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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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

Features

Rode Videomic NTG has been produced after Videomic Pro and Videomic Pro+, which are similar in a sense but do not have the USB functionality. Most of the features have been carried over particularly from our previously reviewed Videomic Pro+. I shall cover them briefly but won’t go into lengthy details because there are plenty of sources that do just that, the mic is being heavily marketed already but every feature adds to the price. Røde even went as far as selling you its exact disadvantages namely, inferior sound quality since computer market is dumb and they’ll buy it anyway, but more on that later.

• This mic has an internal battery that can work for 30 hours straight, but usually a recording never takes that long and thanks to an auto sensing function that powers the mic up only when the camera is on, it should never run out of juice. The battery is not serviceable but should anything go wrong, Rode will replace it for you while under warranty – and considering the problem they’ve run into with Videomic Pro+ batteries, maybe it’s for the better.
• The auto power sensing function works like this – it waits for the camera to power up the mic via 3.5mm jack, and when the current is detected, the mic turns on automatically. Although the feature is priceless, it is not fault-proof. In fact, it doesn’t work with higher-end professional equipment, I believe some Canon and Sony cams are on the list. If it can’t detect the camera, you will have to power it on manually …and if it still gives you only static, you will then have to procure an aftermarket TRS cable, which better be short unless you intend to look ridiculous.
• Rode Videomic NTG has a variable gain function once again, but the gain range has been extended from 0-10 to 0-15 whatever those numbers mean. Then you get a switchable 20 dB pad, a safety channel and a 2-stage frequency roll off. The good thing is – it comes with a guide on how to set up the levels properly and when the pad and safety channel should be used, so I don’t have to bother explaining this, thanks Rode for saving our time.
• The output ports, which you already know are the USB type-C and the 3.5mm trrs. The latter is auto-sensing, meaning it will work with cameras and computers’ TRS mic plugs and cellphones’ TRRS plugs without requiring a splitter. It has a relatively low impedance of 10 Ohms, which should be able to drive most headphones for direct monitoring. The USB-out provides 24-bit depth at 48 kHz sampling rate – this is fine, and type-C can potentially work with smartphones too.

Sound & quality

Now here is the part where I’m not too happy about Videomic NTG. It is obvious if you do some research and comparisons, for example by looking at the specs alone. What’s the buzz about 20 dB pad and safety channel whistles, when the dynamic range of the mic is only 105 dB, whereas Videomic Pro is specced for 120 dB? Here is another thing; the self-noise of the Videomic NTG is 15 dBA, for Videomic Pro it is 14 dBa, sounds like a negligible difference but even Rode admits this mic is noisier and noticeably so, because that’s acoustic noise and the USB transceiver might be occasionally adding a lot more to it.

Another clever quick hack is that the frequency response is specified as ±3 dB. If you are ok with math, it widens the range of acceptable parameters to plus side by 3 dB and minus side by 3 dB, thus making it 6 dB, which is enough to make it a complete mess. Meanwhile the response chart looks like a straight line, which it isn’t, because it has been normalized to look nice in accordance with ±3 dB specification, and the divisors on chart are 10 dB, lol, so the actual response has been effectively hidden. Videomic pro and pro+ show much more accurate curves that perform better in reality, even the pro+ is better despite being much more aggressive and directional.

However, that’s only half of the story because the real caveat is the off-axis response, which this time is demonstrated more clearly. If you overlay the polar pattern of the Videomic Pro and Videomic NTG, you can see that the Videomic Pro has a much more stable off-axis response. Videomic NTG is suffering badly from off-axis coloration; the high frequency sector is non-linear and rolls off rapidly. When used inside interiors this may result in bad comb-filtering effects, otherwise it may still require lots of EQ. When used outside there is another issue – wind noise, which is once again worse than in other DSLR mics of this price. Aside from that, Videomic NTG also has a poorer rejection from behind.

Why is this mic so subpar when it comes to off-axis coloration? Well, here is where marketing hype comes into play. Røde Videomic NTG indeed uses a new tube technology, which implies that the mic should be better, but this is not the case. The new tech, unfortunately, doesn’t mean better-sounding. It is a compromise – you sacrifice the quality for the size. Because the batteries have been moved inside, while keeping about the same length of the mic, Røde has had much less space to work with. They did a great job though at keeping a good degree of side rejection, matching that of Videomic Pro. Side rejection is always crucial for shotguns, but not every mic of this size offers a good rejection.

Durability & conclusion

Regarding the build and durability, the mic is pretty much solid and since everything is detachable, you will find it road worthy as well. There are no hanging battery docks, so it’s also aesthetically pleasant. However, one part you should be particularly careful about is the 3.5mm port. If you take it apart, the port is actually surface mounted, which caught me by surprise. If you are familiar with pc gadgets, the vast majority of failures are due to USB ports detaching from the boards. So, using a surface mounting instead of through hole is the worst possible decision one could make when designing the PCB for this class of gadgets. Rycote lyre is also worth mentioning for this build, the cable management is nice.

Time to wrap up with this review, so should you buy Rode Videomic NTG? Personally, I wouldn’t bother because I don’t need a USB mic. Videomic Pro is still just so much better in terms of quality, so for me Videomic NTG is a step back. You can buy a better shotgun for this money, but not every one will come with USB out, so if you really need this functionality it’s understandable. Comica VM20 has a similar concept, it’s much cheaper but unfortunately lacks in side rejection. Videomic Pro is far better choice if you don’t really need the USB and if you want a premium mic with all the features and maximum side rejection then go get Videomic Pro+ instead.

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

Features

CVM-VM20 has an internal battery, rechargeable via USB. It uses a Type C connector commonly found on modern smartphones, and the charging cable is also included in the package. The battery lasts about 60 hours, which is not necessarily impressive if you are fixated on raw numbers. What’s far more important is that the mic has an actual OLED display that shows you precise battery levels, so you can always get the accurate readings and charge when necessary. With other mics, you don’t know when their batteries run out and the indicators are usually elusive too, not to mention the bulging battery compartments, which may feel a little bit awkward.

This mic has a two-step low cut button, which upon pressing will cycle it from flat to 75 Hz and 150 Hz roll off. It is nice to see a two-step low cut on a budget mic because usually only expensive mics have it. The 75 Hz low cut is crucial if you are talking super close to your mic, it prevents it from popping and overloading if for example you accidentally blow into the tube. I usually have it on by default, unless I need to capture some bass, but then I have to be more careful with handling. 150 Hz option is just as useful if you intend to record in an environment with motor noise, refrigerators, air-conditioners, vehicles, etc. There aren’t many useful sounds at those frequencies anyway.

At the opposite end from the tube, Comica VM20 features a gain knob, which allows boosting the output levels by as much as 20 dB, or 10 times when measured in volts. It is actually similar to Rode Videomic Pro, but unlike latter, VM20’s knob produces a variable gain. I can adjust it from 0-10 and always have the right gain for my needs. The knob feels tight and sturdy – it will never turn by accident, so you don’t have to worry about it. When used with my Galaxy cellphone I actually prefer the gain at around 5-level. Why? Because modern phones have AGC (automatic gain control), and they tend to crank the gain too high automatically during the silent passages, making the noise more audible.

Sound & quality

This mic sounds pretty much neutral and natural; it has a wide frequency range, crispy high end and a balanced low end. You can record videos with your phone, upload it to YouTube and get a very decent quality sound from get go. Compared to previously reviewed DSLR shotguns, this may be the easiest mic to work with. Full metal body also protects the VM20 from EMI, which may not sound like a big thing, considering we are only reviewing a budget mic here anyway? – Wrong, cellphones are one of the main sources of the electromagnetic interference, especially when the mic is literally sitting on your phone. Computers can also produce EMI, due to power saving states, so a shielded mic is always good.

On the other hand, signal to noise ratio isn’t that great, which means the mic will be producing a little bit of white noise on its own. This is what differentiates the budget mics from expensive shotguns. Rode Videomic Pro, for instance has a much better self-noise spec, and depending on your preferences may worth the upgrade, but for a budget mic Comica does pretty well, I mean you definitely get what you pay for. An extra gain may also help negating some noisy camera preamps, so it actually isn’t that bad. Anyway, the only time you can hear some noise is when recording indoors at night, with air conditioning and refrigerator turned off. For outdoors it really doesn’t matter, the ambient noise is much higher so the self-noise is negated.

Another difference from the Rode Videomic pro is the dynamic range, and the maximum SPL is lower. The mic will work fine for blogging outdoors for instance, but may not be able to handle extremely high sound pressure – generally, it will work for music but bringing it to a rock fest might not be the best idea. Finally, the pickup pattern isn’t as tight as the more expensive Rode Videomic pro. Comica VM20 captures a bit more of the surroundings, but it is still a shotgun and it is still directional, so as long as you are filming close enough to your target it will do the job. Well at least at a ‘selfie range’ when filming yourself with your phone while speaking for instance, it will definitely do the job.

Conclusion

Comica CVM-VM20 is a nice value for money, compact and road worthy shotgun, compatible with phones and cameras. It’s easy to work with and it has all the necessary features and accessories to start your production. The build quality of this Chinese mic actually surpasses the Rode. The sound quality is quite all right, it’s just clear and natural, so you do get what you paid for. Compared to expensive mics it may struggle catching up with signal to noise and dynamic range specs, and directionality but in this price range, I wouldn’t have to worry about that. If you want an inexpensive but durable, phone-compatible mic with a decent, natural sound and nice features +free dead cat, then of course look no further.

- Reviewed at $129.00

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Features

• Since not everyone is familiar with the former model, I am going to reiterate about its features and bring to your attention a bunch of small improvements as well in order to make an appropriate general overview. Rode VideoMic Pro+ offers low self-noise of 14 dBA, which helps to reduce the hiss when used in a quiet setting and or not pointed close enough to the subject. Furthermore, it has an active amplifier circuit, which allows boosting the produced electrical signal by as much as 20 dB or x10 if measured in volts. Why is this important? Well, the short answer is because it is a DSLR mic, and when used with camera preamps this can result in a better quality audio.
• (The long answer is, in professional application, the mics are usually connected via a balanced XLR cable. This cable has three pins, one for the ground and two for the signal, which is usually transmitted in a different phase from the ground using a balancing output circuit, so that when you subtract the ground from both ends on the receiver end, it effectively nullifies any potential noise introduced by the EMI. Then again, professional preamps are usually very quiet by themselves and can amplify the signal as much as needed without introducing any additional noise, so the only bottleneck is the acoustical self-noise of the mic itself, measured in dB or dBA… However, professional preamps can get quite expensive and even so, may not necessarily work unless connected via a proper cable, such as XLR to a balanced or low impedance source. Therefore, cameras generally don’t have such luxury and come with cheaper, sub-par preamps that can introduce a significant amount of noise due to active amplification and not rejecting the EMI properly, in addition to the noise generated by the mic itself. Therefore boosting the signal strength of the mic can effectively compensate for the deficiency of the camera preamps, thus further reducing the EMI, static or ground noises that might occur in your recording).
• Rode VideoMic Pro Plus uses a detachable 3.5mm trs-trs cable, which is of course better than the non-detachable cable on the non-Plus version. Not only because you can easily find a replacement but because you can now also plug a longer cable and use it with a boom, just like you would with a full-size shotgun without messing with extensions. Not many would have thought of using a DSLR mic like that but this actually works and effectively so if you want to capture a wider shot of somewhat talking while keeping the audio clean. Interviews could be a good example, or simply if you can’t get close enough you could zoom in a bit and extend your boom forward.
• Videomic Pro+ comes with a Rycote lyre suspension, which has become the new standard recently and provides quite a bit of physical isolation, so that the vibration and motor noises from the camera do not creep into your recordings. It is pretty much the same as the latest version of the non-plus, but the earlier version didn’t have one. The battery on the new Pro Plus is now rechargeable via a USB port. It uses a lithium battery instead of 9V and not only does it last longer (specced up to 100 hours), it can also be replaced with two AA size non-rechargeable batteries in case of emergency. The battery door simplifies the whole process.
• This mic has a two-stage high pass filter, flat, 75 Hz and 150 Hz roll off, which is a very useful feature. Without the low pass, the mic could overload if you accidently blow in it, plus it can filter out low frequency rumble, vibrational and other meaningless noise from your recordings. One interesting feature of this mic is that it automatically powers on when your camera is powered on. It detects most of the cameras but not all of them (so sometimes you may have to power it on manually). All the mic controls are also digital and they remember their state upon power cycling the device. LED strength also adjust depending on the lighting.

Sound & quality

This mic has a clean audio, with very little self-noise of only 14 dBA. This makes it suitable for recording in a quiet setting – not every mic, especially DSLR mic is capable of that. When the recorded signal is low it needs a lot of amplification, so on mics with higher self-noise this could become apparent. At the same time, it has a high dynamic range of 120 dB and specced for 134 dB maximum SPL, so extremely loud sounds aren’t a problem either. This could be useful if you want to record music festivals without degrading your sound for example, but most importantly, it prevents the mic from overloading when used at close range.

Moreover, Videomic Pro+ has a safety audio channel, which records in parallel but at a lower gain, so even if the main audio has been corrupted, you could still replace the bad parts with the safety audio in your editing software. Overall, this mic gives you a great sound quality, not only because of high gain and low noise, as mentioned early but also because of a tight pickup pattern. Rejection of the surroundings noise is just as important and the shotgun mics are suited for this task. However, when it comes to DSLR mics, the amount of rejection from the Videomic Pro Plus is unmatched. The supercardioid pattern it offers is almost as tight as full size short shotguns.

This is very important, and this is actually the biggest difference between the Pro Plus and the regular Pro version. Non-plus version is smaller, shorter and inferior when it comes to rejection. However, the latter has a more neutral, ready for production response. The difference in the pickup pattern is directly responsible for the difference in sound between the two. Videomic Pro+ has lots of clarity and sounds brighter, but the response is also a bit more colored, the upper midrange stands out, so some basic post processing is recommended. However, if I were to choose between the two, I would pick Pro Plus any time, because the additional side rejection is totally worth it.

Alternatives

This is undoubtedly a great mic from Rode: it offers maximum directionality for its relatively compact size, and produces a high quality, high gain sound signal for your camera. However, I do find the price somewhat questionable. The non-plus version was already somewhat pricey, Pro Plus is definitely an improvement but at the time of the review, the price is nearing a $300 mark and this is significant. FYI, for this money you could get a regular shotgun like NTG-2 and a decent on-camera Rycote lyre such as Rode SM3-R – no gimmicks, no battery holder, full metal shielded body, durable, better response and quality control.

Considerations

This is not the first iteration of their camera mics – rode constantly improves their model lineups and adds new useful features, but more features aren’t always better. The build quality is about average. The mic body has plastic parts and the battery placement outside the mic in my opinion is little bit impractical. Regular shotguns have a better feel, although unfortunately, they can’t be just straight plugged into each and every camera. Videomic Pro Plus just doesn’t feel solid enough for its price and with more features and buttons there are always more potential problems. Don’t get me wrong, Rode does offer 10-year warranty on their products, but dealing with customer service can be a hassle too.

The battery deck in particular, has a non-standard pin inside, in the middle, which is used for charging the battery that comes with the mic. You must use caution when taking it in and out or replacing it because if you do it carelessly you may damage it and will not be able to record. Another nuisance is that for the price, Videomic Pro+ doesn’t offer any extra accessories. One would think that a premium mic should have premium accessories with it, but this doesn’t seem to be the case. If you want a dead cat for example, you will have to buy it separately. Well, at least it has an integrated Rycote Lyre mount.

Conclusion

If you need a quality sound for your camera and can afford this mic, by all means buy it. This is probably the best camera mic out there that can be directly plugged via 3.5mm connector. However, it is definitely not cheap, and the build quality just cannot match that of a regular sized XLR shotgun.

- Reviewed at $299.00

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True value

Recently we’ve been reviewing Shure MV5 from the same Motiv Line, and it turned out to be a beautiful USB mic with plenty of technological advancements. However, Shure MVL is just a cheap rebranded consumer lavalier, which isn’t any better than those manufactured 20 years ago. All they did is attached it to a TRRS plug, and now they market it as something new. TRRS is a relatively new standard and the demand for quality smartphone mics is ever increasing. Unfortunately, consumers are unaware of how the quality lavs should sound, so it’s very easy to take them for a ride!

Do you know the real value of this microphone? I’d say $30 bucks tops, because it is debatable whether or not it sounds any better than a cheap ass Azden EX503 /w adaptor. If you want to make a better investment for your time and money, you can buy Giant Squid Audio Lab and a TRRS adaptor. This will give you a far better quality sound for only $60 including the adaptor. If you don’t like the idea of using adaptors, you may also consider Rode smartLav+. It is more expensive ($79 as I’m writing this review) but it’s also worth purchasing though I personally prefer the Giant Squid. Both of them will easily beat Shure MVL.

Sound & quality

Shure MVL has a very crispy response; it sounds a bit bright and it’s great. However, it also brings tons of air along the way and I don’t find it particularly comfortable, especially as it gets digitalized. It tastes artificial, as though there is someone taking a shower behind the scenes when the person starts speaking. Ssssssss…… Aside from that, you will hear a constant static noise unrelated to the input. And it goes like shhhhhhh…… It isn’t that loud so don’t imagine Niagara Falls! Yes, you can live with that and it is still better than using an in-built mic, but for this price, one would expect it to be better.

Having said that, there are also plenty of funky resonances and harshness, which I don’t quite understand. The frequency response is relatively neutral, so the tone is overall balanced but at the same time, it just sounds harsh and distorted. The low end is gently rolled off but it’s quite accurate and it doesn’t sound tiny at all. It may be one of the reasons to like it. But the only reason to buy it would be an ability to work in high sound pressure environment. Most lavs nowadays will clip as you shout or even clap your hands. Yet, Shure MVL can handle much louder sounds than that.

Build and durability

The build is about decent quality, it’s not as bad as it sounds and will probably last a while. The cable is 4 feet long; it is nice and soft. The mic is very easy to set up and secure in place using the included metal clip, which does the job done but I find it somewhat bulky and visible. It just doesn’t look cool when you’re wearing it. Shure MVL has a gilded plug, which provides a good electrical contact with your device. Unlike non-gilded connectors, it’s unlikely to produce those rustling sounds when you are twisting or touching the plug. Finally, there is a detachable windscreen and a carrying pouch included in the package.

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Get to know Azden

The first thing you need to know about Azden EX503 is that unlike most of the low-priced crap out there, it is manufactured in Japan and the company actually specializes on low end shotguns and other mics for video production. They are a relatively new producer and they achieve better results with every new model. However, this lavalier isn’t one of their new models and it’s also the cheapest, so don’t get too excited. Long time ago, when I did not have any experience, I believed that spending $50-100 for a lav is insane. But that changed when I actually listened to them. In a nutshell, you get what you pay for.

Performance & sound

There are good and bad things about this mic but I’ll start with good. EX503 has a more or less neutral response; it doesn’t color your voice much and sounds relatively natural. There is plenty of low end so your voice doesn’t sound tiny like over the walkie-talkie. I know this analogy is a bit strange but a lot of cheaply made lavaliers have this nuance. The highs are also there, but it isn’t particularly bright. Finally, this mic’s sound is overall smooth (except for the upper range maybe). By smooth I mean not harsh, so it won’t be killing your listener’s ears, unless you are screaming or something.

Now I’ll get to unveil the ugly things. As it has been noted above, the mic produces very low output and needs a lot of gain. This makes it worthless in combination with sub-par audio devices that struggle to provide enough quality gain; however, with excessive gain, the static noise and electromagnetic interference also become more noticeable. This mic is not at all the worst out there, and many people can live with this amount of static noise. Nevertheless, if you are a perfectionist, it will be worth considering the Giant Squid. It is more expensive but it has no static noise at all, really.

Another disadvantage is that despite it sounding rich, the low end may not be very accurate and at times, it will get distorted. It works best when you clip it onto your collar, just as it was designed to. For any other uses, I do not recommend it – it is just not as flexible as some other lavs, and it won’t produce any decent results otherwise. It lacks crispiness and the upper highs may sound a bit muffled. There is also a small amount of sibilance, but this is fine, considering the price. Finally, it lacks the detail and definition of more expensive mics. Comparing it to Countryman doesn’t make any sense – at all.

Setup

Ideally, you want to pair this mic with some inexpensive digital recorder like Zoom H1. This combo will work pretty well and most importantly, it will be light on your budget. Azden EX503 has an unbalanced 3.5 mm connector, obviously, so you also want to connect it to an unbalanced input. Zoom H1 uses unbalanced 3.5 mm inputs, so they will match. However, Zoom H4n uses balanced 3.5 mm inputs, so they will not match. It is still possible to connect to Zoom H4n but you’ll have to crank up the gain to the maximum in order for them to match, so it’s a very bad idea.

If you have a decent camera with unbalanced input, it will also work fine. Keep in mind that cheap cameras usually have sub-par preamps and you may find the sound lacking quality. Expensive cameras on the other hand, tend to have balanced inputs and again will not match. I don’t recommend plugging this mic directly into computer either. Most computer inputs have sub-par quality and it’s likely to have three of the following outcomes. 1) The amount of noise may reach the threshold of becoming annoying. 2) It may not have the sufficient gain and the sound will be low. 3) There is a smaller chance that it will not even work.

Build & quality

EX503 has a 1-meter plastic cable, which is a bit thick but not reinforced. Some people complain it’s too short but in my opinion, it’s more than enough to plug it into a recorder or camera. For other uses it’s practically worthless anyway, and longer cable would also negatively impact the signal-to-noise ratio. The connector is just basic and it’s not gilded. It will be getting dirty from time to time so do not forget to clean it. The clip is stiff and rugged, and holds in place rather well. However, the foam may get loose over time, so don’t lose it or get yourself some extra foams.

Bottom line, the mic is real cheap but it’s actually decent if you use it as I have instructed in this article.

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Stereo vs mono

There is one thing we need to make clear about Azden SMX-30. If you were hoping for a Mid/Side stereo shotgun, this is not the one. MS shotguns exist only in professional world and are usually sextuple-hexatruple times more expensive than this little boy is… What those do is they allow capturing stereo while being directional since both capsules are carefully positioned inside the line tube. SMX-30 on the other hand combines two separate devices – traditional shotgun and X/Y stereo mic that rests on top of it. You can switch between the two but you cannot use two at a time as it’s technically impossible (and even if there was an option for superimposing the two signals, it would suffer badly from comb filtering).

Shotgun

The shotgun part uses the same capsule as the SMX-15 and it has a pretty decent performance. Both models have been released in 2016 and admittedly, they are a great step up from their predecessors. It is once again very similar to Rode VideoMic Pro R, however Azden claims the advantage in the design. VideoMic series have always been nice performers but suffered from flimsiness and felt wobbly on top of the camera. SMX-30 feels more substantial. The suspension is stiffer and more durable while still providing some good isolation. Also, it is slightly more directional while featuring shorter dimensions.

In terms of the frequency response, VideoMic is a bit more precise, it’s pretty flat while featuring just a tad of added brilliance but other than that, their specs are almost identical. Azden’s capsule sounds a bit brighter and produces more hype if you wish, however I have to admit I actually enjoy listening to this ‘hyped’ sound. In general, the frequency response is just a part of equation and it won’t tell you the whole story. The problem with DSLR is that they almost always come with sub par pre-amps, and this often results in degradation of quality, especially in terms of added noise. But, fortunately, SMX-30 turns out very quiet (even when paired with cheap cameras) and it’s quite an advantage.

Stereo mic

While shotgun is always preferable for speech, stereo mic is a nice companion for wildlife adventures. Instead of isolating particular sounds, this device captures the very background itself and makes you submerge into the action, just like when you are watching movies on your home theater. This of course won’t produce Dolby Surround sound – only stereo, but this is enough to create some impressive impact for your audience. Nevertheless, stereo mode is mostly situational so I see it only as a bonus, but the cool thing is that you can always switch on the go, without loading your bags with gear.

The first thing you’ll notice when using SMX-30 is the bright quality of a sound. It’s kind of unusual but it gives you a more dramatic stereo image. Brighter sounds are always easier to localize so I guess it makes sense. At the same time, it doesn’t sound harsh to my ears. The distortion is almost non-existent even if it suddenly captures something very loud. I anticipated a higher self-noise in stereo mode but Azden again surprised me with silence. Overall, I find it impressive and also comparable to more expensive mics.

Features

Azden SMX-30 provides all you need from a DSLR mic. There you have a 20 dB boost, which is crucial for a quality sound. High pass allows reducing low frequency noise and can compensate for proximity when up close. I must note that it’s rather gentle here and some may find it lacking but at least it’s safe to have it on for the vocals. The mic is powered by 2xAA batteries that will last for at least 24 hours. That’s certainly less than Rode while consuming more raw power but this power is not being wasted. They have made a very low impedance output circuit that takes more power but results in significant noise reduction for cameras and portable recorders.

Overall

Despite some of the disadvantages, I pretty much enjoy using this mic. Without asking for premium, it combines a decent shotgun for directional audio and a decent stereo mic for surround. At the same time, it’s quite compact and much less flimsier than Rode, so I can just throw it in the bag and forget about it. Good audio quality and excellent noise levels pay out when plugging directly into the camera. So far, nothing I would really complain about. For those who want a quick and easy, all around DSLR solution, I would certainly recommend this microphone.

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Simplest solution for camera

In the professional video production, they usually use boom mics. A typical boom mic allows for more focused recording and as it’s mounted to a pole, it gives a great positional advantage. This leads to cleaner audio with lesser noise and acoustical issues. However, such mics are much heavier; they cost more and require a boom operator. Moreover, they use XLR connectors and require preamps, and so cannot be directly connected to a camera. This implies the use of additional equipment as well as a separate stream of recording that has to be further synced with the video. Don’t want to go through all this? Then use this compact above the camera mic. I truly doubt you can find any better than Rode in this class.

Features

Rode VideoMic Pro Compact has a handy dB pad that allows switching between -10 dB, 0 and +20 dB modes. Although for louder environments and when close enough to the target, you could actually lower this setting, most of the time I would strongly advise using the +20 dB mode, as it helps to eliminate the hiss. The reason to it is that cameras have their own internal circuitries that adjust for the input levels accordingly. This means that if the signal is low, cameras will amplify it and vice-versa. However, in case that a camera has to use an internal amplifier you will get a substantially higher amount of noise rather than if the input signal has been already pre-amplified by the mic. This is because the mic’s circuitry uses higher-end audio components and it’s also perfectly shielded. On the hand, a camera’s internal amplifier adds quite a bit of gain to the circumferential noise induced to and fro its own circuitry as well as the mic’s cable.

Talking about the mic’s cable, it is unusually thin so that some may consider it flimsy. This is a false impression though, and there is a 10-year manufacturer warranty to back it up, so I really couldn’t care less about its thickness. According to Rode, this design allows for significant reduction of circumference that causes hissing noises. This is actually a great thing, since this hissing noise can be considered as one of the major problems of any camera microphones. Unfortunately, other manufacturers pay too little attention to this problem and produce a lot of noisy models. For a comparison, you can take any $50 mic and see it for yourself. Despite the similar looks, the sound quality is nowhere near the same. Maybe this will be a good lesson for those who fixate on looks and sizes…

Aside from dB pad, there is another control for bass roll-off. This will help to reduce low humming noise and an overblown bass – which is never an excessive feature for a directional mic. Other than that, it has a handy LED indicator that shows if the mic is on.

Rode VideoMic Pro VMP also has a clever shock mount system. It takes very little space while providing an excellent protection from vibration and handling noise. Even if you have the camera on a stand, it is still crucial as vibrations are often picked from the ground, plus there is always a chance that someone accidentally touches it. Like all shock mounts it uses rubber wires, which can be considered vulnerable. The good news, it comes with a pair of extra, just in case.

This mic comes with a stock wind silencer made of rubber foam. It does an OK job most of the time, however this may not be enough if you are filming on a stormy day or in otherwise aggressive windy environment. If you don’t want to depend on the wind, do get a micover windscreen (link below). I recommend this synthetic version because it’s not only cheaper but also substantially better and even cuter than the original deadcat for this model. It’s very smooth on touch and you will love it!

Design and build

Overall, it’s made of decent quality materials and that gives it an expensive feel. However, a number of smaller parts make the construction vulnerable. This is also true for any other on-camera mics. All of them pretty much require delicate handling and this model is not an exception. It’s best if you treat it the way it is – an extension to your expensive camera. Don’t throw it around and follow the precautions, and it will serve you for a decade. The great thing of this microphone is the size. It is very compact and can be easily packed into a food / sandwich container along with accessories. You can buy those as cheap as $1 from your grocery, but it will give you an ultimate protection as you carry it around.

This mic is actually the newer version of the VideoMic Pro. The first one did not have the lyre suspension and people reportedly struggled with the battery replacement, yes that was somewhat tricky indeed. However, with the new model, changing the battery is a cake and shouldn’t take longer than 30 seconds! There is a good video on YouTube that demonstrates the improvement with the introduction of the battery door for the Rode Videomic Pro and shows how easy it is to replace the battery now:

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