Build & Design: Light Yet Durable

One of the first things you’ll notice about the Rode NTG5 is how incredibly lightweight it is. Weighing in at just 85 grams (about 3 ounces), it’s among the lightest shotgun mics you’ll find. This may not sound like much, but when you’re running a long shoot, whether handheld or on a boom pole, every gram counts. You won’t even notice it when it’s attached to your rig, and that’s a big win if you’re working with other heavy equipment or running and gunning.

But don’t let the lightweight nature fool you into thinking it’s fragile. The NTG5 is built with durability in mind. Its body is constructed from robust aluminum, and it’s finished in a matte black coating that not only gives it a sleek, professional look but also protects it from wear and tear. While it may not be built to survive being dropped off a building, it’s sturdy enough to handle the rigors of field production and regular use.

Another thoughtful design choice is the custom rycote lyre shock mount. This feature helps isolate the mic from vibrations and handling noise, which is a key factor when you’re recording in environments where even the tiniest rattle or bump can be captured. And unlike other solutions like third-party rubber band suspensions, blimps, or whatever the hell else is out there… this one is free, lightweight, compact, and efficient. Moreover, thanks to the pistol grip, you can actually hold it by hand, yes! So it even makes the boom pole optional (though let’s be real, that’s more of a crutch, and it’s gonna suck ass if you’re doing a long video session).

Bottom line: that pistol grip with rycote lyre + windscreen combination just works – too well, and at no extra cost. It deals with unwanted wind and handling noise beautifully. It’s a clever, cost-efficient solution and really the soul of the NTG5 design – meant to serve as a more lightweight, cheap, and angry alternative to the typical blimp setup. And it’s not just a basic foam windscreen you’re getting, no no. Rode actually throws in a WS10 furry windshield too – and that thing alone is worth like 60 bucks!

Sound Quality: Precision with a Natural Touch

The real beauty of the NTG5 is its sound quality, which is nothing short of impressive. Rode has struck a delicate balance here:

This microphone doesn’t try to artificially shape the sound in any way, which is a refreshing change from mics that tend to add a bunch of unnecessary color (oh yes I’m referring to a more budget-oriented NTG4+ version here). Instead, the NTG5 captures audio with a neutral, transparent tone – exactly what you want from a shotgun mic at a pro level or for any serious production. What you get is clear, detailed audio, with enough presence to pick up subtle nuances in the voice or the sound of your environment. The mic’s wide frequency response (20Hz to 20kHz) means that you’re not losing any important low or high-end frequencies, and even the quietest details are captured with minimal interference.

In terms of directionality, the NTG5 behaves like a typical shotgun mic. Its supercardioid pattern locks onto sound from the front while rejecting the sides and rear significantly. It’s not razor-thin in focus – don’t expect laser-beam isolation. In fact, both the NTG3 and NTG5 lean slightly wider, which makes them more usable in dynamic, real-world situations. You still get clean separation, just without the ‘tunnel vision’. One of the real strengths here is off-axis handling. Unless you’re in a horrible room, reflections and background bleed aren’t going to ruin your take. Off-axis sounds stay clean and natural, not weird or phasey, even though comb filtering is a common problem even for high-end mics. That smooth rejection is the payoff for not chasing hyper-narrow pickup.

But the cream on top here? The NTG5’s impressively low self-noise of just 10 dBA. That’s seriously quiet. For comparison: the NTG4 sits at 16 dBA, the NTG3 at 13 dBA… and even the MKH416 comes in at 13 dBA. So yeah, on paper, it wins. But don’t get too excited about the numbers. These specs are nice to have, sure – but they don’t always reflect real-world performance. Even if the NTG5 ranks among the top five in this area, it doesn’t knock the MKH416 off its throne. Self-noise only becomes a real factor in ultra-quiet environments anyway. In most typical use cases, you won’t notice the difference. Speaking of use cases, we’ve now come to the next point.

Versatility: Wide Range of Use

The Rode NTG5 stands out as an impressively versatile microphone. Whether you’re a content creator, filmmaker, podcaster, or audio engineer, it adapts well to a wide range of workflows and consistently delivers professional-level results.

Film and Video Production

• For film and video work, the NTG5’s focused pickup pattern and excellent off-axis rejection make it a reliable go-to. Whether you’re dealing with unpredictable outdoor environments or working on an indoor set full of ambient distractions, this mic locks onto dialogue with clarity and confidence. Its compact form factor makes it easy to boom or rig, and the extremely lightweight build is a blessing during long shoots – your arms and your crew will thank you.
• It also performs well in field recording. When you need to capture subtle environmental details or isolate specific sound elements, the NTG5 delivers clean, textured recordings without pulling in too much of the surrounding noise. It handles nuanced sound design work with ease, offering clarity without harshness.
• That said, this kind of performance is expected from a mic in this class. If you’re buying a professional shotgun mic, you expect it to handle production audio competently. So while the NTG5 performs admirably in these areas, the real value shows up when you push beyond the traditional use cases.

Streaming and Content Creation

• Where the NTG5 really starts to show its edge is in content creation – especially streaming setups where visual clarity is just as important as sound quality. A lot of streamers default to large dynamic mics like the SM7B, but these often end up dominating the frame, obscuring the face or blocking gestures. On top of that, if you turn your head even slightly, the audio level can drop dramatically. While dynamic broadcast mics have their place and can sound fantastic, they often come with trade-offs in freedom of movement and camera aesthetics.
• The NTG5 offers a refreshing alternative. Mounted just out of frame – either above the camera or off to the side – it captures clean, directional sound without cluttering the shot. This setup gives you much more room to move, emote, or stay visually connected to your audience without being tethered to a mic right in front of your mouth. For visually engaging content where body language and presence matter, this makes a huge difference.
• And just to be clear, it’s not limited to out-of-frame use. Like its more expensive cousin, the MKH416, the NTG5 also works surprisingly well for close-up voiceover work when used in the traditional way. So if you’re doing occasional narration or need to lay down a clean voice track, it won’t disappoint! And more icing on top? Rode actually includes a solid shock mount and wind protection in the package – and this is where the value comes from. Just throw it on a mic stand, and you’re set.

Overhyped or Just Right?

Is the Rode NTG5 overhyped? That really depends on what you’re expecting – and what you’re comparing it to. Let’s break it down into a few real-world factors that can help you decide:

1. Price. If the MKH416 is out of reach and the NTG5 lands in your budget sweet spot, it’s a solid buy. But if the price difference is small, it might be smarter to just go with the industry standard. That way, you won’t end up wondering later if you should’ve just gotten the 416 in the first place.

2. Footprint. The NTG5 is lighter and less bulky than the MKH416 + blimp combo, which matters if you’re working long shoots or want a setup that’s easier to handle. It fits nicely into minimalist rigs or solo setups.

3. Included gear. Rode packs in a high-quality Rycote shock mount and wind protection out of the box. If you’re planning to use those straight up without investing in extra gear, you’re already saving more than you might think.

Bottom line: If you’re budget-conscious and care about staying lightweight, the NTG5 is a smart move. But if you’re already close to MKH416 territory, might as well go all in and be done with it. Don’t let the hype make your decision – just weigh what matters in your use case.

Now, to be fair, the NTG5 doesn’t lean on flashy gimmicks or try to win over casual users with exaggerated specs. That’s a good thing. It’s a pro-oriented tool that keeps things clean and effective. No magic tricks, just solid sound you can rely on. And if you’re doing pro work, you already know EQ and post-processing are part of the game. So yeah – less flash, more function. That’s the real appeal.

Final Verdict

If you’re looking for a professional shotgun mic that doesn’t weigh you down – physically or financially – the RØDE NTG5 hits a rare sweet spot. It brings clean, neutral sound, decent directionality, and an impressively low noise floor, all wrapped in a featherweight body with some genuinely useful accessories thrown in. No, it’s not the legendary MKH416, and it doesn’t try to be. But that’s exactly the point. The NTG5 is for people who want something lighter, more affordable, and still totally capable of delivering broadcast-quality results. If that’s what you’re after, there’s a good chance you’ll find the NTG5 isn’t just a smart buy – it’s the right one. If you’re ready to step up your audio game without breaking the bank, the NTG5 is a no-nonsense tool that punches way above its price tag.

- Reviewed at $499

Pros:

• Lightweight / small footprint
• Proprietary rycote lyre shock mount
• Professional sound quality + neutral response
• Free Rode WS10 Furry Windshield
• Arguably offers more bang for the buck
• Versatility – filmmaking, voiceovers, streaming
• Ultra quiet, extremely low self-noise
• Excellent resistance to moisture

Cons:

• Like the NTG3, its directionality isn’t razor-sharp. You’ll pick up more off-axis sound than with some higher-end shotguns.
• Depending on current pricing, the MKH416 might be the better buy. If the difference isn’t big, it’s worth considering the upgrade.
• Make sure your seller is Rode-authorized. Otherwise, your warranty’s void—and at this price, that’s not a risk you want to take.

Best Price on RØDE NTG5

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WARNING! MAKE SURE YOUR AMAZON SELLER IS AUTHORIZED: https://rode.com/en/support/where-to-buy

• Revonic Dual-Engine Design: Two precision-matched transducers work in tandem to unlock and extra opportunity to optimize and shape frequency response, yielding exceptionally clear signal with minimal EQ.
• Supercardioid Pattern: A tight pickup pattern focuses directly in front, rejecting bleed from stage monitors, drums, and nearby instruments. Ideal for loud, high-SPL environments or multi-mic setups where vocal focus is everything.
• Natural, Wideband Clarity: The Nexadyne’s signal processing produces a balanced, transparent tone from lows to highs. Vocals emerge with plenty of low-end warmth and open mids, plus crisp, airy highs – all natural and authentic without sounding sterile.
• Built Like a Tank: The housing is die-cast metal with a hardened steel grille. Weighing about 10.3 oz (294 g), it feels solid yet well-balanced. The case is finished in matte black and ships with a sturdy zippered pouch and mic clip for protection on the road.
• Low Handling Noise: Thanks to Shure’s Revonic design, internal vibration and handling noise are kept to a minimum. The dual-cartridge system manages unwanted internal and external handling noise inherently, so you don’t need a bulky shock mount to keep things clean.
• Forgiving Off-Axis Response: Shure highlights the mic’s “exceptional supercardioid polar pattern linearity”, meaning it maintains consistent tonal quality even as your position shifts. This makes it far more forgiving than typical live mics – offering natural, studio-like vocal tone even with less-than-perfect positioning.

Design & Build Quality

From the first moment you hold it, the Nexadyne 8/S feels like serious gear. It’s dense, balanced, and precision-built — not a hint of corner-cutting. The shape is classic Shure, but with a slightly broader head near the grille that adds a touch of personality. Finished in a stealthy matte black, the all-metal body resists smudges and scratches, while the hardened steel grille shrugs off drops and knocks without flinching.

The Revonic capsule system adds some top-weight, but the mic stays balanced and confident in hand. At 294 grams, it’s got that satisfying heft you want on stage — sturdy, but not fatiguing. Every piece feels engineered, from the smooth barrel to the reinforced XLR socket.

Shure throws in a proper padded pouch, a mic clip with a brass stand adapter, and the usual manual — no corners cut. The Nexadyne doesn’t just look premium — it carries itself like something built to outlast your gear bag.

The contour of the body flows cleanly into the head, giving even smaller hands a natural grip. That slight top-weight actually helps your fingers settle into place. Shure’s internal Revonic suspension system absorbs vibration so well you can adjust a stand mid-song without it ruining the mix. We tried tapping, twisting, and general careless handling — and it stayed impressively quiet.

Bottom line: this thing handles like a weapon — controlled, comfortable, and dead quiet when you need it to be.

Sound & Performance

Plugged in, the Nexadyne 8/S delivers a vibrant yet natural vocal tone. The top end has a crisp air – reminiscent of a condenser mic, but with more restraint and control. There’s a subtle peak between 4–8 kHz that adds shimmer and clarity, making consonants and vocal texture stand out without ever sounding brittle. It’s smooth, even luxurious in how it handles detail. The mids are confident and present: male vocals come through with a warm, resonant ‘chestiness’, while female vocals retain body and glow without edging into harshness. The low end is also noteworthy, it’s articulate and well defined (rather than being muddy or bloated). Instead of thumping, you get a tight, punchy bass response that supports vocals without smearing them. In the end it brings to the table a balanced signature that just feels effortless to mix.

Shure says the Revonic capsule offers “natural and authentic clarity with a surprising amount of mid-range and low-end detail” — and while marketing blurbs are usually worth ignoring, in this case, they’re pretty spot on.

When you mentally compare it to earlier Shure dynamics like the Beta 58 or even the `legendary` SM58, the Nexadyne 8/S sounds like a direct evolution: brighter, clearer, and more spacious. Think Beta 58 with refined highs and extra horsepower — the 4kHz presence bump is still there but better controlled, lending a modern sheen that flirts with condenser territory. And yet, it avoids the grainy harshness that some condensers tend to have. I found myself barely touching the EQ: the mic seems pre-tuned to sound almost album-ready out of the box. For singers that’s a dream – just open your mouth and let it flow, as it captures the soul of your performance. Even breathy passages and subtle dynamics hold their shape and shine. There’s a certain finesse to it that cheaper dynamics just don’t reach.

…And it pays off onstage! The Nexadyne 8/S slices through a dense band mix with volume and clarity to spare. You don’t feel buried — even in aggressive rock arrangements, the vocal sits confidently on top. Thanks to the dual-transducer layout, off-axis performance is consistent too — vocals don’t dull out the moment the singer shifts slightly. That evenness is a hallmark of the older KSM8, but here Shure ups the ante in a more stage-focused direction. While the KSM8 remains a fantastic mic in its own right — known for its smooth, natural tone — the Nexadyne 8/S offers a supercardioid pattern and a slightly brighter voicing that tends to work better in live settings. It’s simply a configuration that makes more sense on stage, both in terms of pickup and presence. Pro vocalists will feel the difference.

Feedback Rejection & Off-Axis Handling

As a supercardioid mic, the Nexadyne 8/S’s biggest strength is rejection. The rear is tightly controlled, while the sides also reach almost -10db (if we’re talking 90 degrees angle) – with a big dead spot in between, so – stage noise becomes much less of a problem. Drums and other ‘annoyances’ around the singer on stage also make noticeably less impact than they would with a typical cardioid. Shure pushes each Nexadyne as tuned for “superior off-axis rejection,” and that claim actually holds up too: we were able to run monitor levels higher than with a Beta 58a or similar budget-oriented mics before any feedback showed up.

It’s also notably more stable under gain — assuming the stage configuration is proper. Since the supercardioid’s null points sit just off to the rear sides, wedge placement matters. But when things are dialed in, the Nexadyne 8/S offers the kind of headroom that makes life easier both for performers and engineers.

On the flip side, like any supercardioid it’s still a bit less linear in its response compared to a typical cardioid, and requires a bit more awareness about your placement. But it is more forgiving than budget supercardioids and in the right hands, as has been shown already, it should be able to enhance the vocal performance on stage tremendously. Meanwhile pro signers could even use those shifts to their advantage for added intonation and projection – by subtle positioning. All told, the Nexadyne’s feedback handling is best-in-class for a dynamic vocal mic – if you play in venues with screaming monitors or drummers on stage, it will definitely give you more headroom and less squeal. And paradoxically, the more confidence you have in your mic, the stronger your performance —you want to project power, not broadcast struggle.

Use Cases & Verdict

The Shure Nexadyne 8/S is clearly tailored for live performance professionals. It’s not a cheap wedding-microphone; it’s a precision tool for singers and vocalists who demand top-tier results. If you gig in bars, clubs, festivals or worship halls, and you need every nuance of your voice to carry cleanly, this mic shines. Rappers, rock vocalists, theatrical performers – any situation with loud backgrounds or strong monitors – will appreciate the clarity, focus and resilience. Even studio users might find it useful for close-miking singers or instruments when a touch of brightness and isolation is needed (some studios like having a robust dynamic for particular sounds).

Priced around the premium bracket (reviewed at $299 at the time of writing), it’s aimed at those willing to pay for durability and sonic advantage. If you’re used to an SM58 or Beta58, consider the Nexadyne 8/S as a next-level upgrade: it brings noticeably more clarity and projection. If you already love the older Shure DualDyne (KSM8), the 8/S is a different flavor – extra sparkle and a tighter pickup – rather than a replacement in kind. Tried both across a range of singers, the 8/S often stood out — not just for its clarity, but for how confidently it delivers vocals in dense live mixes, especially when the stage gets loud.

Final verdict: for any singer stepping onto a loud stage who needs to own every note, the Nexadyne 8/S delivers. That solid metal build — you can trust it night after night. And the dual-transducer design helps deliver a clear, balanced vocal sound that holds up in any venue. The result is confidence: once you’ve felt how reliable it is and heard how effortlessly your vocals sit in the mix, it’s hard to go back. It’s a pro-level investment — and one that earns its place every time you step on stage.

Highly recommended for live vocalists and sound engineers who refuse to compromise on clarity or feedback control. If you’re serious about being heard, the Nexadyne 8/S is ready to take your voice to the next level!

Best Price on Shure Nexadyne 8/S

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Overview

The SSL 2 MKII (2-in/2-out) and SSL 2+ MKII (2-in/4-out) are compact, bus-powered USB-C interfaces aimed at home studios, streamers, and podcasters. They come in signature solid black chassis, large monitor knob and dual headphone outputs (labeled A/B) with gain knobs for each channel front-and-center. A dedicated “Mix” knob lets you blend the live inputs with DAW playback, and there’s a mono (stereo-sum) switch for the two inputs. All front-panel jacks (dual combo XLR/¼″ for mics/lines, plus two high‑impedance instrument inputs) use Neutrik connectors. The build is solidly put together, and it even uses Alps potentiometers for the knobs, which are pretty costly. The units feel very solid in hand, weighing about 1kg, but still convenient for travel. The top cover and controls are stable and well-built, with no wobble or flex on the circuit board.

• Controls: Front-panel controls include gain knobs (with peak LEDs), individual +48 V and HPF switches per channel, the Legacy 4K button, a monitor level knob, a Mix knob, a mono (stereo-sum) button, and two headphone level knobs. The 4K “analogue enhancement” button is a hallmark Solid State Logic feature – it adds a subtle high-frequency lift and harmonic coloration reminiscent of their consoles’ sound. This mode gives guitars and vocals a ‘forward, excited’ character—hard to define, but undeniably addictive.
• Aesthetics: This wouldn’t be a solid state logic product if not for aestetics! Those sexy looks, black metal case… mmm, professional firm-feel knobs and buttons that are so satisfying to work with, and even the LEDs’ style – this is where everything is just top notch and screams QUALITY all over the place, but it’s one thing to see it on the pic and another is to actually hold it, touch it and own it!
• Build Quality: Internally, the SSL 2/2+ MKII share a well-assembled steel/aluminum chassis. Cables and components fit tightly with Neutrik jacks on every XLR/TRS input and output. The connectors also have a satisfying tactile click when you plug in, making sure everything is well-secured. The knobs and switches are also sturdy; Alps knobs on the front panel give it a very precise feel. Unlike most chinese knock offs which nowadays are very common, I can see how this thing could even easily outlast the rest of your gear, so consider it a worthy investment.
  

Preamps and Audio Performance

Solid State Logic emphasizes audio quality in these interfaces. Both models use proprietary mic preamps with 64 dB of gain and extremely low noise. In lab terms, the mic inputs reach ~116.5 dB dynamic range, allowing to capture virtually every detail from any source. The converters are next-gen – 32-bit/192 kHz, so you get very high-fidelity audio with a full range sampling rate. In practice these ADCs, paired with extremely quiet preamps deliver unaltered frequency response and ultra-low noise floor. And even gain-greedy mics like SM7B can be driven at good levels without a Cloudlifter (or additional preamps).

When it comes to actual sound, SSL2 MK2 could be praised for their clarity and transparency. The end result being no bullshit/ no compromise studio quality, and when combined with a quality source it could be rightfully defined as stunning. You could also do a quick search and see that other reviews support our stance. The claimed specs like very wide dynamic range can be easily measured and verified, and these specs also mean a lot of clean headroom, and if any potential distortions are negligible compared to a typical source, even when using top tier recording microphones etc. The headphone outputs are also very beefy and can drive low impedance headphones without compromising the low end, so everything is crisp and clear even at high volumes.

SSL 4K Legacy Mode: The dedicated 4K switch is a signature SSL feature that adds analog “mojo.” It works via a small analog circuit that injects harmonics and boosts high frequencies. The idea of boosting the latter is not new as it makes sources more forward and helps instruments like guitar and vocals cut through. But it’s not a drastic effect – more like a gentle brightness enhancer that adds a pleasant, natural crispness. If you want ultra-neutral recording, you can leave it off; otherwise it’s an easy way to add console character at the preamp stage.

Drivers and Bundled Software:

The interface is essentially plug-and-play – no complicated setup required. Its drivers (class-compliant on both Mac and PC) are solid and seldom have issues. When it comes to actual use it feels very straight forward, since most functions (gain, phantom, etc.) are hardware-based.

However, solid state logic sweetens the package with an addition of a substantial software bundle. Both MKII models include the SSL Production Pack – a suite of SSL’s own plugins – and other freebies. In practice you get SSL’s Drumstrip and Vocalstrip plugins (designed for drum/percussion and vocal processing). You also get a 3-month subscription to SSL Complete, which grants dozens more Solid State Logic and Slate Digital plugins, plus tools like NI Komplete Start and a copy of Ableton Live Lite for DAW recording.

In brief, you have everything needed to start recording and mixing right away without buying additional plugins though some of these offers require online activation. Many competitors at this price point only include a light DAW, so the SSL Production Pack is a notable bonus, thanks to which, beginners can jump into writing and mixing right away. Aside from that, you also gain a multitude of useful effects and the legendary SSL compressor/vocal EQ in plugin form.

Connectivity and I/O Flexibility

Both models offer flexible I/O for small studios, let’s see how they compare:

• Mic/Line Inputs: Each channel has a Neutrik combo XLR/TRS jack on the rear. Both channels feature 64 dB gain SSL-designed mic preamps with very low noise (–130.5 dBu EIN). Phantom power (+48 V) is switchable per channel, and each channel has its own HPF button to cut rumble. The XLR inputs double as line inputs, supporting up to +24 dBu. These line inputs offer a huge 117 dB dynamic range so keyboards, synths, and outboard gear feed in at pro level without distortion.
• Instrument Inputs: On the front panel are two ¼″ Hi-Z (instrument) jacks. These auto-sensing DI inputs are modeled after SSL’s desk-top mixers and give guitar/bass plenty of “weight and texture” for recording. Each instrument input has its own dedicated knob. In many interfaces this is a single combo jack, but SSL made them front-facing for easy plug-in when the unit sits on your desk.
• Headphones: Both MKII models include two high-current headphone outputs on the front (labeled A and B). Independent level knobs let two people monitor the mix simultaneously. The headphone amps are powerful and able to drive a wide range of headphones cleanly. Dynamic range on the headphone outputs is exceptionally high (119.5 dB), meaning even sensitive or high-impedance cans can be driven cleanly even at low volume.
• Monitor/Line Outputs: For monitors and line-level connections, the SSL 2 MKII provides a standard stereo pair of balanced TRS outputs on the back. The SSL 2+ MKII expands this to four balanced outputs. In practice, the extra pair can feed a secondary monitor set, a recording device, or external gear (guitar pedals, mixers, etc.). Both units’ main outputs boast 120 dB dynamic range. A large knob on the front panel controls the level of the main outputs (and the first two of the 2+’s extra outputs). The monitor outputs are on Neutrik jacks, matching the inputs.
• MIDI I/O (SSL 2+ MKII only): The 2+ MKII is the only one with MIDI In and Out (5-pin DIN) on the back. This is handy for connecting keyboards, control surfaces or vintage gear. (The base MKII has no MIDI ports.)
• USB Loopback: Both MKII models support a built-in stereo loopback feature. This mixes the computer’s playback (DAW or system audio) with the inputs in the USB stream. In other words, it’s possible to route virtual guest audio, backing tracks, or game sound into a recording or stream without external cabling.
• Other: The interfaces are bus-powered over USB-C (no power brick), and class-compliant on Mac and Windows. A USB-C cable is included (and even a USB-A adapter). Both work plug-and-play without needing external power, making them well-suited for mobile recording.

What Makes the 2+ Version Worth It?

So, why spend the extra over the standard model?

• Second headphone out — Not just convenient, essential for real collaboration
• MIDI I/O — Opens doors for hybrid workflows with hardware gear
• More outputs — Balanced monitor outs and unbalanced RCA outputs make it more versatile for connecting DJ setups, extra speakers, or external recorders
• More control — Ergonomically better layout with extra routing options built in

These aren’t just throwaway extras. They’re workflow unlocks—especially if you’re working with someone else, doing content creation with multiple outputs, or just want to route audio creatively. If you’re only ever plugging in one mic at a time and monitoring on headphones, sure, the standard model does the job. But if you’re even thinking about expanding, the 2+ gives you room to grow. And the best part? – It keeps the same compact footprint with no added bulk on your desktop.

Summary

The SSL 2 MKII and 2+ MKII deliver a miniature Solid State Logic console experience for desktop studios.

They offer pro-grade sound – transparent, low-noise preamps and high-res converters – in a simple, rugged package. Key features like dual headphone outputs, a mix knob, and the 4K switch make everyday tasks from tracking guitar to streaming interviews very convenient. The SSL2+ MKII’s extra outputs and MIDI I/O add flexibility for more complex setups, while the base SSL2 MKII covers essential needs. To sum it up, these interfaces just work and inspire confidence: monitor mixes are clear, recordings come out clean, and the overall workflow is smooth.

Pros: High-end SSL preamps (64 dB gain, –130 dBu EIN) and new 32-bit/192 kHz converters ensure top-notch sound. Robust build with Alps/Neutrik components. Two headphone outputs with strong amps. Handy features (HPF switches, Mix knob, stereo/mono). Lots of bundled plugins and DAW software. Finally aestetics and buld quality. It’s the kind of design that naturally puts you in a creative, working mindset.

Considerations: The unit is bus-powered only (no DC jack), so use on the go. Some may wish for a metal chassis (the plastic sides are very solid, though). The 4K mode is subtle and may or may not be needed. Overall, however, the SSL 2/2+ MKII cover all bases reliably and live up to their pro-audio heritage.

Bottom Line: SSL’s SSL 2 MKII and SSL 2+ MKII are well-built, all-SSL-sound audio interfaces that capture every detail and work as expected. They give home producers and content creators essentially the core of an SSL console – great pres, flexible routing, solid build – in a compact package. This makes them ideal for podcasting, music production or streaming where reliable, top-quality sound is needed with no fuss.

Best Price on Solid State Logic SSL 2 MKII

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Best Price on Solid State Logic SSL 2+ MKII

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Design, build, unboxing impressions

From first impressions, the PD200X looks like a miniature studio accessory with a distinct ‘gaming’ style, which is in line with current trends. A solid all-metal cylinder with a clean matte finish and a subtle RGB LED ring near the top make for a quality, sturdy build. It has a premium feel despite clearly being a budget device. The box includes the mic, a somewhat light shock-mount, a long USB‑C to USB‑A/C cable, and a screw adapter for mounting on various arms or stands​. The included shock-mount is actually plastic​, so it’s not as solid as the mic itself — BUT it’s still functional and provides a good deal of the vital shock absorption that the older PD400X model lacked. This mic comes in classic black or a crisp white variant​, but either design looks modern and will probably look great on any desk considering the customizable LEDs.

Maono PD200X includes a few handy controls on its body: a one-click mute button (with LED indicator), and a 2‑in‑1 knob that toggles between microphone gain (green light) and headphone volume (blue light)​. Please be mindful and memorize which color is which, or you might end up muting yourself by mistake! A hidden 3.5 mm headphone jack at the base means you can plug in headphones for real-time zero-latency monitoring​. All in all, the PD200X unboxing feels juicy, and almost like a professional setup, kek. However, you’ll need to provide your own XLR cable if you want the analog output for your audio interface because it’s not included.​

Audio quality and performance

The PD200X sound is tuned just about right specifically for voice work. It leans towards a slightly warmer bottom and a clear top, making it especially effective for speech-focused content like streaming, voiceovers, or podcasts. Its dynamic capsule captures vocal detail while naturally rejecting room noise—ideal for untreated spaces where ambient sounds can become a problem. Now, with the addition of its cradle shock mount and its decent pop filter, you won’t have to worry about keyboard taps or fan hum bleeding into your recording—this mic has all the mechanisms to keep things tight and controlled.

The overall sound is clear, with a gentle low-mid lift that keeps vocals from sounding too thin. Thanks to the dynamic capsule, it doesn’t sound ‘chirpy’ or brittle; fairly crispy and no mid- scoop like on some cheaper mics, so what you get is a grounded vocal presence—easy to shape with EQ or just leave as it is. There’s a good balance already out of the box.

Plosives are handled well with the included foam, and louder passages stay smooth rather than spiking or clipping—thanks to the mic’s natural ability to absorb level shifts without introducing those awkward distortion effects. Like most dynamic mics, it works best up close—typically within around 5–8 cm, or closer if you want extra intimacy. Pulling too far away takes some body out of the voice, so keep in mind your distance and adjust based on your mood and energy, not just ‘raw’ volume.

When placed right, the PD200X gives you a solid, broadcast-style vocal that stays clear and composed—without relying on any DSP tricks or artificial sheen. In USB mode, the mic is plug-and-play with no setup required. Gain can be pushed fairly high—often around 80–100%—without introducing hiss, thanks to a quiet onboard preamp. On XLR, performance remains equally clean, though some interfaces may need near-maximum gain to reach optimal levels. That’s expected for a dynamic mic and not a flaw in the unit.

The overall tone doesn’t aim to feel larger than life or impress with an exaggerated sparkle—it just keeps things simple, clean, and natural, while also offering some resilience to slight changes in axis or distance. So you don’t have to worry much about mic technique just to stay consistent. There’s some warmth in the character, yet it keeps a natural tone in the midrange—crucial for keeping your voice consistent. Overall, I find it easy to work with, and it’s been working reliably so far.

Features, usability, software & applications

The PD200X packs a lot of handy features for the money. On the mic body you get intuitive controls: the big knob is the standout – press it to toggle between adjusting mic gain and headphone output​, and the LED color (green vs. blue) shows you which mode you’re in. There’s also a one-touch mute button with a little LED on top, and as mentioned a headphone output at the base for direct monitoring. Everything is “plug-and-play” friendly – you just connect it to your computer via USB‑C and it works immediately, no driver install required​. This makes setup a breeze on Windows or Mac (and reportedly it can even work with some Android devices out of the box, though more testing is needed​).

The Maono Link software is a really nice bonus—free for PC and Mac, and it unlocks advanced controls in USB mode. With this you can tweak the EQ (there are presets for flat, high-pass filter, presence boost, etc.) and even add a digital limiter or compressor​. In short, you can tune the PD200X’s tone and dynamics virtually, without extra hardware. The mic’s RGB ring is also software‑controllable: you get 9 color options to light up the body​ (press a small button on the bottom to cycle them, or switch the LED off entirely). It’s mostly cosmetic, but it does let you match your PC/gaming rig lighting or just add some pizzazz to your desk.

In everyday use, the PD200X proves highly versatile. It’s perfect for podcasting, live-streaming, voiceovers, video calls, YouTube—basically any scenario where clear spoken audio is key. It’s also great for casual gamers or content creators who want professional sound on a budget. The 3.5 mm monitoring jack is handy, and the plug-and-play USB mode works seamlessly with PCs and laptops. You can also use it with iPads or phones via USB‑C adapters. And for those with pro gear, the XLR output connects to studio mixers, audio interfaces, and whatever else you’ve got.

Conclusion

Overall, the Maono PD200X punches well above its weight for podcasting, streaming, and general voice work. It’s especially compelling if you need both USB and XLR in one package and don’t want to break the bank. It’s also a great choice if you’re after that dynamic ‘broadcaster feel’ on a budget, or just tired of condensers that can sound too hot or overly sibilant sometimes. Its strengths—sound clarity, solid build, and ease of use—make it a smart pick in the sub‑$100 mic class. Great value for money, and the quality is about as good as it gets in this range!

- Reviewed at $69.99

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Design and Build

All in all the Lark Max feels like it’s built to last – a very solid kit, unlike most of those flimsier, budget lav mics around there. Each transmitter is a small, rectangular clip-on unit with a metal clip on the back and a stylish woven mesh windscreen. The mics are easy to handle and fairly rugged – the metal mic guard is stronger than the delicate capsules on some rivals even when the same price range is considered. Although it still does use plastic in its design, because obviously you don’t to wear a cement brick on your collar – yet it looks well made and of high quality, so no issues here. The charging case is surprisingly sturdy: it’s like a large AirPods case with new features, and of course it charges the transmitter batteries. And there is an interior pocket for all the cables and a second set of windscreens.

In terms of layout, the receiver is a bit larger than tiny keychain-style units. It has a belt/strap clip and is roughly the size of a camera hot‑shoe (so it can mount on a camera)​. This larger size lets Hollyland pack in an LCD screen, a push/pull dial, a Back button, and a 3.5 mm headphone jack. One minor gripe is that the hot-shoe mount on the receiver only works facing backwards, so on some cameras you may need a 90° adapter. Each transmitter has its own single control button and LEDs, and I found them easy to attach to clothing with the metal clip or included magnetic clips. Overall, the package feels thoughtful and road worthy: the magnets on the transmitters remind those of higher-end gear and I mean the pro lavs, and I also like the dead‑cat windshields that fit just right onto the capsules.

Audio Quality

The Lark Max’s headline feature is definitely its sound. In our tests it delivered warm, clear voice capture with very low noise. Once again, it’s not an exaggeration to say that it’s comparable to higher end lav systems, potentially beating more expensive mics when it comes to audio quality too. Because we’ve already previously reviewed their ‘budget’ model and it left us pleasantly surprised, but this? – This is an even bigger step up! Speech comes through natural and crisp, with no obvious distortion even at higher volumes. I didn’t notice any electronic hiss or tonal colorations. Outdoors, the built-in Environmental noise cancellation does an impressive job: background hums and winds are pulled down significantly so your voice stays more dominant. Even something atrocious like a clunky truck passing by or construction noise in the background in actuality has had quite little impact.

When comparing to a camera’s onboard mics, the difference is night-and-day: even at moderate distances the Lark’s 24-bit/48 kHz recording is consistently clear​. Inside a quiet room or studio, it holds up just as well – the frequency response is broad (Hollyland quotes 70 dB SNR and 128 dB SPL handling), so it picks up subtle nuances without clipping. If anything, voice recordings feel slightly fuller than some competitors. And once again another surprise is that even on noisy city streets or busy events, the mic remains intelligible. We also borrowed it to one of our colleagues who noted when shooting downtown with obstacles, the Lark Max “was able to transmit audio clearly” even without a perfectly clear line of sight. So yeah, overall we find the audio performance to be the Lark Max’s strongest suit – consistent with what others would call solid or even impressively clear​.

Wireless Range and Connectivity

On paper the Lark Max promises a very long range: Hollyland advertises up to 250 m (820 ft) line-of-sight​. In practice you’ll rarely need that much. We tested it up to ~200 ft (outdoors, open area) and didn’t drop the link. I also did a quick research to see how consistent our findings with what other users reports and some user on Amazon even described a live 800+ ft range through walls in a glass building​ – though that was a very favorable case with nothing between transmitter and receiver. Indoors or with obstructions, performance is still very good: DIY Photography measured about 60 m (200 ft) reliable LOS.

The Lark Max uses a 2.4 GHz FHSS (frequency-hopping) wireless link – essentially its own Wi‑Fi channel – rather than Bluetooth or DECT. In congested RF environments this seems robust: Hollyland’s tests showed it handled lots of other 2.4 GHz devices with no major dropouts​. In my trials around Wi-Fi routers and cellphones, I didn’t notice any pops or static unless the transmitters went completely out of sight. That said, unlike some pro UHF systems or military-style links, it can potentially struggle if overwhelmed by 2.4GHz noise. The system does include automatic frequency-hopping to try to avoid conflict, and in practice the solid build seems to handle normal use just fine.

By design the Lark Max offers no Bluetooth output – it won’t act as a Bluetooth headset. All connections to cameras or phones are done via wired cables or adapters. It comes with a suite of cables (TRS for DSLR, Lightning and USB-C for phones, USB-C to computer) so it can plug directly into most devices. On the camera end, the receiver has a 3.5 mm mono output (any mic input or TRRS adapter works). There’s also a convenient headphone jack on the receiver for live monitoring. In short, the connectivity is flexible: you can send the mic audio into a camera, phone, computer, or record internally on the device itself. Just don’t expect any wireless smartphone pairings – you must plug a cable into your device or use the internal recorder for capture.

Controls and Usability

The Lark Max is straightforward to use once you learn the menu. The receiver has a color OLED screen and a dial (plus a touch-sensitive wheel) for navigation. On power-up it auto-pairs with both mics (especially once you open the case lid)​. The main display shows battery levels, volume/gain levels for each mic, active modes (Mono/Stereo/Noise Cancelling) and signal strength. You can tap or turn the dial to change gain on each channel, mute, or activate the ENC noise filter right from the receiver without any app.

Each transmitter also has one multifunction button and lights. You can turn them on/off, mute them, or even start/stop their internal recording directly from the mics themselves​. This is handy for solo shooters, since each talent can control their mic. The menus for mode selection (Mono vs. Stereo vs. Safety Channel mode) are logical. In Stereo mode each mic goes to its own channel (useful for two-talkers). In Safety mode the second channel records the same audio at a lower gain as a backup (useful if someone suddenly shouts). These modes are a nice touch – and yes, it’s the first time we’ve seen gain control on a safety track​. In practice I left it in Stereo mode, but it’s nice to know the backup is there.

Setup is mostly plug‑and‑go. You power up, clip on or pin on the transmitters, and plug the receiver into your camera/phone. The receivers/transmitters remember each other’s sync once paired. If anything is confusing at first, the clear on-screen display and logical options make it easy to figure out. I especially liked that the included charging case automatically pairs the devices as soon as you open it, so you’re ready to go by the time you hand the mics to your presenters​.

Battery Life and Charging

Battery performance on the Lark Max is very solid. Each transmitter’s internal Li-ion battery lasts about 7.5 hours per charge​, and the receiver is rated around 9 hours. In my own shooting, a single day’s worth of use (8+ hours) was easily covered. The charging case is the real multiplier: it holds enough power to recharge both transmitters twice and the receiver once, meaning on the road you essentially have 3 full days of runtime in one pack. It takes roughly 2 hours to fully charge the set in the case.

As a result, we can say that the battery life also makes a very strong point, with 22-hour battery life (counting the case top-ups), it is a pro to be highlighted. To give context, Hollyland’s own blog compares it to DJI’s system: Lark Max’s 7.5h TX per charge beats DJI Mic’s 5.5h, and with the case yields about 15 hours of continuous TX power. Practically speaking, I could shoot all morning on one charge, pop the units back into the case at lunch, and head out again for afternoon interviews. The case is light and has clear LED indicators so you always know when everything is topped off. And btw, if you use the auto-record safety feature, you can even have the mics start recording on boot, so you never miss a take​.

Internal Recording & Safety Features

A unique aspect of the Lark Max is its built-in recording capability. Each transmitter can record locally to its 8GB flash as a backup​. If the wireless link were to drop, you still have your audio on the mic. Transferring those files is easy – just plug the mic into a computer via USB and it appears like a flash drive​. In my tests I recorded to the camera and to the mics simultaneously (the auto-record mode can do this), giving me two identical WAV files to match in post. For professional use especially this safety net is extremely valuable: I bet many would call it a “life saver” to have two copies of audio.

The receiver also offers a dedicated “Safety Channel” mode: this records the same mic signal at a lower gain on channel 2, so if channel 1 clips on a loud outburst, channel 2 can still have a clean take​. This was a first for me on such a small kit and is a clever professional feature. Overall these safety features (dual-track recording and internal backups) give great peace of mind. And it’s not just marketing – in recording some of our samples it has shown how even with a loud noise or partial dropouts, the Lark Max still preserved usable audio on the alternate track.

Practical Use and Performance

In real-world shooting, the Lark Max proved flexible and reliable. Clipping on the tiny mics is simple (the 32 g transmitters are hardly noticed by the wearer) and the magnetic mounts are convenient for shirt, collar or lapel. Switching between on-camera use and phone is just swapping cables; I plugged it into my DSLR for an interview and it worked flawlessly. Out in a busy street, noise cancelling mode made voices pop out of the ambient noise, then tried it in a busy cafe and once again it left me surprised in a good way, so for those who wonder, it’s not just mechanical or machinery noise that it is able to cancel out.

During an event Lark Max’s receivers quickly auto-paired when I opened the case lid – and by the time people had cameras on, the system was synced and ready. The OLED display lets you confirm levels on the fly and I found it handy. Monitoring via headphones was straightforward as well; I could adjust a transmitter’s gain from the receiver while watching input meters. In a wedding shoot, for example, I clipped one mic to the groom, one to the videographer, and got very clean audio on both​. For podcasters or livestreamers, it even works as a ‘USB mic’: if your Zoom calls sound like crap, you’ll find this really impressive as your voice turns crisper and sharper​. Finally, the included carry case is tight and protective, so I could toss it in a camera bag without worrying, integrating it very easy into my typical setups.

Conclusion

After using the Lark Max extensively, I can say it lives up to the buzz. It delivers studio-like audio with very few compromises, at a budget-friendly price. Setup is plug-and-play and the extra safety features like internal recording, safety channel and noise cancel are real-world game‑changers that you usually see implemented this well only in more expensive gear. Leaving us impressed, The Hollyland Lark Max earns its high ratings, and for an average user this is going to translate to no less than simply exceeding expectations​. In short, it’s a standout wireless lavalier system for filmmakers, vloggers, and podcasters alike. Highly recommended for anyone needing reliable two-person audio on a budget!

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Lark M1 features

• Small footprint
  Lark M1 is so small and compact – it’s almost unreal. The nowadays popular Rode Wireless GO looks simply atrocious and bulky in comparison, and provides no real benefit unless paired with an expensive after-market lavalier. Yes, Lark M1 transmitters also weighs almost nothing… you may forget you’re wearing one.
• Rechargeable case
  It comes with a charging case so that your reciever and trasmitters are being charged when not in use. There is a 4-bar LED on the case that shows it’s battery level. Inside the case there are 3 more LEDs for the status of each device. Also, it is barely the size of a computer mouse so it’s very convinient. Aside from the case, each device has its own USB-C port and can be charged separately.
• Furry windshields
  A small but nice addition, the mics have custom windshields that can be snapped on for recording outside, helping to negate the wind noise. They have rubber bands underneath and fit tightly onto the mics.
• Noise reduction
  Clicking the yellow button on a transmitter activates the noise reduction mode while the LED status changes to green. Switching to this mode on one transmitter also broadcasts to another transmitter. It’s quite useful for noisy environment outside as well as indoor HVAC noise such as air-conditioning. Both modes with or without noise reduction are actually clean and are capable of producing a high quality audio regardless.
• Volume control
  There are basically 3 discrete output levels: -0 dB, -6 dB and -12 dB. Simply clicking +/- buttons on the receiver does the adjustment. I personally used it with my computer realtek line-in, input levels adjusted to 100% in sound settings and -0 dB on the device. This gives me a pretty good gain and I’ve never experienced clipping so far.
• Mobile connectivity
  Aside from connecting to cameras and computers via 3.5mm TRS to TRS cord, you can also connect to cellphones using the included TRS to TRRS cord. Lark M1 also comes with two additional cables: TRS to USB-C and TRS to Lightning. Having an Android phone I found the TRS to USB-C is the most convinient method, that allows me to use the remaining 3.5mm output for headphone monitoring.

Sound and quality

The sound quality of Hollyland Lark M1 is very good for a budget wireless lavalier mic. It does lack definition and clarity compared to professional standalone lavaliers, but the audio it produces is just as clean and the self-noise is minimal. For miniature and especially budget mics it’s one of the most important factors that makes all the difference between sounding professional and amatuer, because if the mic is noisy it is not easy to clean up the recording. Lark M1 is not particularly bright, nor does it have a lot of low end, which is why I like applying some EQ. It sounds fine for recording conversations out of the box though and it isn’t overly sensitive or ‘hot’, so it works fine in less than ideal or noisy environments.

Since you get two mics – they can be used in stereo mode, so I decided to make an experiment and record some music from my speakers for testing. Above are the results after tweaking the EQ curve. It actually did quite well, although I shouldn’t recommend it for music or other applications that require a lot of detail and accuracy. It is just to show that it works and it’s not bad, especially for a wireless mic. Now when it comes to price, and considering all the features it provides I would rate its performance as excellent. Hollyland Lark M1 is a tough competitor that comes on top in terms of price, quality and footprint. The only drawback being the transmission distance, which is not as good as some of the previously reviewed mics.

- Reviewed at $129.00

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Features & specs overview

Maonocaster E2 audio interface features the following effects:

• Sound bank: allows recording and playback of sound samples.
• Reverb: applies real-time reverberation effect with different presets and customization options.
• EQ: basic 3 band equalizer, which can be used for applying low-cut and presence boost for your mic.
• Auto-tune: adds synthetic tones to your voice from a selected note scale, it is not very stable but could still be useful.
• Pitch shift: another toy feature that will make you sound like an alien or a chipmunk.
• Denoise: a useful feature for reducing background noise, but ineffective when it comes to the preamp’s self-noise.
• Levels: a visual display of the sound levels, poorly implemented and does not relay any useful information.

Additional features and specifications that sums it all up:

• Battery: has a built in battery and does not draw power from the USB device it is connected to, can also output via 3.5 mm. Requires another cord for charging and powering up.
• Input/output: plenty of input and output options, 2x 3.5mm headphone jacks, 2x 3.5mm live output and 1x 3.5mm speaker output. 1x XLR / Line input, 1x additional 1/4 inch instrument input, 1x 3.5mm aux-in, 1x 3.5mm mic input and a Bluetooth input. The inputs are mixed together and cannot be separated during recording.
• Gain: the device can supply phantom power for condenser mics. It has a 3-stage gain, allowing for up to 60 dB amplification, sufficient for any known mic. However, the gain is not the cleanest; when you are not speaking, you can hear the preamp noise that adds quite a bit of hiss.

My experience with features

I have given a general and concise overview of the Maonocaster E2 in the inroduction, and further iterated over the facts about features and specs in the second paragraph, so by now you should have a pretty good idea about the product. In this section, I will share my final remarks and subjective experience of using it, once again by iterating and expanding on the above mentioned features:

The sound bank has a space for 3 longer tracks that can be looped and 8 shorter tracks. It’s nice to have some good samples ready to throw in for entertainment. However, the implementation is not ideal. It takes practice to record a well-timed sample. I have to hold the button for one second with one hand, and simultaneously use my other hand to click playback on my computer. It may take several tries especially if it’s in the middle of a video. You can’t edit or crop it once it’s recorded; though you can still control the playback volume. All in all, this isn’t something I would want to be doing on a daily basis, but if you aren’t planning to shuffle your samples too often – then it’s totally fine.

I personally like the reverb effects on E2, I always found the reverb filters in my DAW a bit too complicated. With Maonocaster I don’t have such problem, it’s very easy to apply and at the same time it offers a good degree of customization, including different presets, depth and decay time. If you are recording a YouTube video, or something else using DAW you definitely do not need the reverb; nevertheless, I believe it’s a nice and interesting effect to throw in occasionally while streaming.

The Equalizer may seem underwhelming at first and it’s true that it doesn’t offer a lot of flexibility. If you hold the mic upside down, don’t expect you could fix that too with EQ. The band separation is rather wide and isn’t too aggressive. However, it’s just not meant for mixing the musical compositions. In my opinion it serves a specific purpose, which is adjusting the mic’s presence and applying a low cut… it does that just fine and with a good degree of customization, compared to an on-off switch – so for me it’s a win.

The Auto-Tune is more of a toy feature, it is not very stable and I found it fluctuating a lot on a low timbre voice. It seems to work much better with a higher pitch. I would occasionally use it just for fun, and find it satisfying when getting the notes right. It’s still far from perfect but at least Maono have put a lot of thought into the note scales, allowing you to choose from any major and minor scale. I can also see it being used for instrument tuning and warming up for singers but do not expect too much from it.

The Pitch shift is another entertainment feature that never gets old, it’s fun and can dramatically change your voice. There are about 10 different pitches you can dial with the knob, it’s not linear but applied in steps. Not meant to be used for music or singing… Still a win, because I love the chipmunks voice, and the low pitch darth vader too.

The Denoise feature works great for things like ceiling fan, air-conditioning and other background noise. However, you can’t adjust the threshold, which is a minus. When the noise is just about on the threshold of activation it may trigger on and off repeatedly, which I personally find annoying. Still, while reducing some external noise, the preamp of E2 may introduce the noise itself when high gain is applied. I only use this feature when necessary.

The levels display is a fail. Although there are many segments, the way it is implemented is just bad. It does not convey any useful information. The scale appears to be linear as opposed to logarithmic and only targets roughly the last 30 dB, so you won’t even know that something is connected unless it captures a strong signal. Moreover, the red LED triggers every time when you are close to 0 dB, but it does not indicate clipping. There is no way to tell if the signal is just loud or if it’s actually clipping.

Remarks on preamp

As mentioned earlier, Maonocaster E2 provides plenty of gain. This is great so you can plug in any type of mic, including the SM7B and expect it to work. However, the preamp is just not the cleanest. It is not meant for professional audio. I found it to introduce quite a bit of hiss, whereas my SSL2+ was completely quiet with matching levels of gain. A solid audio equipment should always be wrapped in a thick layer of metal to shield from EMI on audio frequencies. E2 on the other hand is just plastic and feels very light, which could be one of the reasons too. Even when connecting Maono PD400X (a hybrid USB/XLR microphone from the same manufacturer), I found the mic sounds cleaner when plugged directly into computer via its own USB interface, compared to when connected via XLR cable to Maonocaster.

Thus, if you want a clean audio rather than abundance of features look elsewhere, and ideally at a higher price range. However, if your focus is streaming on Twitch or doing Zoom calls, and you’re looking to spice the things up with a number of realtime sound effects, we can definitely recommend Maonocaster E2. For these applications the drawback in audio quality is negligible, and yet nothing offers as many features for such an affordable price. Though if you are really worried about the noise floor with your setup, there is a solution for you to consider. It’s called the Cloudlifter, a portable, ultra-clean audio preamp made in USA specifically for this purpose.

- Reviewed at $120.99

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Sound & quality

Maono PD400X as a broadcast [or rather podcast] mic delivers a quality low end and bestows you with what I call a “broadcaster effect”. It does sound rich without being artificial or puffy – this is the type of voice you will often hear on radio or TV. Although it does have a bit of proximity effect too unlike for instance a more advanced Electro Voice RE20, the frequency at which it occurs is well beyond the normal vocal range so it does not color the vocals. It is the same principle as with LDC (condenser mics) that makes them so popular. In terms of comparison, it’s probably not the richest – Rode Procaster will easily sound deeper.

Maono PD400X doesn’t have any hype, it is as natural as it gets and unlike the former it doesn’t need any additional EQ, making it easier to stream or podcast from get go. Maono also offers basic EQ presets for low cut and high boost. Low cut helps reducing proximity, popping, mechanical noise and HVAC. The high boost’s main purpose is to give it even more air in order to compensate for when you are using a foam that comes with the mic. Speaking of which, the foam is somewhat bulky, it makes the mic look way bigger (in comparison to SM7B) so I wouldn’t use it by default, but it certainly does what it’s supposed to do. Still highly optional; I can easily breathe into the mic with no foam on, without any consequences, whereas my condensers would clip.

What I like about PD400X is its high sensitivity and relatively high gain, which usually isn’t the case with dynamic mics. You don’t have to be on top of it – at 5 inch distance you would still have a decent gain for your streams. The crispness of the high end paired with its high sensitivity makes it comparable to condensers but without the inherent disadvantages. I like that extra bit of brightness there, it beats the industry standard SM7B on transients and offers more clarity too, which is amazing for its price. However, while SM7B may lack a bit of punch (and by the way also require a lot of external gain), it still remains my preferred though for different reasons.

Application

Maono PD400X is quite susceptible to mechanical noise, so in order to get the best out of your purchase you must ensure your application does not involve banging it directly as well as the things around you. If you are frequently moving around or having lots of desktop activity, such as typing, the audience will hear those thuds, bumps and keyboard strokes. It can get annoying for some – for others absolutely not crucial. If you are streaming it will largely depend on your audience. On the other hand, for podcasts where you can sit quietly and just talk, this mic can do wonders. Voiceovers is another good application that comes to mind. Simply using a boom arm will provide some noise mitigation, but there is no way to eliminate it completely.

USB interface, Maono app and features

For those who wonder about the built in USB interface, it’s actually quite good. The USB bus and RF noises are minimal. It has slightly more white noise, somewhere around 3 dB higher than a top quality dedicated USB interface that I used for testing, but that’s really nothing. This is still much better than most of the USB mics out there. Also you get an access to EQ presets, such as low cut and high boost. You can control the gain, headset volume and “in the mix” while using the direct monitor. This mic has a handy touch mute feature too that changes LED to red while on mute. In Maono app, aside from the above you can also configure a limiter and compressor. It’s useful when you occasionally scream, sneeze or burst in laughter.

Conclusion

Maono PD400X is an excellent value for money broadcast microphone. It does everything you would expect from an XLR mic, except there is also a USB interface with all its corresponding features. Dynamic cardioid capsule in this type of mic provides good side rejection with little proximity up close, it is also more forgiving than condensers. The digital interface provides high gain and EQ presets, and that’s all you need to start streaming. It brings the best of two worlds, getting kudos for innovation …and did I mention the price? Overall, the mic is perfectly suited for podcasting. It can handle any voice with clarity and the audio quality is ideal for the purpose. However it is susceptible to mechanical noise. Those who like to rumble are probably better off with mics that can use shock mounts.

- Reviewed at $149.99

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Sound and quality

The overall audio quality you’ll get from this setup will for the largest part depend on the quality of the mics you are using. It does not depend much on the transmitter in this case, since the noise produced by the system itself is much lower than that of any lavalier mic. Therefore the strategy for improving quality comes down to upgrading your mics. Importantly, Rode does give you this option. You can experiment and easily replace your external mic or fall back to built-in. The other two things of interest with Rode Wireless GO II would be – the stability of transmission and susceptibility to radio interference.

Built-in / mic options

Since personally having many options to works with, some of which are quite expensive, I didn’t expect much from the built-in. Also being a mic reviewer I’m usually a bit sceptic whenever the price seems too attractive like in this case with Rode Wireles GO II. However, I was pleasantly surprised as it produced very little noise on it’s own. Sure enough, the built-in here isn’t better than any $50 mic: despite the claimed smooth frequency response you can hear some colour and other imperfections. Yet, because of low self-noise you can easily make quality YouTube videos using it. Let’s hear some samples (keep in mind mpeg compression has been used):

I believe it’s pretty decent for starters. Once again, there may be a some sibilance, a little distortion and a lack in transparent, extended response but it can get the job done. What’s awkward however is the placement. Even though the transmitter is quite small, it still stands out and weighs your shirt down. Therefore it is much better to just buy some cheap $50 plug-in mic even if that doesn’t provide any improvement in sound quality. If you want to improve the sound though, aiming for professional audio, just get yourself a quality lavalier. For instance you could use Sennheiser MKE 2, available on Amazon – it has a compatible connector.

Wireless signal & interference

The claimed range for this system is actually a whooping 200 meters, although in reality this would need a perfect weather, open space and direct line of sight. So what happens is, other wireless devices as well as different circumstances may affect the range. Having concrete walls between the receiver and transmitter is what usually greatly inhibits the range. But thinking of it, it’s not like you could possibly film someone behind a concrete anyway. Still, the distance is impressive and the signal propagates much further than any wi-fi router.

Having some range allowance is also beneficial as it converts to signal stability and reduces the probability of dropout. I have not personally tested the maximum range, but the reviewer in the video claims that both Wireless GO and GO II proximately worked up to same range of around 150 meters, while the range of latter was only slightly superior. As for EMI, I haven’t experienced any, even after boosting the audio and specifically checking for it. It is important however to make sure you are using the right cable.

If an external mic has a modular cable, then using a wrong one, e.g. TRRS-TRS instead of TRS-TRS or even TRRS-TRRS or vice-versa… or plugging the wrong end could inevitably lead to RF interference simply because different cables wire the ground (or shielding) differently.

Wireless GO vs Wireless GO II

As mentioned, both have the same audio quality. The only difference is in added features and functionality. If you don’t need that functionality then you could as well just buy the first generation, provided you can buy them cheaper. I will leave that up to you to decide, but personally I would choose GO II simply because of the on-board recorder.

GO II can record up to 40 hours of 24-bit audio. Which means you don’t need a Zoom recorder anymore, besides it is much more compact than previously popular Zoom recorders. The idea of using a recorder is that you get a better quality audio than when plugging into a phone or camera. The drawback is having to sync audio later, but the improvement is worthwhile especially for cellphones.

Wireless GO II features:

• Wireless GO II has a connectivity to a Rode Central app where you can access features and settings. In contrast, Wireless GO does not have this functionality.
• It has an on-board recorder, storing up to 40 hours of audio.
• The availability of Safety channel or stereo mode.
• Safety channel outputs -20 dB padded audio in a secondary channel, which you can fall back to in case of clipping.
• The stereo mode allows recording from two channels or transmitters simultaneously.
• Wireless GO II claims improved transmission stability and range.
• It has a flexibility of gain control, which can be tuned by small increments.

* If you’ve looked at the pictures of GO II, you will usually see two (2) transmitters:
Makes perfect sense… however, if you don’t need two transmitters for some reason – there is another option to buy Rode GO II with a single transmitter, which is also available on amazon. Just do some search and maybe you would be able to save money.

Overall design

By glancing at the pictures, it is easy to miss just how small and compact the whole system is. Go ahead and measure it – it’s just a size of a matchbox! Needless to say, its footprint is miniscule, in fact it is the smallest professional wireless transmitter and receiver pair that I know of. Rode Wireless GO II also scores high in terms of durability, the only moving parts there are the hinges and they are well protected. Other than that, it is comparable to a cellphone. It has a very responsive, color display that shows when you might be clipping or about to clip. The screen is glued to the body in a similar manner, which prevents water getting through. Not waterproof but water-resistant for sure.

Same applies to internal batteries. It supports quick charging just like your cellphone, and I guess the life-expectancy of a battery should be similar too. What I mean by that, well I can recall my Samsung S8 battery started to deteriorate after 4 years of daily use, which translates to almost 1500 charge-discharge cycles. If you don’t use it daily, it could potentially work for a decade. However, in an unlucky scenario things could still go wrong so that you would need a battery replacement. And there is no easy way of doing that, other than sending the mic back to Rode for battery replacement. This might be the only con so far, otherwise it’s almost perfect.

- Reviewed at $263.24

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WARNING! MAKE SURE YOUR AMAZON SELLER IS AUTHORIZED: https://rode.com/en/support/where-to-buy

Sound & quality

Although the receiver and transmitters do contribute to the sound quality, we are going to focus on the mics while treating the system as one, since the mics inside the receivers are non-replaceable. In terms of frequency response, it lives up to the claim: covering the range from 100Hz to 10Khz it proves more than enough to reproduce a human voice. The EQ is just about right, not too bright nor mellow – provided you attach it on your collar and use it for vocal recording only. Voical Lark will also mix two channels into one when using both mics, which also eliminates the need for post processing, so you can immediately upload your videos.

However, this is a poor choice for those who like more flexibility. There should be an option to output both channels separately as stereo, since it is using a TRRS connector, which has this capability. Only a mentally challenged user could possibly underappreciate such a feature. Any even barely sane sound engineer would consider this a must. Especially, when you pay almost $200 for such a device. And to my surprise there is no option to adjust each mic’s volume individually in the mix. Sure, you could assume the volume to be roughly the same (considering both persons wear it as instructed), but this is a strong assumption.

Of course, it isn’t that bad unless you are frequently miking interviews. For someone who just does occasional blogging it could be just fine. And the second transmitter is always nice to have as a backup, especially if the battery runs out and you have to keep recording. Occasionally, when you want to record two persons, it would still produce much better results than when using a single mic – that’s for sure. It might be worth noting that the monitoring output on the receiver is very beefy. It drove my 16 Ohm Beyerdynamic headphones very easily, to the point where I thought I might blow them up, and it did preserve all the low end too.

These functionality nuances got me a little carried away. What’s more important, when reviewing Pixel Voical Lark, is to understand what kind of mics are being used there. Most definitely those are front address, small lavalier mics inside the transmitters. Also known as lapel mics. While for the most part, they do sound quite fine, in the absence of sound they start producing a lot of self-noise. This is a well-known problem of any mic in this class. While professional mics, for example, Tram, DPA, Sanken, Countryman, etc, still produce audible noise, it is just about tolerable. The consumer lavaliers are generally horrible in this regard.

In a nutshell, lavs are generally noisy, in a quiet setting they record sounds that do not exist. It first, it may resemble the ambience but if you were to switch to Tram TR50 for instance, all those weird noises would be gone, and only some gentle rustling would remain. If I were to guess the actual quality of the mics used here in regards to noise, I would say they sound like $50 lav mics. Let me reiterate that as follows: you can buy a $50 mic (with a wire) that will sound exactly the same as the $200 system [only without noise reduction]. Sure enough, you can’t fit a pair of Trams in there for this price. But consumers are generally pretty bad at math. Because they’ve spend $200 on the system, they may often expect it to sound like a $200 microphone, oh yes and with the noise that of an LDC.

Therefore, not everyone’s expectations are going to be met here. This isn’t just specific to Pixel Voical Lark, but to any other products in this price range too. Unless you buy a processional lavalier worth around $300, that is, only for the mic – you will find yourself pretty much screwed when it comes to self-noise. The actual self-noise of Voical Lark is unclear, the spec says it’s 79 dbA SNR, but this makes no sense because a professional TR50 is only 68 dbA for instance. In reality, my wild guess it’s at best 58, though no one really knows. Maybe eventually someone will measure it but I don’t have the necessary equipment. The transmitter could also be contributing to the noise spectre.

The good news, it is only crucial in a quiet setting while outside it’s generally not at all an issue. And another good news is that we have the noise reduction mode. Naturally, it does what it does, but at the same time it also reduces the mic’s self-noise. So in the end, a clever post-processing gives us a clean audio without the need of using an expensive, professional lavalier. The downside of noise-reduction is that it smooths out some details that could be of interest. For instance, someone who records ASMR, wants to keep all those chewing ‘noises’ and do not want them reduced. Voical Lark isn’t very sensitive either for the purpose of ASMR recording.

Pixel Lark X sample

Here is the actual recording sample. In the first part you can hear the background noise, which is just mostly the self-noise. There is no HVAC running, only a computer. The second part is the same environment but with the noise-reduction mode on. As you can hear, the difference is tremendous. If I were to make a Vlog or Youtube video at home, I would most definitely use the noise reduction setting. There is a possibility of occasionally jumbling some details but overall it sounds more professional. The recording has been done via SSL2+ in 24 bits lossless format. ’4k’ mode was used, which adds a little brightness, though I think it wasn’t even necessary.

Design & durability

Now that I’ve thoroughly covered the mic, it’s time to mention a few things about the wireless system itself. Although I haven’t used it much, the battery never ran out while testing and the charging box has plenty of charge left. According to the specifications, the battery used in Voical Lark box is ‘Lithium Ion Po’, and it follows the latest charging protocols QC 2.0 and PD 3.0, so expect the same charging speeds as your modern smartphone. The range of the system isn’t particularly great, 20 meters in line of sight is just about mediocre, compared to other wireless systems such as Rode GO II’s 200 meters range. When there is a concrete wall between the receiver and transmitter, you must use the provided antennas or you may lose signal.

Definitely, there are plenty of uses for Pixel Voical Lark that take those factors into account. For instance, you could be filming yourself doing some yoga, a couple meters away from the camera. This is totally fine. Especially if you like the minimal footprint and don’t want to wear a bodypack, just clip on the mic transmitter onto your bikini and you are all set. Hope this is a good enough example. However, a bad idea if you are filming in a large hall, moving far away from the camera and have lots of other wireless devices that could potentially interfere with a rather weak transmitter of Voical Lark. Do not use for what it’s not intended! Also note that you will have no option to upgrade, unlike with bodypacks where you could eventually plug a more expensive lavalier.

In terms of durability, I would say it’s about average. The receiver has an aluminium shell, so it’s not just plastic. Same goes for the charger box, so once you put the components inside there, they are pretty much protected. Nevertheless, I have identified some of the weaker parts, of which you should be mindful. Those are mainly hinges of the clips. For the transmitters they are probably fine, unless you accidentally step on them. For the receiver the hinges are a bit thicker, which is good but the attachment of cold-shoe to the hinge is a horrible design as it puts lateral strain on the hinge. The plastic base doesn’t hold the receiver tight enough for my liking. Should be fine atop of a camera in a horizontal position but attaching to your belt could be risky.

- Reviewed at $199.99

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