Build & Design: Light Yet Durable

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

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

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

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

Sound Quality: Precision with a Natural Touch

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

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

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

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

Versatility: Wide Range of Use

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

Film and Video Production

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

Streaming and Content Creation

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

Overhyped or Just Right?

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

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

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

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

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

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

Final Verdict

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

- Reviewed at $499

Pros:

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

Cons:

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

Best Price on RØDE NTG5

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

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

Design & Build Quality

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

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

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

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

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

Sound & Performance

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

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

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

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

Feedback Rejection & Off-Axis Handling

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

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

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

Use Cases & Verdict

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

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

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

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

Best Price on Shure Nexadyne 8/S

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Overview

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

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

Preamps and Audio Performance

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

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

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

Drivers and Bundled Software:

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

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

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

Connectivity and I/O Flexibility

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

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

What Makes the 2+ Version Worth It?

So, why spend the extra over the standard model?

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

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

Summary

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

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

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

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

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

Best Price on Solid State Logic SSL 2 MKII

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Best Price on Solid State Logic SSL 2+ MKII

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Design and Build

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

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

Audio Quality

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

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

Wireless Range and Connectivity

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

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

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

Controls and Usability

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

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

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

Battery Life and Charging

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

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

Internal Recording & Safety Features

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

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

Practical Use and Performance

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

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

Conclusion

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

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Sound and quality

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

Built-in / mic options

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

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

Wireless signal & interference

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

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

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

Wireless GO vs Wireless GO II

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

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

Wireless GO II features:

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

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

Overall design

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

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

- Reviewed at $263.24

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

Sound & quality

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

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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

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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

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Sennheiser e965 is a true condenser, which means it is externally polarized. Those types of capsules are often found in studio and generally offer a better quality overall, compared to more common electret mics. The diaphragm diameter is 1 inch, so it is indeed quite large and makes it very good at handling the low end even when voice extends lower. Sennheiser e965 provides rich, undistorted low end and a well-rounded bottom. There are actually few mics like this one, with a large diaphragm, because most condenser handhelds usually settle for medium-sized diaphragms, not larger than ¾ inch in diameter.

For comparison, Neumann KMS 105 capitalizes a bit more on the lows, working its proximity with a little more boost and empathy there. However, the KMS 105 is not the best mic for live performance, as it is especially more susceptible to feedback and is poorly suited for a more aggressive environment. In fact, they actually recommend using it with in-ear monitors (despite that it has a supercardioid pickup, which is supposed to have an improved side-rejection [ and feedback resistance by extension ]). After all, KSM 105 is a bit more of an instrument mic, and may not be suitable for every different singer.

Shure KSM9 on the other hand has a little bit less proximity pre EQ though still quite balanced, and suited for any type of stage. And yet, Sennheiser e965 is once again slightly better overall – it is as versatile as the KSM9 and is now considerably cheaper too, and has a larger capsule for a less hyped proximity effect that can be more efficiently negated via low cut filter when the situation demands it. Sennheiser e965 does not lack richness; it may be a bit less hyped than Neumann KMS 105 but it has more depth to it. For a very deep voice, it would be a good idea to use some external low cut when in supercardioid mode (according to taste of course).

But once again, it is optional, as it has a built-in roll off that does it very well, with a huge benefit of a large diaphragm that it makes it less puffy and more stable in its low end response. Not only that, a large diaphragm also helps it sound smoother and makes it less responsive off-axis, especially to higher frequencies, such as present in cymbals. Sennheiser e965 surprisingly, doesn’t pick much of the background sounds, which is a common problem with a vast majority of condensers out there. I have seen dynamic mics that are way hotter than this one. The handling noise of this mic is also minimal.

Sennheiser e965 is ideal for stage. It has a good feedback resistance on par with dynamic mics. It has just enough brightness to cut through the mix without sounding harsh. In fact, there is no noticeable distortion or brittleness at all. This is very important because even most expensive mics are suffering from being brittle whenever they are trying to capitalize on that added brightness, but this is definitely not the case with the e965. As regards to the clarity, I don’t think I have to advertise much the clarity of a condenser here, because this is just something that comes naturally with it, among other perks.

Sennheiser e965 has a nice brightened response, but not brittle, it is a very clear and open-sounding mic. A well-polished frequency response, smooth, without any irregularities there makes it sound very natural too. Especially the cardioid pattern gives it a studio quality sound, no gimmicks here. The mic has a high sensitivity, in a sense that it provides a significantly higher output and needs less gain to drive, but that doesn’t mean it would distort the sound in any way or require some special treatment. On contrary, it is easy to use – it just sounds more expressive and dynamic, adding a bit more detail and definition to your songs.

This mic would be an excellent choice for any professional singer on stage. Sennheiser e965 is a natural upgrade to a dynamic e935; and it rivals other high-end condensers without getting too expensive. Particularly, it offers a better gain before feedback than Neumann condensers and it is less sensitive to background noises or in other words, it is not as hot and therefore more suitable for live sound reinforcement. Switchable cardioid and supercardioid pattern make it even more versatile for all around use and the e965 has no problem with handling most of the instruments either whenever it is needed.

- Reviewed at $499.95

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Sound & quality

Sennheiser MKH 8050 sounds incredibly rich and warm in character. The highs are also there with just a touch of brightness to retain clarity but the lows are certainly overwhelming. I’m usually not the biggest fan of the sound too rich, dark and warm because the mics producing the sound matching this description always turn up artificially inflated in one or the other part of the low-end specter, ending up being also muddy, puffy or boomy up to a degree. Yet, this doesn’t seem to be the case with the MKH 8050, a supercardioid very linear in its response from lows to highs, and this applies to not only direct response but off-axis response too!

When more brightness is required, it is easy to bring the lows down a bit post recording – it responds very well to EQ, so this certainly isn’t an issue. This mic also has a great reach, not in terms of directionality because that’s what the shotguns are for, but in terms of sounding natural and as rich as ever even at a considerable distance like half a meter, when other mics would usually thin out quite a bit and lose their consistency. This is especially crucial for instruments, which is why; it’s perfectly suitable for musical application too. Not only does it have an incredible tonal accuracy that is independent of axis but it also retains its low-end richness with distance.

Application

Sennheiser MKH 8050 is of course best suited for indoors, first of all renowned as the mic for dialogues. Supercardioid pattern gives it just about enough side rejection to focus on 2-3 people while reducing the room noise to a good degree. With evenly spaced placement, about half a meter above, talents sound pretty natural, rich and equivalent in volume, which is the recipe for a good recording. Unlike the MKH 416 however, it should not be used for voice-overs because it is a poor choice for close miking and doesn’t provide any benefits. With windshield, it can also work pretty well outside yet it cannot compete with shotguns.

There are couple of reasons as to why this is so, first being the inferior side-rejection, which is by design. The other is it is more difficult to handle it, because it’s much more sensitive to vibrations. The mic’s richness has its drawback that it also amplifies handling noises to a great degree, which occur at the bottom of its low-end response. This can be especially heard in a quiet setting when on a boom, and it may be difficult for an operator not to make any noises. There are of course solutions to this other than switching back to a shotgun; one could use a stationary mount or to procure themselves a high-end shock mount, which is what I would advise.

Overall

The mic may have some drawbacks, which mostly come down to the problems with the user rather than the mic itself, but I don’t feel like exaggerating those details, as it still excels at what it does, and I don’t know any other mic that would come on top in terms of sound quality. MKH50 in comparison being an older version might be a little more susceptible to EMI especially compared to the MKH416 with a longer tube, but the overall specs are slightly in favor of the MKH50. However, I haven’t noticed a lot of difference so would probably grab the one that goes on sale first. But in ideal settings, and if form factor isn’t an issue one might consider a marginal difference in purity in favor of the MKH 50P48.

Overall, Sennheiser MKH 8050 is a perfect addition to your gear that will complement for a quality shotgun when working indoors and wanting to achieve the best sound possible. Shotguns like 416 could also accomplish this job rather well but there is a variety of reasons for switching to the supercardioid MKH 8050 . Once again, you may want to minimize the comb-filtering effect that affects shotguns when shooting in the interiors, minimize off-axis coloration when miking multiple persons, or simply want the most natural and tonally accurate sound that retains its richness with a little bit of extra reach added to it.

- Reviewed at $1,200

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