I like the sound, but I quite like the Samson too. I'm note sure the difference will be something that spectacular.

Perhaps something a bit more mellow would be handy?

I think it's nasally and not really that good overall. I like it on hand drums. Other than that I don't think it's a great mic overall and not worth the money, and really isn't any better than any other mic in the price range. I own one and Have used it like three times over the past fout or five years.

The older nt2 is I a much better buy in my opinion, as it's similar in characteristics, but seems overall smoother to me.

I assume your talking vocal mic here, but I'd save some money and get something a step up maybe used, or look into a nice dynamic mic. Unless the nt1 happens to be the perfect mic for your voice, it's not goinging to be a huge upgrade. You've already got one entry level condenser, don't bother w another one.

If you're not shelling out some significant bucks for a microphone? All the others are just all the others. Samson, Nady, MXL, the cheap stuff works. Not great. Utilitarian at best. Pretty much all the same. Though some of those actually requires a full +48 Volts, to polarize the diaphragm on the capsule. Others have permanently polarized capsules which don't require the full +48 V. Those are known as the "electret" condenser/capacitor microphones. Those can work off of as little as +5 Volts to 25 Volts. Only the non-polarized capsules require the full +48 phantom supply.

I think what you need to do is to find yourself some books to read? Of course translations could be an issue? I do not know? But you are definitely lacking in some basic knowledge of equipment. You are asking some very deep questions for which you have obviously not looked into before coming here? Making good recordings can be easy to do, when you understand something about the available equipment out there. You don't. You think ya do but no. Just limited knowledge can be worse than no knowledge at all. You'll just keep chasing your own tail. There are also a lot of examples to see and hear, watch and take in, learn from, on YouTube. Some very good information from some very good engineers. Others are clueless fools who aren't old enough to drink. Of course they have already tried the best $20 microphones. Which, believe it or not, can still be quite usable, in the right hands. But not unless you know what you're doing. Otherwise you'll come away, disappointed. Then you'll blame the equipment. It's not the equipment. That I can assure you of. You're on a steep learning curve.

While I have the really expensive, $3000 + German microphones. I also have those cheap, $80 Samson's. Which are adequate for drum overheads and other sundry recordings. Not great but nobody is going to kill your $3000 microphone from a wayward drumstick. I just have to take some of the 250-300 Hz down a little since they are kind of boxy sounding with those lousy Taiwanese output transformers. But taking them down a couple three db's at 250 Hz, makes them reasonable. The $3000 microphones get used on less dangerous music to the microphones. It really depends how much money your clients want to spend? If they've got lots of money? Sure, if they want the expensive microphone. On bargain jobs? Forget about it. I use the cheap ones. It's the only thing that makes sense to use on those rock 'n roll gigs. Otherwise, my microphone preamps & mixer doesn't change and is, top shelf quality. Even cheap microphones sound good, in good quality microphone preamps. Guaranteed.

Where you might have used a $3000 microphone, you can get away with a $100 SHURE, SM-57, dynamic. When you go into quality preamps. Having an expensive microphone into anything less quality, really defeats the purchase. So yeah... I'll even use a pair of 57's on a vocal ensemble. And it'll sound just fine. No kidding. I'm serious. I do it.

Sometimes there is a great advantage to a microphone who has a slightly lower sensitivity and frequency response, bandwidth limitations. They eliminate frequencies you don't need and only contribute, from the more useful frequency spectrum that ya really hear. The stuff at the very top and the very bottom, usually gets filtered out, anyhow. So why must the microphone go beyond that? It doesn't have to. In fact many folks slap a 50-15,000 Hz band Pass filter, on most everything. I believe in limiting the bandwidth of what you don't need, from the get go via microphone selection and placement.

Something to think about.
Mx. Remy Ann David