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

Design & Build Quality

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

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

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

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

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

Sound & Performance

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

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

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

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

Feedback Rejection & Off-Axis Handling

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

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

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

Use Cases & Verdict

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

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

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

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

Best Price on Shure Nexadyne 8/S

---

Design, build, unboxing impressions

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

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

Audio quality and performance

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

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

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

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

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

Features, usability, software & applications

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

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

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

Conclusion

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

- Reviewed at $69.99

Best Price on Maono PD200X

---

Sound & quality

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

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

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

Application

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

USB interface, Maono app and features

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

Conclusion

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

- Reviewed at $149.99

Best Price on Maono PD400X

---

Sound & quality

Shure MV7 is a dynamic mic and it sounds like a dynamic mic. I could go into great lengths describing it but I don’t really feel like. I just want to get down with this review as quickly as I can. Why? Because no matter what my opinion is, this mic has proven to be a quite very viable choice for USB recording, and it’s also among the most popular out there on Amazon, so it’s a choice that’s always worth considering. In terms of quality, it certainly comes on top of the Audio-Technica and Maono dynamic mics; however, the difference isn’t as big as one would hope. It is marginally better in frequency response but the integrated preamp and ADC interface circuit are much better.

To date, MV7 does hold the title of the best dynamic USB mic, though compared to Maono it’s almost 4 times as expensive, so… no surprise there. Anyway, I still need to give some more details about its performance or it would be unfair to Shure. The frequency response of this mic doesn’t extend above 10 kHz, which is actually a bummer, but aside from that, it’s quite neutral. The advantage here comes from the choice of digital EQ presets where you can switch from flat mode to high-pass and presence boost or both. Another very neat thing there is the availability of limiter and compressor, with a variable intensity even, so you can further fine-tune to improve the sound.

Shure MV7 vs SM7b

While it does have a neat post-processing and digital conversion that can never be overrated with USB, and which you won’t find on mics of other brands usually, there still are some reasons to hate this mic. The rant mostly comes down to a comparison with the SM7b and there is another major disadvantage – a somewhat flimsy USB-connector, which once again wasn’t an issue with the old dynamic mic. It’s not clear why Shure still uses micro USB, other than just because it did use it before with the MV5. However, the MV7 came much later, so technically USB-C could be a better choice, or even much better – the old mini-USB or even a huge ass type-B for the durability – why, there’s plenty of space!

Though if only the connector was the problem here… the problem is rather with the concept. What disgusts me about this mic is how it mimics the SM7b (by both the looks and model number, obviously) while failing to deliver the traits of the original SM7b. The SM7b had an extended response, better proximity and a sweet spot that gave it a more uniform response even when facing slightly off or not talking directly onto mic. The MV7 seems to have nothing in common with the former. It does give you a rich, decent sound that is nice for USB, but it’s just not in the same league. The grills and capsule design are very basic as well; it does not have the complexity of the former.

Conclusion

Overall, the opinions about this mic are divided: there are two camps, those who absolutely love and those who can’t help but hate it. Despite some haters, the large majority still love this mic; it is quite very popular today and easily makes it into top-5 USB mics on the market. And despite falling behind in performance compared to the SM7b, it does have some advantages, such as more compact size, cheaper price, availability of the USB output with direct monitoring and, the most spicy, DSP, which stands for digital sound processing. Yet it will never sound as good as the SM7b paired with a quality preamp and/or an expensive standalone audio interface.

- Reviewed at $279.00

Best Price on Shure MV7+ USB

---

Sound & quality

The sound quality of the microphone is very good overall – performing alike units twice and triple the price, it just destroys anything under $100. There are many aspects to it but we shall start with the frequency response. By the way, all the specs are readily available in the documentation, for which lots of kudos to Maono, because usually producers hide this info when it comes to budget mics. So, the frequency response of HD300T is actually flat, it has very little coloration and therefore gives you a quite accurate tonal representation. It could be described as neutral with just a touch of warmth, working very well for announcements and vocals.

The roll off starts at 90 Hz and goes 10 dB / octave meanwhile upper highs receive some boost in the 7-10 kHz region, giving it more presence and clarity, and even extend to 15 kHz. This is a very good curve for a dynamic mic, and especially for a USB mic… The highs are transparent, silky and smooth; the mid-tones are neutral and the lows are just natural. Condensers, in comparison may sound a bit more detailed but usually also harsher, which is not ideal especially for the beginners who have not yet mastered their recording techniques. On the other hand, HD300T does not fall behind in terms of clarity either, and everything contributes to easy use.

There are actually even more advantages compared to condensers: you can stay right on top of it without overloading the mic or causing some unpleasant proximity effects – Maono handles it very well. And the closer you are to the mic, the higher signal to noise you get against the background. Condensers usually like a bit more distance thus also picking up more background. Another advantage is that it handles the wind very well. This may sound irrelevant at first, but in reality blowing into mic while singing or even breathing is very common. Compared side by side with Shuve MV5, there is a night and day difference in this regard.

Comparison

There are however some disadvantages too with the HD300T. Those aren’t even about the quality of the recording, but rather regarding its utility. The first thing you’ll notice is that it doesn’t have that much gain compared to more common condenser mics. For speech, you may want to keep the gain slider at 100% and only when singing up close will you have to lower it. If you can always be on top of the mic, this isn’t a problem at all. However, if you like to lean back leaving it on your desk – this will not work. It simply won’t have enough gain to pick up the sound from afar. There is no way to set it above 100% and since it’s only 16-bit depth, boosting in DAW may not be lossless either.

Another issue is that the real-time monitoring output does not provide the best audio quality. It does get quite loud in comparison to that of the ALC887 in my motherboard, so I was able to hear myself clearly while recording. However, it just isn’t the best sound if you are trying to master or your recording, even applying EQ is going to be out of the window. So as soon as you’re done recording, you want to use a better DAC or switch to your studio monitors. My headphones have 16-Ohm impedance, so when I plug them into the mic, there is not enough power to drive them. As a result, I found the low frequencies, such as 50 Hz were non-existent during playback.

For comparison, Audio-Technica AT2005USB has the exact same drawbacks: potentially lacks gain and provides even less power from the DAC into low impedance loads. Those things aren’t deal breakers of course, but it’s always good to understand what you are getting beforehand to keep yourself from dissatisfaction. The Audio-Technica mic by the way has a brighter response, more appropriate for stage use rather than home recording, whereas Maono is mellower-sounding. Since it also comes with shock mount and pop filter, I’d say Maono actually takes the upper hand. I am a big fan of accessories, because in the end they help improving the sound at no additional cost.

Durability

In terms of durability, HD300T looks very solid but once you hold it in your hand, it will feel even more solid. It weighs no less than the regular XLR vocal mics and has a full aluminum, metal body. The grilles also look nice, so I suppose it has to be durable, or at least its dynamic component. When it comes to the USB and active components, we may need a little bit more feedback from the users because this review is ahead of the actual release. One thing that concerns me is the unjustified use of the USB-C port, which feels a little bit wobbly and I wouldn’t want to strain it. Just to be on the safe side I’ve come up with a cable management loop, luckily the cable is long enough to allow this.

- Reviewed at $69.99

Best Price on MAONO HD300T

---

Sound

AKG D7 has a big sweet spot and once again delivers a very natural tone, so I find it quite easy to work with. It has a nice clarity with lots of brilliance to it. Open and spacious high end, highs are strikingly crisp for a dynamic but remain rather smooth and do not produce any metallic resonance. The D7 diaphragm has a variable thickness, which is meant to improve clarity. It’s also being laminated in order to smooth out unnecessary resonances and reduce harshness. Think of it as a better version of Beta 58A with extended high-end response, a more refined and less grainy sound.

The low-end of this mic is less prominent. It is by design, so it never gets muddy. AKG D7 starts rolling off at 200 Hz acoustically, and has a passive roll off circuit at 80 Hz. It is designed to smooth out an unreasonable bump it would otherwise get from the proximity effect. You don’t actually need to understand all the specifics, but in a nutshell, it is just lighter on the lows. This helps greatly when cutting through the mix and alleviates the strain from the singer in a live setting. However, in an isolated setting and without the music, it may sound rather cold and may give you a wrong impression.

Gain before feedback is not something that can be as easily tested and measured, but it does appear to be much more resilient to feedback than the rusty trusty Shure SM58. This is just another advantage of a well-designed diaphragm with fewer resonance points; while the supercardioid pattern helps further with side rejection. That’s why you will barely be able to make it squeal, unless of course when messing with it intentionally. Being lighter on the low end also helps D7 at reducing the rumbling noise from both handling and wind, especially when performing open air, but those details perhaps aren’t as important.

It is also a good idea to buy some basic foam windscreen when ordering this mic. You may find them helpful on occasions, not for the wind but in order to dampen it a little – D7 can be sensitive. It’s not even about popping but just the way it handles the highs, some people may find it too crispy and detailed to their liking. It sounds almost like condenser, and the foam may help attenuating the highs, making it sound more rounded. To each their own of course, everyone has a different taste. However, the mic still remains more on the bright side, so if you wanted a warmer sounding mic, you should look somewhere else.

Overall

AKG D7 has been patiently flying under the radar for quite some time, yet it still easily passes the quality test when tested against pretty much any modern mic. It is a powerful workhorse. Might be a little expensive, considering that D5 is so much cheaper at the time of writing but it is a premium mic. And if it satisfies the qualities for which you are searching for, that we have already described at length, then it could as well be the best mic for you. Regardless of your preferences however, this mic will still be a tremendous upgrade to the likes of SM58, and even the Beta 58A, although maybe not as warm.

- Reviewed at $179.00

Best Price on AKG Pro Audio D7

---

Sound quality

RE20 is an industry standard for a reason and that reason being the sound quality. Of course, it may not be the most expressive mic out there, nor the most transparent or crispy as condenser mics are. Yet, it produces a reliable, quality signal that is suitable for live and radio broadcasting. Most importantly, it ensures the maximum rejection of the background noises that no condenser mics can offer no matter the price range. In a live recording, you don’t want to capture any accidental room or street noise with no ways to cut it out and this is especially true for the venues that have far from studio conditions.

Aside from it having a massive dynamic diaphragm of course, the RE-20 capsule is wrapped in a thicker foam than the RE320, which gives it an extra bit of dampening. In a side-by-side comparison, the RE-20 may sound weaker and darker but don’t get fooled by the first impression, because the RE-20 still has an upper hand when it comes to signal quality and that extra bit of background rejection is what distinguishes a high-end broadcast mic from a regular one. RE320 is also a nice mic, especially if you like a brighter sound and want something more expressive but the RE-20 is overall smoother.

And finally, why people use dynamic broadcast mics is because of the RF-interference, which obviously is an issue at the radio stations where powerful radio transmitters are used. Why dynamic mics are less sensitive to the electromagnetic interference is mainly because of the simplicity of their electrical design – there is only one thing and that’s the coil and all modern mics use humbacking coils that help to neutralize the induced signals whereas condensers are much more complex and electrically sensitive. The body of the mic and grilles also serve as shielding and the RE-20 metal casing is almost as thick as tank.

Overall

Overall, the Electro-Voice RE-20 can be considered the heavy artillery of the broadcasting. It is considered an industry standard and it probably surpasses other broadcast mics when it comes to signal quality, but it’s also more expensive and may require other pieces of equipment, such as preamp to be on par to get the best of it. The sound tone can be described as deep, rich and neutral but also quite smooth. It is bulkier and heavier than the alternatives and the offered shock-mount from the EV could have been better, on the other hand, it is not designed to be moved much and has a very good sweet spot.

- Reviewed at $399.00

Best Price on Electro-Voice RE20

---

Sound and quality

Rode Procaster’s frequency response is full, smooth and transparent: it has a flat midrange and some nice clarity boost with a very smooth transition – no bumps or dents whatsoever. The lows are hyped a bit too much due to proximity and the fact that you have to be right on top of it at a close range in order for it to work, and initially may come out as muddy and unattractive. However, after applying a basic low cut filter, this nuance is taken care of and the mic truly starts to shine. Suddenly it sounds much more expensive and now you can hear the Rode Procaster’s clarity with its sweet and silky-smooth highs.

The low-end is once again a bit bloated and lush but does not affect the midbass or low midrange, so it’s quite easily manageable – even a beginner could adjust the richness to his taste with a basic low cut. Procaster has a built-in pop filter that does an excellent job too; filtering some imperfections, very little popping goes through if at all, and neither will you hear any sibilance. It also acts as windscreen and yet the sound is still very much transparent, not one bit inferior to any other dynamic broadcast mic. And of course, it fulfills its promise of reducing the room and background noise to the very minimum, inaudible levels.

•  Rode Procaster in action, watch this video:

Recording & broadcasting

The qualities of this mic are ideal for recording and radio use, and to give a fair example there is a popular radio called Wish FM. The link is to their YouTube channel where they have hundreds of videos of radio songs all exclusively recorded with Rode Procaster. They literally used it on every single performer and with a good success too. What makes this project unique is that it is recorded in a moving studio, a sound proofed bus that records those songs while driving on the streets. Needless to say, it takes maximum sound rejection for it to work and yet it doesn’t seem to affect the quality, the mic sounds pretty natural.

Despite the use of spider shock mount, it looks decent on camera because the tip prolongs quite a bit and being narrower than the Shure SM7B, it does not really obscure the vision. The only downside is that it’s more of a stationary mic: compared to SM7B it’s quite unwieldy and actually feels much heavier even though both of them weigh the same. Rode Procaster definitely works for recording but there may be a few considerations for podcasting. It is fine if you can keep it stationary because you don’t want to move it around while recording, and you would need a good swivel boom arm and a shock mount for it.

Conclusion

Rode Procaster is a very versatile mic with an excellent sound quality that has proven itself for recording purposes and it’s quite affordable compared to similar mics from other producers. Aside from a bassy low-end, it has a smooth uniform response with a good transparency and, it offers a very good background rejection, just as you would expect from a broadcast microphone. It still needs quite a bit of gain, though this should not be a problem with a decent equipment. For podcasting, it may not be the most comfortable, but if you can apply a low cut filter in real time and keep it stationary, then you shouldn’t have any problems.

- Reviewed at $227.99

Best Price on Rode Procaster

---

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

Frequency response

Here is a frequency response but don’t get too excited because I actually posted a comparison and the one on the left is none other than Shure SM57, and the “Super Deluxe” is the one on the right. Yeah, the SM57’s response surprisingly looks better, whereas the Super 55 has a disgusting cliff into abyss right at the point of 10 kHz. But I mean, if a hundred dollar SM57 were to be considered the golden standard of quality (to begin with), if this was the case… I should probably give up on reviewing them anymore. So, here we have it, our precious “Super” 55 beaten by a ‘trash-tier’ instrument mic from the same manufacturer.

If you remember that old SM58 sound as if someone wrapped a blanket all over it, you are going to love this! (No way). Shure Super 55 Deluxe does have a seemingly bright response but still it sounds muffled and lacks transparency, which is just unacceptable for a modern mic of this price. On the good side, it doesn’t have this muddy taste, so the lyrics sound more intelligible. Yet, it’s hard to get excited over this type of sound after trying out the modern Sennheiser or even Electro-Voice mics that are better in every respect. I find that this mic also needs quite a bit of gain in order to be heard, which could sometimes be an issue.

Performance

The above said wouldn’t be as bad if it hasn’t been exhibiting a nasty behavior on stage. The mic appears too hot and picks up way too much background, as if it was a condenser mic, which it is not. Yes, and it has a special affinity for cymbals from a drum set, so this wash bleeding into lead vocalist mic can actually affect the whole band performance this way, without providing any benefits such as improved clarity and extended response that you would get from a condenser. Another issue is constant popping: Shure Super 55 Deluxe is very sensitive to popping and there is no way to resolve it without replacing the mic altogether.

On this picture, I have compared the vintage 55S on the left and the modern version of the mic on the right. As you can see, the old mic had a huge capsule with suspensions all around it, some of the mics also had transformer in there. They were big and that was a necessity of the design. The capsule was also significantly recessed inside in order to provide a uniform response. The newer versions honestly look like rip-off. They took a tip of a mic, and simply fitted it in there, duh. As a result, you must always maintain the exact position, singing right in the middle of the mic, otherwise you will not be heard. Do you love challenges?…

Verdict

Shure Super 55 Deluxe is all about the looks whereas performance is only secondary. The sound is still pretty good, and it definitely surpasses that of the 55SH, its century old cardioid brother. Nevertheless, it barely stands up to other modern mics; take even the Beta 58A of their own making – at the time of writing it is actually both much cheaper and more reliable for live performance (doesn’t sound pristine but at least unaffected by popping). Unfortunately, the attempts to imitate the old school design inevitably affect the performance and also make it more difficult to use. Consider this another attempt by Shure to fill their pockets, feeding on the fame of the older 55S, popularized by Elvis Presley.

- Reviewed at $249

Best Price on Shure Super 55 Deluxe

---

Sound & quality

Sennheiser e845 is certainly less popular than the e945 nowadays, because the latter is an improvement of the former. It would make more sense to review the e845 first and the then talk about the improvements introduced with the e945, but we have it backwards now and I will be referring to the e945 for comparison. I did mention before that Sennheiser e945 is not quite suitable for “bass” voice type. Some people argued with me that it works perfectly for their bassy voice, but in fact, they were referring the baritone type. Bass voice is very deep and few mics can actually handle it.

Well, the e845 story when it comes to the bottom end is much worse. After having reviewed nearly a hundred different mics, it pains my ears whenever there is mud in the sound. Therefore, I would not even recommend this one to baritone singers. But I am a perfectionist and for the sake of the reviews, I have to exaggerate some points so that you can perceive the difference. Most singers do not notice that there is anything wrong because they have few mics to compare to in order to form a valid opinion. However, this mud isn’t a factor for tenors; it is in a sweet spot where it sounds as good as $300 mic.

Yes, you can get the best out of this mic if you are not performing in the lower register. And occasionally if you do, there is going to be a muddy feeling to it. Still, for a hundred dollar supercardioid mic, it isn’t bad at all. It is in fact better than the industry standard SM58 in every respect and the amount of clarity in the higher register quite compensates the lack of refinement in the lower end. The e845 is fairly bright and has an extended frequency response, in which regard it may sound more expensive than it is. Yet the E945 is slightly smoother here and better accommodates for the higher pitched vocals too.

Sennheiser E845 vs Shure Beta 58A

I think it would make a lot of sense to compare those two supercardioid mics since they are in a similar price range. Both have their own strengths and there is no clear favorite – it depends on the situation. The strength of the E845 is once again its clarity and the openness of the sound and the trade-off is the bottom end. Beta 58A on the other hand is brighter and cuts through the mix even harder, and sounds very unlike the old muddy SM58. (Don’t confuse the two Shures based on the model number – the Beta is quite different). The tradeoff of the Beta 58A is a bit of noticeable graininess and harshness. In a nutshell, the choice comes down between more mud and more harshness but it’s all relative.

Build and overall

E845 offers a sturdy build, the mic is roadworthy and there isn’t much to break. Both the Sennheiser e845 and the e945 come with 10-year warranty, something not every manufacturer can offer especially for its budget mic version. An interesting visual difference between the two is that E845 has a bigger and wider head but the length of both mics is the same. Both supercardioid mics are equally as good in terms of feedback rejection, EMF rejection and feature low handling noise. E945 is of course more versatile, smooth and refined but for a classical tenor type voice E845 does the same for half of the price!

Best Price on Sennheiser e845

---