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

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!

Best Price on Hollyland Lark Max Wireless

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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

Best Price on Hollyland Lark M1

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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

Best Price on Rode Wireless GO II

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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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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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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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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:

Best Price on Rode VideoMic Pro Compact

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Best Price on Rode Micover Windscreen

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