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I may have missed it but have you checked in to the EV RE50? ENG standard excellent isolation, you can use it both in the studio and the field. Another for in ~house might be the Shure SM-58...Both of these mics are price in the under or around the $200 range new and will last a lifetime.

I have the Sure SM58B which has a newer diaphram design and is able to limit proximity effect very well. Haven't used it as a v/o mic yet, just for vocals when performing with our band.

-gb-

I like my sure KSM27 ~$300

Although everything said about proper room set up is true, microphones make a huge difference. I did a professional VO session yesterday for a show on TLC (as talent) and the production company had a short AT shotgun set up because earlier they were picking up some lines to match field footage already shot.

But it sounded too crisp and forward for the narration -- it's a mic colored toward clarity rather than a rounded, warm VO mic colored toward gravitas. Needed to change it out to match the previous week's session.

Even the most informal style of VO needs to have a certain voice-inside-your-head quality and a warm mic is usually best. Your typical ENG mic or shotgun is too unforgiving.

One good cheap solution is the AT3035. Last year I listened to the whole AT large diaphram line at NAB in a small booth. Very lively and warm for the money. Worth the few dollars more over the 2020. I bought one and like it better than the Shure SM7 dynamic, a radio & VO standard costing about twice as much.

There are lots of other choices. You might also check out some of the mic shootouts below.

www.transom.org/tools/recordi..._shootout.html

www.digitalprosound.com/2002/...c_shootout.htm

www.dvestore.com/theatre/mics_guide.html

Proper VO processing -- compression, noise gate, de-essing, etc -- is a whole other topic, but is also part of what separates professional from so-so VO sound.