -25dB. Since the pick-up pattern is super-cardioid, we can expect it to pick up sounds from the rear. The sensitivity sits between a -15 dB to -20 dB reduction from the rear.
  • Frequency Range
    The frequency range is slightly more comprehensive than the SM58. It starts at 50 Hz and ends at a slightly higher 16 kHz. The lower frequency range is decreased slightly to expect less low-end compared to the SM58.
  • Frequency Response
    The frequency response heavily favors the upper-midrange. Unlike the SM58, the Beta 58 has a lower low-mid range that rolls off from about 200 Hz. From 1 kHz, the frequency response goes above 0 dB with a flat boost up until 3 kHz. There are two peaks from 3 kHz onwards: the first peak occurs between 4 kHz and 5 kHz. The second occurs at the 9 kHz mark before gradually declining towards 16 kHz. At 6 kHz, a slight dip occurs, separating the two boosts

Character & Sound:

The Beta 58A has a very smooth and clear tone that is substantially different in bass response when compared to the SM58. The mid-range presence focuses on the high-mid range, and the high-end brings a smooth clarity to the overall tone. In addition, the transient response has been improved, allowing this microphone to capture the nuances of vocals better.


The 58A does a great job of rejecting background noise, which will ensure any vocals or speech captured is direct and the main focus. And the output is higher than the SM58, which means you will require less gain to achieve a good and well-rounded signal.


The proximity effect does give the tone a tubby coloration, so be mindful of distance from the mic when using it. The higher output means you may not have great results when using the Beta 58A in loud environments, E.G., For a lead vocalist of a rock/metal band.

The super-cardioid polar pattern does affect where stage monitors can be placed when using this mic in live performance spaces since it picks up slightly from the rear.

6. Sennheiser e 945

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The e 945 is similar to the much loved Sennheiser e 935 but features a change in the pickup pattern which offers a narrower range of pick-up.

The Sennheiser E 945 is a super-cardioid dynamic microphone with a built-in shock mount and a clear tone.

Key Features:

  • Built-In Shock mount
    The E945 features a shock mount built into the transducer’s housing. The shock mount does a great job of reducing the noise created by handling the microphone or bumping its stand. The reduction in handling noise can also be helpful during podcasting or streaming if you need to move a boom arm mid-recording.
  • Super-cardioid Polar Pattern
    The super-cardioid pattern has the second narrowest range of the three uni-directional polar patterns. The E945’s polar pattern varies marginally from the standard super-cardioid response. They have a sensitivity of -20 dB from 500 Hz to 2 kHz and again at 8 kHz. The sensitivity increases slightly between 2 kHz and 8 kHz but stays between -20 dB to -15 dB. The pick-up from the rear does mean you’ll need to be aware of sound sources from behind the microphone.
  • Frequency Range
    The frequency range spans from 40 Hz to 18 kHz. This range covers enough territory to be used by any vocal range. And you can expect an airiness from the extended high-end.
  • Frequency Response
    The frequency response has a bass roll-off, flat mid-range, and two boosted areas in the high-end. The bass rolls off gradually from 100 Hz. The frequency response remains flat from about 200 Hz to 600 Hz before gradually rising to a flat boost from 2.5 kHz to 6 kHz. A slight dip occurs between 6 kHz to 10 kHz. After the 10 kHz boost, a steep roll-off occurs to 20kHz.

Character & Sound:

Overall, the tone has a significant mid-range presence that conveys vocals well. The high-end tone adds enough clarity and sharpness to cut through a mix. And the low-end tone has enough body to it that vocals stand their ground in a mix without becoming muddy.


The e 945 does a great job of rejecting background noise. As a result, you can expect any primary sound source to take precedence in a mix without unwanted coloration from surrounding sounds. This rejection of background noise can be especially helpful when streaming or podcasting.


The proximity effect is prominent on lower register voices, so be mindful when miking up; you may need to reach for an EQ when doing levels. The E 945 does not have a built-in pop-filter, so plosives are a problem, especially with proximity. Sibilance can become a problem depending on the vocalist.


Beyerdynamic TG V35 s

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Beyerdynamic’s TG V35 is designed for beginners just starting their microphone collection that may look for a durable vocal microphone.

The TG V35 S is a super-cardioid dynamic microphone with a built-in on/off switch and a lot of presence. All at a meager price.

Key Features:

  • Built-In On/Off Switch
    The TG V35 S features a noiseless built-in On/Off switch. The switch is ideal since you will be able to guarantee the microphone won’t pick up anything when it is not in use without having to lower levels—and redo them later—or mute the channel. Turning off the microphone is especially beneficial if you own an audio interface that does not have a mute button.
  • Super-cardioid
    The polar pattern is a tight super-cardioid pattern with a  cardioid pick-up pattern for particular frequency ranges. Between 120° and 150°, the 500 Hz to 1kHz range has a sensitivity of -25 dB. The 4 kHz to 8 kHz range has a sensitivity of -15 dB and a rear sensitivity of -15dB. Finally, the 16 kHz area has the narrowest pickup, with a sensitivity of -25 dB between 120° and 150° and a rear sensitivity of -15dB.
  • Frequency Range
    The frequency range varies slightly depending on the distance from the source. When close-miking, it increases to a range of 30 Hz to 18 kHz. When miking from a distance of 1 m (3.2 feet), it decreases to a frequency range of 55 Hz to 18 kHz. Either way, you will have a frequency range that extends well into the sub-bass territory.
  • Frequency Response
    The frequency response is slightly off-balanced, focusing on the high-mid to high-end. From 150 Hz, the bass rolls off to 50 Hz. There is a gradual ramp upwards, starting with a decrease of 2dB at 150 Hz; it slowly increases to 0dB at 1kHz. A gradual 5 dB boost occurs from 1kHz to 4kHz before flattening up to 7kHz. Between 7 kHz and 10 kHz, there is a dip between +2 and +4 dB. The response is ended with a slight +4 dB increase after 10 kHz that rolls off steeply to 18 kHz.

Character & Sound:

The tone is crisp with a lot of presence. You can expect vocals to cut through and sit on top of a mix with this microphone. The low end is prominent enough that the body of the tone has a punchy characteristic.


The TG V35 S has excellent resistance to feedback. This resistance to feedback will benefit public speaking, where the speaker may wander about the stage.


The high-end tone can become too sharp on higher register vocalists. This sharpness will only become worse at higher volumes.

What are the 3 types of microphones?

The three main types of microphones are dynamic, ribbon, and condenser microphones. Other microphone types use similar transduction principles based on the dynamic and condenser microphone’s design.

As mentioned above, the dynamic microphone (also called a moving-coil microphone) uses electromagnetism to produce a signal. The ribbon microphone uses the same transduction design: a conductive material is placed between two opposing magnets. Where they differ is the number of moving parts.

A dynamic microphone creates an electrical charge using a diaphragm to receive the sound wave and transfer those vibrations to a voice coil suspended in an electromagnetic field.

A ribbon microphone creates an electrical charge using a small sheet of metal suspended in an electromagnetic field to receive the sound wave and create an electrical charge.

A condenser microphone uses the same principle as a capacitor when converting acoustic energy into electrical energy. The condenser’s diaphragm is conductive (meaning electricity can pass through it easily) and has a metal backplate positioned closely behind it.

Both plates are charged with static electricity, forming two capacitor plates. When a sound wave strikes the diaphragm, the spacing between the two plates varies, varying the capacitance. These fluctuations in capacitance generate an electrical signal similar to the incoming sound wave.

What Makes Dynamic Mics Great For Vocals?

Dynamic microphones are preferred for capturing live vocals because of their low sensitivity, durability, and improved rejection of off-axis sounds (Sounds captured from anywhere but the direct center of the diaphragm).

Live performances are a breeding ground for uncontrollable sounds. Vocalists are surrounded by speakers and instruments, all producing loud sounds. If you use a condenser microphone, you will capture more than just the vocalist.

The worst case scenario would be an ungodly amount of feedback. The dynamic microphone’s inherent low sensitivity helps in this regard. In addition, the difference in volume between background noise and a vocalist is substantially more manageable when using a dynamic microphone.

When recording in a studio, a dynamic microphone can be used if you want that live feel. Or if you find condenser microphones to be too bright or harsh. Bono of U2, Michael Jackson, and Brandon Flowers from The Killers have all used dynamic microphones to record their vocals in a studio.

Is a dynamic mic better for podcasting?

Condenser microphones have better clarity and are preferred for recordings involving vocals/speech, but their high sensitivity makes it difficult to isolate speech from ambient sounds.

However, dynamic microphones have a much lower sensitivity rating which helps with negating the pick-up of ambient sounds, especially if you are podcasting in an untreated space. The isolation that a dynamic microphone offers also makes it great at reducing the pick-up of any surrounding speakers.

Is a dynamic mic good for streaming?

Dynamic microphones are great for streaming! Their low sensitivity helps isolate speech and negate the pick-up of any external sounds, E.g., The fans from a computer, buttons on a keyboard and mouse, and button presses on a gamepad.

Alongside the lower sensitivity, dynamic microphones use uni-directional pick-up patterns (i.e.: single direction pickup patterns) which help with isolating vocal recordings from any ambient noise/sounds.


There are many great dynamic microphones available here and the differences between them are marginal. However, the difference in prices is not.

When looking at the budget-friendly options available, your choices are between Behringer’s XM8500, Beyerdynamic’s TG V35 S, and Superlux’s PRA D1. However, if we’re really trying to squeeze that budget out of everything it’s worth, we can throw in AKG’s D5.

These 4 microphones come in well below €70 (±$75) each. Of the 4 microphones, the AKG D5 is the recommended choice because of its directionality, low handling noise, and crisp, clear tone. The Beyerdynamic TG V35 S is a close second because of its similar performance yet lower price tag.

The higher-priced options are the Sennheiser E945, Shure SM58S, and Shure Beta 58A. Of the three, the Shure Beta 58A is recommended. The built-in pop-filter does a great job of rejecting plosives which is always welcome in a vocal mic.

It has a great tone that brings out the best in vocals. And the build quality is exceptionally durable.

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Top 11 Distortion Plugins (And 4 Top Free Plugins)

Top 5 Comb Filter & Resonator Plugins | Melda, Kilohearts, Tritik

The 7 Best Vibrato VST Plugins | Audec, Audiority, Melda

The 7 Best Tremolo Plugins | Eventide, Melda, SoundToys, Kuassa…

The 7 Best Harmonizer Plugins | Eventide, Melda, Aegean Music

7 Best Sidechain Plugins (VST, AU, AAX) | Xfer, Cableguys..


Top 10 Noise Gate Plugins (And 6 FREE Free Gate Tools)

The 6 Best Ring Modulator VST Plugins | KiloHearts, Melda

7 Best Autopan VST Plugins | CableGuys, Melda, Waves, Soundtoys

The 6 Best Frequency Shifter VST Plugins

Top 11 Granulizer Plugins For Future Sound Design

29 Best Sound Design VST Plugins


Compressor Plugins

Top 11 Free Compressor Plugins (VCA, Vari-Mu, FET, Digital)

Top 7 Multiband Compressor Plugins (And 4 FREE Plugins)

Top 5 Diode-Bridge Compressor Plugins 

Top 6 Mastering Chain Plugins: Complete VST Solutions 

Top 10 FET Compressor Plugins 

The 7 Best VCA Compressor Plugins (VST, AU, AAX)

Top 11 Mastering Compressor Plugins (And 2 FREE Plugins)

Top 10 Opto Compressor Plugins For Transparent Sound

The 7 Best Vari-Mu Compressor Plugins (And 2 Best FREE Tools)


Reverb & Delay Plugins:

Top 12 Reverb Plugins (And 5 FREE Reverb Plugins)

The 6 Best Spring Reverb VST Plugins | AudioThing, GSi, u-he, Eventide

Top 12 Delay Plugins For Music Production In (VST, AU, AAX)

Top 10 FREE Delay Plugins (VST, AU, AAX)

The 10 Best Convolution Reverb Plugins 


Amps & Preamps:

Top 10 Guitar Amp Plugins (And 5 Best FREE Simulators)

Top 10 Bass Amp Plugins (And 5 Best Free Simulators)

Top 9 Preamp Plugins (For Vocals, Guitars & More!) + Free Preamps

Guitar/Amp Focused:

Can I Put Nylon Strings on a Steel-string Guitar?

Do Electric Guitars Sound Good Unplugged?

Buying Your First Guitar: 2 Things To Know

Are Tube Amps Worth It? (Tube vs Solid-State Amps)

How Often Does A Guitar Need a Setup?

Can I Play Classical Guitar On A Steel-String Guitar?


How often guitar necks need reset?

Can You Play Two Guitars Through One Amp?

Can a 6 String Bass Be Tuned Like A Guitar?

Can I leave My Guitar Tuned Down a Step? Yes, But Is It Safe?

Should I Learn 4, 5 Or 6 String Bass Guitar & Why?

How To Know If your Guitar Amp Is Broken?

How To Fix Distorted Bass Guitar Sound?


Do Fender Guitars Appreciate In Value?

Should You Put Stickers On A Bass Guitar?

How Acoustic And Electric Guitars Are Made?

Is Electric Guitar Too Loud for an Apartment?

Does a Preamp Improve Sound Quality?

If I Learn Acoustic Guitar Can I Play Electric Guitar?

How Many Hours A Day Should You Practice Bass Guitar?

Do I need an AMP/DAC To Run Bookshelf Speakers?

How to Record Electric Guitar Into Logic Pro X?

Do headphones get worse with age?


DAW Related:

Best DAWs For Musicians Available (With FREE DAWs)

How To Develop DAW Software?

What’s The Most CPU Efficient DAW? – 5 DAWs Compared

How To Make Music Without Using A DAW?

Pro Tools Guide: How To Use AutoTune & Pitch Correction?

Ableton Review: Is It Worth The Money? (Cons & Pros)

Logic Pro X Review: Is It Worth It? (Cons & Pros)

How To Use Auto-tune & Pitch Correction In Cubase?

How To Fix Ableton Crackling, Crashing & Freezing? Step By Step


Plugin Related:

What Are Audio Plugins? Different Types of Plugins Explained

What Are The Best Tools To Develop VST Plugins & How Are They Made?

Cost of Developing Audio VST Plugin: Several Factors (With Table)

VST, VST, AU and AAX – What’s The Difference? Plugin Formats Explained

Complete Guide To Noise Gate – What It Is, What It Does & How To Use It?

How To Clip My Drums? Here Is How & Audio Teasers (Before/After)


Complete Guide To Limiter: How To Use It (+ Best Plugins & Analog Limiters)

Mixing With Reverb: How To Add Life To Your Mixes

Linear Phase vs Minimum Phase EQ – Full Guide

Difference Between LUFS, RMS & True Peak Loudness Meters

How And When To Use Algorithmic And Convolution Reverb In Your Mix?

Difference Between Active EQ, Passive EQ and Dynamic EQ


Headphones & Studio Monitors:

Do headphones get worse with age?

Monitors vs Studio Headphones For Mixing & Mastering

Top 10 Room Calibration & Headphones/Speakers Correction Plugins 

Does Heat Damage Headphones?

Are Noise-Canceling Headphones Good For Music Production?

Can Headphones Break in Cold Weather?

Why do headphones & cables get sticky?


Can Wearing Headphones Cause Hair Loss?

How Do I know If My Studio Monitor Is Blown?

Side Effects Of Sleeping With Your Headphones On

Do You Need Music Amplifier For Studio Monitors or Studio Headphones?

Do Headphones or Earphones Damage Your Brain?

Can Headphones or Earphones cause Deafness or Toothache?

FarField, MidField & NearField Monitors – Their Uses, Pros & Cons


MIDI & Synths:

Should I Buy A MIDI Keyboard Or Synth? (Are Synths Worth It Anymore?)

Why Is Audio Gear So Expensive? (Especially Synths)

Top 12 Synth Brands – Analog, Digital & Modular Synth Manufacturers

11 Tips How To Choose MIDI Keyboard 

Should I Buy MIDI Controller Or Keyboard? Cons, Pros & Tips

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