Sound & quality

The frequency response of Maono PM500 is remarkably flat as if it was a reference mic – only the highs are lifted slightly before they start rolling off. This happens after 10 kHz, so the higher end doesn’t have as much air as let’s say a typical SDC. However, the roll off is gentle and the overall curve is smooth and while being actually flat up to that point, this contributes to a natural sound. Unlike some other LDCs, it doesn’t have any sudden bumps in response, which is notable. Thus, you will never hear any harsh resonance or anything like that. On the other hand, the reduction in airy part of the spectrum and the fact that it’s an LDC are responsible for its mellow character.

By mellow I don’t mean ribbon-like when it’s taken to extreme. Rather, it presents itself with feeling less of open air or space. It is certainly not as hot as condenser mics are in general. It will still pick up the background in absence of speaker but it doesn’t amplify those sounds further. In fact, rather the opposite is true. In terms of crispiness, it is definitely crisp and detailed when talking in front of the mic. Not as crispy of course as say an SDC with brightened response, which also tend to be hot, but more like a good dynamic mic, or even a broadcast mic. On the other hand, PM500 is not susceptible to sibilance (which is a very common issue) even when high shelf is applied.

When it comes to lower end, I find it even more interesting. It is rich and extends very low to 30 Hz, but what blows me away is the absence of proximity. Even when speaking up close it gives me a natural sound, ready for production, without introducing any bloating. Of course, one may say this is expected of a large diaphragm mic, for a fact it is so. However, this is definitely unexpected from a mic of this price. For this money, you could barely even buy a cheapest SDC like an AT2020 and even when you do, you would end up having to deal with that… puffy AT2020 sound, which isn’t easy to EQ because the proximity boost is not constant and varies highly with distance.

I am not trying to demote AT2020 of course, but I find it handy for comparison in regards to the proximity effect where Maono PM500 clearly comes on top. I also find it amusing comparing PM500 with broadcast mics because of some semblance in the way they sound. Particularly in the lower end, the female voice sounds almost exactly as when spoken. The male voice may be getting a little bit of a broadcaster effect – if there is a boost, it must be gentle, but I would say it just naturally reproduces the richness of your voice and does it much more accurately than a typical directional SDC – it never gets puffy or bloated and the sound is ready for production.

Application

I will now talk about the application of the PM500 microphone. First, I shall briefly cover the possible usage for instruments and then move on to vocals in more detail. In order to get the best out of this mic please be mindful of these three considerations: it has an above average self-noise, it is mellow in character and the maximum SPL is 120 dB. On percussions for instance, SPL could play a limiting factor; for cymbals, it could be too warm, though it depends. In general, if you can get a clean signal from your instruments without the need for gain, it should work just fine. Particularly I believe it would work for guitars (up close), brass, pianos, pipes and bass cabs.

For vocals, the usage is broad. It can be used for voice-overs because it provides a good sound quality and rejects the background noise. The same applies for podcasting, and the fact that any post-processing is optional makes it easy to set up. Also viable for streaming, the trick here is to position the mic in such a way that it doesn’t obstruct the view. I was able to achieve this by rotating the mic up +20°, so that the bottom of the mic faces the keyboard (which also helps to reject the key strokes). The metal pop-shield that attaches to shock mount is quite compact, I point it next to my mouth and it isn’t seen by the webcam positioned on top of my monitor.

Naturally, you may want to connect this mic to a computer in order to record, stream and make videos on the go. Nowadays all you would need is an audio interface, a cheapest Focusrite or Presonus would do, and that will cost you only about $100. Considering the Maono PM500 is quite cheap as well, you can end up having a commendable audio quality at home for just about $200. Compared to the sound of an average USB mic that plugs directly to a computer, the difference in sound quality is simply too big to ignore. Here is a sample recorded in a noisy background environment for the purpose of demonstrating the sound in a typical home setting.

maono-pm500-sample

The audio interface I used is actually SSL2+, which is rather luxurious but the two brands mentioned above could do just fine. Nice thing about SSL is that it has a ‘4K’ mode, which boosts highs just a little, and can be quite useful with this mic. Some basic form of high shelf is probably the only form of EQ I would consider applying to PM500. This is because the included pop shield is metal and I believe it dampens the higher frequencies, also speaking off-axis to an LDC will reduce the highs, so that’s a good way of compensating for that. However, this is a versatile mic; you can also speak more on axis and use a regular pop-filter instead to achieve the same effect.

Conclusion

Maono PM500 is ideal for home studio, be it recording of vocals, voice-overs, podcasting or even streaming, and would also work for most musical instruments. Flat on-axis response and minimized proximity effect result in a very natural, rich sound while the off axis response with a large diaphragm gives it a mellow character. This mic has a good clarity but is not as crisp as smaller diaphragms; thus also not as hot to the background. It doesn’t seem to be affected by sibilance or harsh resonances. The sound is ready for production and doesn’t really need any post-processing. Priced so absurdingly low, it also comes with a free shock mount and pop shield.

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Signal to noise

MPM-2000U actually has a non-USB counterpart, which could be used for studio recording, so this isn’t just another computer mic; and perhaps that also explains why it has such a minimalistic design. No bells and whistles, yes clean and quality audio signal – this is what Marantz Professional mic is in a nutshell. It may not be as good as an XLR but for a USB mic, this baby sounds beautiful. Compared to Yeti for example, this mic offers a very good signal to noise ratio: the audio you get from MPM-2000U is pristine and has no white noise whatsoever. Cheaper mics so often have some hissing in the background that people start thinking it is normal, well this one will help you understand the difference.

Frequency response

The sound of this mic could be described as mellow, rich, natural, transparent, and crispy. It sounds lovely for a large diaphragm. It isn’t an exact match for a typical studio LDC but somewhat closer to mid-size with 16 mm diaphragm in diameter, but of course, the capsule itself is bigger. I actually like it that way because it makes it a little easier to work with, and widens your sweet spot but gives you the same richness, which you couldn’t get from a smaller diaphragm directional mic. I mean you could, but they are less stable and tend to become muddy or puffy when up close, so you wouldn’t like how it sounds and that is why the lows are usually cut, but with Marantz you can get some nice, unhindered richness.

Shock mount

MPM-2000U’s does not roll off the low frequencies, so if you feed it with bass it will give you the bass, and this is where the shock mount comes into play. It helps to isolate the mic from any surface vibrations that without the isolation would translate into rumble. Shock mount is one of the main advantages of this mic, because if you don’t have one, they will hear your every mouse click and keystroke. The shock mount is of course only basic, but it’s free and it does the job, and could be upgraded or replaced in the future, while most of the USB mics give you none or aren’t even compatible.

Noise rejection

If you’ve searched mics before you would have heard the word cardioid many times, which means a directional pickup pattern and the vast majority of computer mics are actually cardioid. This means it is meant to capture what is in front, greatly reduce what comes from the sides and nullify any sound from behind. However, when it comes to USB mics their specs are always sub-par. They don’t reject the sound from the back as much as they should, or even reject the front because of the shitty design. Yes, they may use a cardioid capsule but because of the obstructions inside the body, it often cannot perform its job properly. Well the good news is, MPM-2000U probably beats them all – the background noise is greatly reduced.

Setting up

Now of course, you want to get the best of your purchase and the best of your mic, so you have to use it properly. This Marantz mic has large diaphragm, so do not speak into it directly but slightly off-angle. Not every computer user may have this knowledge, but this is how it is designed to work. By adjusting the angle you may get a slightly different sound, so do it according to your liking until you find your best sweet spot and try sticking with it. At close range, you may experience the plosives, which applies to 99% of the mics. To fix this you may want to take it easy with your ‘B’s and ‘P’s, and this could take some practice to unlearn while talking next to a mic, or simply get yourself a pop-filter.

Pop-filter

Should you use a pop-filter with the MPM-2000U? Should you buy one, as it doesn’t come with one? Well the answer is yes and no. The larger diaphragm makes it a bit less sensitive to plosives than for example the Blue Yeti but if your mic overloads on your plosives, you should go and order one. Many people don’t realize but it could make a whole lot of difference and make your audio cleaner, especially if you are nitpicking. By far, this isn’t the mic problem; it’s just how things are in recording. Some mics will often stuff foam inside that somewhat acts as pop filter though not as effective and could be dulling the sound a bit, making it less crispy, but our large diaphragm MPM-2000U does not require any foams.

Boom arm

Should you get a boom arm? Well with this mic, I would probably opt to go that route. Marantz Professional MPM-2000U already comes with a shock mount, standard threading adapter included, so you can easily fit it onto any boom arm and point it to your mouth at the right angle and distance. This is important if you want to get the best sound of this mic and a studio-like quality, which is not impossible. Unlike any other mic, it doesn’t come with a tripod or anything to place it directly onto your table, and even if it did, a typical tripod would usually eat a lot of space. So, unless you placed it over your keyboard, which does not make any sense, it could get a bit out of the reach.

Use case

Well once again, this mic feels legit and weighs 400 grams, it is a real-deal, durable power horse that is always ready to feed you with a quality sound input. It is perfect for music recording, YouTube or even gaming. Your audience will most likely appreciate how you sound, and the shock mount will assure that no one hears your keyboard. For podcasting however, a direct monitoring capability would be nice, so that you can hear yourself clearly in real time, instead of hitting record and replay but it’s still doable. It is by no means all-purpose but it gives you a good sound quality if this is what you want. On the other hand, most professional mics don’t have any gimmick controls. Solid build and durability are just as important.

- Reviewed at $141.62

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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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Sound & quality

AKG P220 features a relatively flat response curve and warm sound overall. The lows are definitely rich and responsive, though probably not the cleanest. It seems as though it is lacking midrange and instead a bit exaggerating on lows especially when you attempt to mike vocals up close. I don’t like how it sounds when it’s too close for this reason, what’s even more it becomes somewhat harsh on the ears. Perhaps it’s a bit too sensitive to vocals, but having said that, if you give it some distance suddenly it shines and produces a much better studio-worthy sound, which is hard to believe judging by its retail price.

Indeed, if you are using it in a decent environment with the right technique, while giving it a bit of space, it sounds quite impressive. C214/414 will beat it of course but nothing under $250 will for sure. As for home usage and that goes without saying, it will beat the crap out of your USB mic but in a small room, it would pick a bit too much reverb. You would have to get on top of it and then deal with post processing and fixing the EQ. Talking of which, I feel it could use some more brightness especially some presence on vox; nevertheless, it has lots of detail to it and sounds quite crispy on instruments.

The condenser capsule is of course electret; no externally polarized mics are available for this price. Diaphragm size of the AKG P220 has a solid 1-inch in diameter, and it actually has a significant off-axis coloration, much more than other similar LDCs. That is why despite being normally flat on axis; it really doesn’t sound like it if you are desperately trying to record vocals up-close, because this technique assumes you have to be off-axis. However, given some distance, you can move a bit more on-axis without causing it to sound neither dark nor harsh. This is not so big of a deal on instruments though.

In regards to noise, it’s actually much worse than the AT2035 but still fine, compared to let’s say lavalier mics. This shouldn’t matter unless you are trying to record something whisper quiet, which would be a dumb thing to attempt to anyway on this type of budget gear. The exact figures for the Perception 220 are as follows: sensitivity = 20 mV/Pa, equivalent noise level = 16 dB-A. In comparison, AT2035’s sensitivity = 22.4 mV/Pa, and equivalent noise = 12 dB-A. Using my favorite 20·log10(V1/V2) formula, the difference in sensitivity can be converted into additional 1 dB, which makes an effective 5 dB difference in noise.

Features and build

This mic has two controls, low cut filter rolling off 300 Hz and -20 dB pad. The roll off could be used for instruments that are above this frequency range. The pad could perhaps be used when close-miking a cymbal… but otherwise I don’t find them particularly useful. On vocals that low cut would really cut out all the juice meanwhile the pad making them inaudible altogether. Not a big deal here, as they are just a bonus. The good thing is that the mic comes in a sturdy case with a spider shock mount, which to me is surprising considering how cheap it already is, but the same goes for the AT2035 its direct competitor.

The build is quite sturdy and stylish. Black metal body of the AKG P220 contrasts with a platinum mesh. AKG brand is also more trustworthy than let’s say CAD, so all that makes for a solid and durable mic. Among the most popular applications are of course vocals, miking of acoustic guitars and other instruments, also working for guitar cabs. Shines as overheads in small, light & jazzy drum setups. They pick up quite a bit of toms and the whole set altogether, however really lack brightness when used on heavier multi-mic setups. Bottom line: AKG P220 is a good and inexpensive starter for vocals that can be later repurposed for instruments.

- Reviewed at $134.00

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Sound & quality

Just as one would expect from a large diaphragm studio mic, it provides a deep low-end response with a great richness of sound. It is relatively accurate for not only voice but also kick drums and bass cabs. The strength of proximity effect is moderate but it doesn’t change its quality whether the source is directly on axis or off axis. That being said, it likes to have some space, if you bring it too close it may actually sound too loud and distorted. You definitely don’t want to eat this mic, but when the proper distance is maintained, it sounds smooth without any issue. Just keep in mind that this is a sensitive mic.

Having covered the low end, it is crucial to note about the RE320’s bright character. Although for the most part it is flat, the highs are actually shelved to +4.5 dB, which is quite noticeable. Then again, higher transient response makes it hotter, which some podcasters have little tolerance to. Shure SM7B definitely sounds mellower. Yet this only seems to be relevant if you are in a noisy or an untreated room. In the right environment, the Electro-Voice RE320 actually gives more advantage when it comes to recording. On the other hand, it is also fairly easy to reduce the EQ to complete flat in the mixer.

In my personal experience, the RE320 sounds great without any external EQ. It just sounds a bit different from a traditional flat broadcaster mic and may need some getting used to. Then again, it is also a common practice to brighten up the flat mics for the same purpose, so which one is ultimately better in this case might be arguable. Generally, the flat response is the way to go for podcasting and voiceovers while a brighter response is more suitable for music and recording. Just to summarize my point, RE320 is suitable for both, although the SM7B is more suited when it comes to broadcasting.

Instrument recording

RE320 is also marketed for instrument miking, which it does justice too. If you’re still heavily relying on the SM57 as a general instrument mic, perhaps it’s time to reconsider your recording arsenal and add some heavyweight toys such as RE320. This mic excels at recording wind and brass instruments like sax, trombone / trumpet and especially their bass counterparts. It is capable of producing a clean sound with remarkable clarity white also retaining the lows. Works great for kick drum and toms as well, for which it has a special EQ mode that scoops out the boxy sound and keeps the unhyped oomph plus the attack.

Design and build

The mic is literally big and heavy – it is a solid build with lots of metal. However, because it is also longer, it actually looks better on camera than the fatter SM7B; it does not obstruct the face as much, especially when used without mount. RE320 does not have an internal shock mount, so unless you can avoid touching both the mic and the table this is a must. Pop filter on the other hand is optional. Another thing that is worth noting is that the mic has a very high degree protection from RFI, including high-pitched interference from cellphones. But there is no surprise because its main use is for the radio stations.

- Reviewed at $295.00

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Sound & quality

Heil Sound PR35 is quite known for its clean and rich low end that can adequately reproduce the fundamentals of a deep baritone voice. Yet, it is also known as the mic sensitive to plosives, handling noise and the one that exaggerates the richness beyond the reasonable amount… Which of those statements are true? – The answer is both of them! PR35 is one of the few mics that extends very deep without rolling off. According to specs, the lower limit is 40 Hz, which is very impressive. Unfortunately, at this frequency the mechanical noise and the popping phenomenon do become very prominent.

And it is also true that PR35 can sound overly rich and rumbling, especially if you’re staying on top of it. Obviously, the proximity effect is the cause, but, there is one crucial difference! The proximity effect of this mic is somewhat similar to a studio LDC, which mainly triggers the deep lows and thus barely interferes with the fundamental frequencies of a male voice. Other mics often roll off at higher frequencies, so the proximity effect shifts more towards mid lows. This produces a boomy sound, which is difficult to clean up. However, the deep proximity of the PR35 is easily neutralized with a HPF.

Indeed, all it takes is to apply a high pass, and it also gets rid of the popping and handling noise along the way! So don’t be worried about pop filters and stands, even the included foam – you may find it excessive. If you set it up right, you get a stunning quality low end, but, it takes some work. The sound engineer must know his business and be ready to adjust the filters as necessary. The mic has an additional active high pass filter, which can be activated by a recessed switch but I don’t recommend using it. It is much better to keep it on flat and then do what is needed in the mixing board.

Moving on to the highs, Heil Sound PR35 sounds very smooth, somewhat bright, and crispy, with most emphasis on presence. Indeed, the frequency response peaks at 5.3 kHz, after which it starts to roll off; nevertheless, it doesn’t lack air unless you cover it with a thick foam. The mic cuts through relatively good, but unlike Shure Beta 58A or Sennheiser e945, it doesn’t boost the upper midrange as much. Beta 58A sounds a bit harsher but it’s not afraid of a dense mix and comes louder on top; PR35 can be ideal for Jazz bands and more aggressive music as long as you don’t want to overemphasize the vocal.

Design and durability

This mic is really lightweight: weighing only 255 grams, it is lighter than Shure and Sennheiser handhelds. In terms of durability, it may not be as good but it’s still stage-worthy and you can carry it around without worries. Just try not to drop it and don’t expose it to moisture for a prolonged period. Heil PR35 has a huge diaphragm of 1.5 inches, which greatly improves its low-end response. That size partly explains the high price but as a cardioid mic, it’s still very expensive. Like all modern mics, it uses a hum-backing coil that reduces EMI. The new version also has an improved internal shock mount.

Who should use it

Heil Sound PR35 can be used for commercial broadcast, recording and high quality live sound reinforcement. For a cardioid mic, it has a very good feedback rejection, so it works for moderately loud stages while retaining the natural sound. However, a more aggressive environment may demand using a mic with a supercardioid or even hypercardioid pattern, so keep this in mind. I mainly recommend it for professionals who know their business and do not skip on their gear. However, for an amateur band singer, performing through a mediocre quality PA – this would be a complete waste of money.

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Sound quality

Despite relying on back electret polarization, AT2035 sounds more like a typical true condenser. Back in the days, electret microphones used to be less reliable but as the technology stepped forward, the question of which is better is now arguable. Today it all depends on a particular capsule – some are just bad but some are good. Back electret capsules are still more likely to be found on budget mics though, whereas true condensers are being sold as premium. Yes of course, an externally polarized capsule can be seen as a more flexible solution but the question is do you really need this for a home studio?

Audio Technica AT2035 can be compared to AKG C214, which is actually studio grade true condenser. Both have very similar SPL (158 vs 156 dB with pad), Signal-to-noise ratio (82 vs 81 dB), Sensitivity (22.4 vs 20 mV/Pa) and Equivalent noise level (12 vs 13 dB-A). Believe it or not, every stat slightly favors AT2035, including the noise! Frequency response, of which we will talk later, is analogous too. Both mics produce a very natural sound, crispy and detailed on the high-end, rich and juicy on the bottom-end. However, AKG has a larger diaphragm and may sound a tad smoother, and, more flattery.

Frequency response

This mic features neutral, easy to work with frequency response, especially solid on the bottom end and mid-range. High end gets a very gentle boost that adds just a pinch of brightness. This starts after 2 kHz where it gains 1.5 dB of output and keeps steadily increasing all the way up until 13 kHz, peaking at 3.5 dB. For a budget mic with relatively large diaphragm, it’s quite nice to see such stable curve. And it’s not just a random pattern as some may presume. It is actually tailored that way as it adds some flavor of presence to your vocals as well as clarity for the instruments.

Noise levels

AT2035 has an excellent self-noise of only 12 dB-A – such figures you will find on Neumann’s and other mics at least twice more expensive, whereas for most studio purposes 16 dB-A is considered more than enough and I’m talking about professional studios. In reality, even a very quiet environment will have ambient noise exceeding 12 dB threshold, so unless you are trying to record the ticking of a hand watch while being in a soundproof room, you will not be able to discern the self-noise produced by this mic. Keep in mind, preamps may add some noise too so get something decent to cross this off the list!

Setup

If you’ve done recording before and have the equipment handy you’ll already know what to do. Audio Technica AT2035 connects through XLR interface and requires phantom power. It’s pretty much standard and being back electret it is also forgiving about voltage (Rated 11-52V DC). If you don’t own one already we do recommend getting an audio interface so you can connect it with pc. There are many options… Steinberg UR22MKII is a very powerful but inexpensive tool. Focusrite Scarlett is ok too – though kind of sucky compared to the above, but never settle for cheaper imitations to avoid headache.

Features, Build & Accessories

AT2035 has a standard Audio Technica’s body, which is identical to any 20XX, 30XX and 40XX models. It is solid, heavy and durable and does not need much handling care, unless you want to maintain its brand new look. It has two switches at the back for -10 dB pad and 80 Hz low cut. With pad, it can handle the maximum SPL of 158 dB at 1% THD. Just so that you understand, such sound pressure could rapture your eardrums in an instant. In reality, it is unlikely to achieve even if put next to a very loud guitar amp but anyway it’s nice to have that extra margin.

The low cut is also a good bonus: it can help reducing popping when up close as well as low frequency ambience when recording in less than ideal sound environment. In any event, do not forget to get some nice pop filter when recording vocals – this is a must for any LDC. This mic uses standard 5/8″ – 27 mounting thread and comes with adapter nut for 3/8″ – 16. The package also includes AT8458 shock mount, which alone costs around $50-60. Although made of plastic, it’s quite efficient in what it does and appears to be durable too. Considering the mic price, it’s a real steal!

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Features

CAD U37 is a standalone side address large diaphragm back electret condenser with a cardioid pick up pattern and USB output. It works plug and play and requires no drivers. Large diaphragm generally gives an advantage of having a more stable low-end response, which makes it preferable for speech and vocals. Cardioid pick up helps to capture only what’s in front on the mic while rejecting room and ambient noise. Standalone designs is responsible for better acoustic characteristics while also reducing mechanical vibrations. Thus, we already have 3 reasons why it’s better than any built-in mic.

Aside from the standard stuff, U37 offers two useful features that other USB mics do not offer. Namely, the low cut filter and -10db pad, both having respective controls on the front side of the device. Low cut filter has two uses. First, it reduces the low frequency noise, typically produced by mechanical vibrations and wind on directional mics. Second, it prevents an overblown response, which may result from close miking. The low cut isn’t very aggressive and I find it quite reasonable. As for the pad, it helps preventing clipping and distortion from loud sources and this is useful for strong vocals.

On a negative side, CAD U37 is one of those countless models that lack the monitoring feature. How is this important at all? For most uses, monitoring is not needed and you’d rather not hear your own voice while gaming or talking to someone on skype. However, for recording, this functionality is essential and at times when you will want to monitor your voice, you will not be given such option. The problem is that USB being a digital interface imposes the use of buffers, so the signal is not transmitted in real time. For example, when you hit stop on your digital camera it still continues to work for a second.

The data is transmitted retroactively with every chunk being marked by its own timestamp. Once transmission is complete, all pieces are put together and synched back up. Thus, it is quite an unlikely event for your mic and let’s say webcam to go out of sync when recording videos, etc. However, if you try to monitor the signal transmitted over the USB, it will inevitably result in delays and therefore become useless for anything other than an initial mic check. And this is why more advanced USB mics provide an option for monitoring directly via additional headphone output.

Sound quality

The sound of CAD U37 is quite good although nothing extraordinary. It is very hard to get excited over a budget USB mic after using Neumann’s and Peluso’s. Yet, for those whose experience is limited to built-in mics and consumer headsets, it may as well be characterized as “the best microphone ever”. What’s important is that it’s cheap; it gets the job done rather well, and it doesn’t suffer from any major issues. On the other hand, many standalone mics and especially those found among computer accessories have a large list of problems, to which we could also add a ridiculous price.

Nevertheless, for computer users Logitech sounds more familiar than CAD so they end up buying inferior products at inflated price. This is of course saddening. Also, a lot of people fell for “gaming mics”, which is another marketing hype. As long as microphone produces a better sound – it’s better for gaming and for everything. Though I doubt you’d need a top-notch quality mic to handle occasional shouting on your teammates while shooting down the enemies… whereas an affordable price would certainly make it a more attractive choice. Well either way even for gamers, U37 comes out a winner.

As you may have already guessed, CAD U37 must have its own drawbacks in terms of audio quality. Luckily, those are only minor issues but we should not keep them from the reader. Even though the frequency response is more or less balanced it is not as crisp, compared to more expensive USB mics. The mic’s capsule is likely to be accountable. Funnily, other mics also tend to produce a bit of white noise so it’s not easy to get everything at once. Considering that the sound is usually compressed when the tracks are uploaded to public, this detail can be left unnoticed by the listener.

Another minor issue is that you may find it a bit sensitive to plosives. Those are the sounds of “B”, “P”, “D” and similar. To be honest, all directional mics and even the most expensive Neumann’s suffer from this in a various extent. That is why for best results we strongly advise setting up some decent pop filter. Even a cheap $7 dollar model can make a big difference, so this is not a deal breaker. Positioning can be another key factor in dealing with plosives. For instance, getting too close and parallel to the diaphragm will amplify those sounds… more info can be easily found on the net.

Build quality

CAD U37 is almost exclusively made of plastic, which makes it cheaper and less durable but also lighter. The grilles are the only exception; those are obviously metal and have a nice double-layered design like on expensive mics. Most importantly, they provide a decent protection for the capsule. The two switches on the front panel do not feel flimsy either, so the mic itself is moderately durable. However, this I cannot say about the stand. Those foldable legs are sort of creepy and seem to be a weak point but at least they can handle the mic’s own weight with no problems.

- Reviewed at $48.89

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NT1 is a new all-purpose LDC from Rode with a truly exceptional sound. It resembles the appearance of older NT1-A, however, the inside has been redesigned from scratch. Comparing to predecessors the sound has become clearer, purer and far more natural, showing a tremendous improvement in every single aspect! As a large diaphragm mic, it also has a very neutral response, which is a privilege of expensive professional units. Particularly, it is very similar to Neumann TLM 103, and even surpasses it in terms of noise, which is simply incredible! And that is, for only ¼ of the price…

Video review

Sound & quality

Rode NT1’s quality owes to a totally new capsule that uses 1-inch (large) diaphragm. The advantage of large diaphragms is that they naturally produce a stronger signal, which requires less amplification and results to a higher signal-to-noise ratio. This factor is very important in studio recordings where every dB counts, but of course, there is more to it. Those who have owned some good LDC before will never mistake that enchanting, signature sound it offers. However, in a recent span of years, no one could have imagined such a striking breakthrough was about to happen.

Technically, it is very challenging to produce a large diaphragm mic with a crispy, extended response that would yet remain neutral and unbiased. Neumann mics, such as U87 and a similar TLM103 are rather few exceptions that have managed to come close to a perfect response diaphragm but they cost over $3,000 and $1,000 respectively. That is ok for professional studios but not for average users, so those who could not afford Neumann would have eaten that unbalanced sound of cheaper mainstream models. Now, Rode NT1 is one of the new generation LDCs that changes the game rules.

The capsule of NT1 sounds completely neutral and very stable even in the higher range specter. It can easily handle the whole range of human voice, including higher harmonics, and even percussion instruments like cymbals. Yet to say, “It can handle” is to say nothing… NT1 not just handles, it blows you away into a completely different dimension! Not only has Rode brutally dealt with its competition, they have actually defined a new quality standard. They made it that everything sounds with maximum clarity and precision. At the same time, they made it unbelievably cheap.

Technological advancements

The technical advancements do not end here. NT1 relies on precision electronic components and a new circuitry that also contributes to extremely low noise output. Although it is powered by a standard ~48V phantom power supply, the capsule is biased at a higher voltage with the help of an integrated DC-DC converter. A new capsule suspension system gives more resistance to shock and works as a second line of defense against vibration noise. Even the body hasn’t been left without a touch of innovation as it uses a military grade ceramic coating, so I imagine it’s quite very durable too!

…A couple of more mics like this and I won’t wonder if Neumann soon decides to make a stock clearance. However, by nature the microphone market is quite inert. Consumers will still rely on older models and it can probably take more years before NT1 will gain all of its deserved popularity. If you are willing to research more on this model, I’d like to note that Rode is known to sin by making multiple mics with the same name. Older NT1 and NT1-A belong to a long-established series but they were only average mics. The model reviewed in this article has been announced in 2014, so keep that in mind.

Rode NT1 vs NT1KIT

This mic is available in two versions: Rode NT1 and NT1KIT. The kit contains a shock mount and a pop filter mounted on top of it. Other than that, both versions contain a ring mount and a simple cover to keep it from dust. I believe that most people would go for the kit as it adds some very good value for money while assuring the compatibility. To be honest I find that new shock mount very weird looking, especially in action, when I see it swinging like on a cradle, but I must admit it does a very good job. As of pop shield, it is not superb – just about decent, but I wouldn’t complain either.

Applications

Rode NT1 is one of those mics that can sound good on virtually everything. Vocals, cymbals, instruments – you name it. This is the time to move on and collect the dust-covered garbage… because from now on all you need is one mic! Of course, the general rules when working with any LDCs will apply. Like, when you move the sound source off the axis, a change in response will ensue. It is good when you can have it fixed on the source. And as usual, positioning will play an important role. It may require some experience to get it right, but once you dig it, you won’t get off the hook!

Best Price on Rode NT1KIT /w Shock & Pop Shield

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The sound of a kick drum actually consists of two components: the resonant low-end and the sharp attack of the beater on the drumhead. The latter has a much higher frequency and depending on how those two mix up, every mic brings a degree of uniqueness. AKG D112 can easily handle both of the components as well as anything in between. Its precision and accuracy makes it a versatile choice for bass drums of any size and even a viable solution for floor toms.

Design and build

AKG D112 has a distinct egg shape and it’s hard to mistake for something else. The thing is quite heavy as it’s made of nothing but metal, although it may not be obvious from the pictures. This solid construction serves an excellent protection from vibrations, whereas a special capsule design also does a good bit of stabilization. Unlike the Shure’s flagship, it uses a humbucking coil that further helps to reduce the hiss and noises resulting from circumference. The noise characteristics are therefore kept at a higher level.

The mic is connected using a standard XLR output, and as it uses a dynamic capsule, it does not require phantom power to operate. The mounting however may get a little bit tricky. Unlike the rest of the construction, the mounting clip is made of plastic and it tends to get loose as you perform. I believe this is still a small thing though, and not a real reason to reduce the score. Those clips are standard and any good drummer would probably have some handy alternative accessories.

AKG D112 vs Shure Beta 52A

Shure Beta 52A and AKG D112 are probably the two most common solutions when it comes to miking kick drums in general. Despite both are very popular models, they have a significant difference in sound under different setups. I usually pick one or another whenever it feels more appropriate (though more often I lean for AKG). As a rule of thumb, Beta 52A is more suited for larger drums that resonate at lower frequency where it delivers a rich and saturated bass. AKG D112 shines more with regular bass and smaller jazz drums though it’s versatile enough to work with anything. There aren’t any strict rules however, so you should base your choice depending on your personal preference.

Verdict

Overall, it’s hard to go wrong with this mic. It has a crisp and punchy, quality sound, it is versatile to accommodate for many kinds of drums and doesn’t cost a million either. If you are fed up with the sound of your “no name” made in China mics… this thing will undoubtedly bring a significant improvement!

- Reviewed at $165

Best Price on AKG D112 Drum Microphone

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