Design and Build

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

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

Audio Quality

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

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

Wireless Range and Connectivity

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

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

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

Controls and Usability

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

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

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

Battery Life and Charging

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

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

Internal Recording & Safety Features

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

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

Practical Use and Performance

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

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

Conclusion

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

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Lark M1 features

• Small footprint
  Lark M1 is so small and compact – it’s almost unreal. The nowadays popular Rode Wireless GO looks simply atrocious and bulky in comparison, and provides no real benefit unless paired with an expensive after-market lavalier. Yes, Lark M1 transmitters also weighs almost nothing… you may forget you’re wearing one.
• Rechargeable case
  It comes with a charging case so that your reciever and trasmitters are being charged when not in use. There is a 4-bar LED on the case that shows it’s battery level. Inside the case there are 3 more LEDs for the status of each device. Also, it is barely the size of a computer mouse so it’s very convinient. Aside from the case, each device has its own USB-C port and can be charged separately.
• Furry windshields
  A small but nice addition, the mics have custom windshields that can be snapped on for recording outside, helping to negate the wind noise. They have rubber bands underneath and fit tightly onto the mics.
• Noise reduction
  Clicking the yellow button on a transmitter activates the noise reduction mode while the LED status changes to green. Switching to this mode on one transmitter also broadcasts to another transmitter. It’s quite useful for noisy environment outside as well as indoor HVAC noise such as air-conditioning. Both modes with or without noise reduction are actually clean and are capable of producing a high quality audio regardless.
• Volume control
  There are basically 3 discrete output levels: -0 dB, -6 dB and -12 dB. Simply clicking +/- buttons on the receiver does the adjustment. I personally used it with my computer realtek line-in, input levels adjusted to 100% in sound settings and -0 dB on the device. This gives me a pretty good gain and I’ve never experienced clipping so far.
• Mobile connectivity
  Aside from connecting to cameras and computers via 3.5mm TRS to TRS cord, you can also connect to cellphones using the included TRS to TRRS cord. Lark M1 also comes with two additional cables: TRS to USB-C and TRS to Lightning. Having an Android phone I found the TRS to USB-C is the most convinient method, that allows me to use the remaining 3.5mm output for headphone monitoring.

Sound and quality

The sound quality of Hollyland Lark M1 is very good for a budget wireless lavalier mic. It does lack definition and clarity compared to professional standalone lavaliers, but the audio it produces is just as clean and the self-noise is minimal. For miniature and especially budget mics it’s one of the most important factors that makes all the difference between sounding professional and amatuer, because if the mic is noisy it is not easy to clean up the recording. Lark M1 is not particularly bright, nor does it have a lot of low end, which is why I like applying some EQ. It sounds fine for recording conversations out of the box though and it isn’t overly sensitive or ‘hot’, so it works fine in less than ideal or noisy environments.

Since you get two mics – they can be used in stereo mode, so I decided to make an experiment and record some music from my speakers for testing. Above are the results after tweaking the EQ curve. It actually did quite well, although I shouldn’t recommend it for music or other applications that require a lot of detail and accuracy. It is just to show that it works and it’s not bad, especially for a wireless mic. Now when it comes to price, and considering all the features it provides I would rate its performance as excellent. Hollyland Lark M1 is a tough competitor that comes on top in terms of price, quality and footprint. The only drawback being the transmission distance, which is not as good as some of the previously reviewed mics.

- Reviewed at $129.00

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Sound and quality

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

Built-in / mic options

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

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

Wireless signal & interference

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

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

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

Wireless GO vs Wireless GO II

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

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

Wireless GO II features:

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

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

Overall design

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

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

- Reviewed at $263.24

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

Sound & quality

HyperX QuadCast has a neutral tone and for the most part, it provides an unhyped sound with a clean and detailed midrange. The proximity effect in cardiod mode isn’t very strong, which means it does not vary as much in the bass response as you get closer. However, the amount of low does not disappoint, it may not sound as solid as a radio broadcast mic, yet it just naturally represents your voice without taking anything away. Blue Yeti in comparison actually sounds more hyped, with slightly scooped midrange, it sounds brighter and more intimate when up close, but there is also more hiss in Blue Yeti.

When it comes to vocals and music, tonally QuadCast doesn’t have any problem, so it can capture the entire frequency range without added color. If you want to upload a YouTube video with this mic, or play your favorite instrument via streaming – this is all fine. What the mic is not intended for however is recording. You must understand the strengths and weaknesses of this device and keep your expectations in check, because the fashion for the USB mics changes rather quickly. If you record and compare uncompressed audio, you will be able to see some distortion, which is otherwise unnoticeable.

Shock mount, pop filter

In a controlled environment, both mics actually sound fine for the USB standards. What actually makes the difference in a day-to-day application is the availability of the suspension that comes with QuadCast. Calling it a shock mount may sound ambiguous especially from a non-sound engineer’s point of view. Since this is HyperX, I am sure a lot of gamers will be reading this without seeing the importance of it. What this shock mount actually does is it mechanically isolates the mic from the table. You will be surprised how much noise usually comes through from a typical gaming desktop without this suspension.

Have you ever wondered why the keyboard strokes and mouse clicks sound so annoying when making a video call from your computer? That is because it is being amplified mechanically. A part of the sound comes from the air but another significant part comes from mechanical vibration. Those vibrations also significantly boost the low frequency part, so that each stroke has a deep rumbling to it. Now add up all the unintentional bumps on the table or even the chair, humming of the fans in your computer, neighbor’s subwoofer and even the vibration of a distant railway train. Well, I hope you get the idea!

A decent shock mount can make a huge impact but not only they are expensive (if you choose to buy a standalone solution) you will also have to purchase a boom arm, which may actually exceed the cost of your mic. Every other USB mic we’ve reviewed so far does not come with a shock mount. At best, they come with a pop filter but that’s it. HyperX QuadCast also has an internal pop filter though it’s rather just a piece of foam on the inside. It does an okay job and it’s better than nothing. The internal EQ is also adjusted for this, so it doesn’t impact on the clarity. I personally haven’t experienced any popping at all.

Polar patterns

If you are familiar with Yeti USB, QuadCast provides the exact same choice of polar patterns, namely cardiod, omnidirectional, bidirectional and stereo. Those can be adjusted with a knob at the back. The main and go-to pattern is cardiod, but in case you are unfamiliar with the patterns, I will quickly cover each of them now. Cardiod picks up sounds from the front and rejects sounds from other directions to a good degree. By minimizing the sound from other directions, you effectively reduce background noises and room reverberation, which manifests as if you were talking far away somewhere in the kitchen.

Cardiod pattern also introduces proximity effect. This simply means when you are close to the mic you will sound more bassy and intimate, though the QuadCast’s proximity effect isn’t particularly strong even compared to Yeti. Omnidirectional allows capturing sound from all directions, especially useful when you have more than one speaker at a time; however, it introduces more noise and reverb. Bidirectional pattern captures from front and back only, perhaps it is useful if want to capture the sound from your speakers, it also gives strongest proximity. Stereo mode is obvious I think… it too potentially introduces more noise, as it listens to the sides rather than directly in front.

Other functionality

This may sound trivial but the users seem to give a lot of importance to the mute function. Blue Yeti is an old mic but it still remains popular thanks to this reason, it has a mute button while other mics don’t. HyperX QuadCast did in a way copy all of its features but not without improvements. The mute button of the QuadCast is actually on top of the mic, it is touch activated and it’s very accessible. When the mic is on it will light up with red color, so there is no confusion about it. However, unlike a mechanical solution it seems to suffer sometimes from being activated on and off repeatedly from a single touch.

The mic also has a gain control, which is great – the knob itself is big and located at the bottom. There is no way you can miss it, but it’s also possible to bump into it accidentally. This control does not adjust the gain from 0 to 100 but it’s rather a fine-tune adjustment. You will still have to set up an appropriate value in the settings and I actually like it this way, as it gives you less chance to screw up. At the back, there is also a headphone jack for monitoring your mic output in real time. Unlike other mics however there is no way to adjust the headphone volume nor ‘in the mix’ volume aside from the sound settings.

Build and overall

This mic feels a bit unusual, it is actually very light; I believe it’s mainly made of plastic except for the grille. That said it is very tall unlike any other USB mic you’ve seen before. The good thing about it, it is actually brought further away from the table and a bit closer to your mouth, so this way it sounds better. The connector used is mini-USB, which is the same as Yeti, so this is fine. I have reviewed CVL-2004 before with micro-USB and it was a disaster. HyperX QuadCast works for both Mac and PC, and even PS4 and it’s certified to work with TeamSpeak and Discord. No connectivity issues detected.

Overall, I see it as a great pick. The sound may not be the best for recording but for things like YouTube, Twitch, streaming and gaming in general, it is ideal. Especially if you like the black and red theme, because unfortunately there is no way to turn off the lighting. But what’s far more important is the absence of background noise; the mic is not too hot, it gives a good and natural voice timber and comes with a whole bunch of useful features such as touch mute. Then once again, there is this exclusive shock mount… and an okay pop filter, what else do you want? QuadCast well deserves its price tag and even more!

- Reviewed at $139.99

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Stereo vs mono

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

Shotgun

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

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

Stereo mic

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

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

Features

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

Overall

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

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Blue Microphones, on the other hand, is the company that specializes on professional, quality mics. Blue Yeti is also such mic. Good build, quality made and an excellent sound pattern, with the only difference is that it’s being connected through USB unlike most high-end recording devices. For those who never held professional mics before, without exaggerating, this will be a sensation. The good news is it also has a very moderate price tag, comparable to more like computer accessories rather than a professional studio-recording device. The best price for the quality is what we believe makes Blue Yeti such a terrible rival.

Functionality and design

If you never had a studio mic before, this device may seem a bit large, and yet its dimensions are kind of fair: 4.7 x 4.9 x 11.6 inches for width, depth and height respectively. That’s including the stand. Contrary to what most users expect when they look at the pictures, Blue Yeti is made of a solid metal and has a very firm build overall. On the other hand, the control buttons have somewhat flimsy feel and should be used with caution. Looks like these buttons are the only things that can actually break or wear out, so in order to prolong the life of your device we advise to use them only when necessary.

Now it’s time to tell about its capabilities. Blue Yeti has two ports. The first one is of course USB that powers the device and sends the digital signal to computer. This model has a standard sampling rate of 16 bit at 48 kHz. The USB cable of around 6 feet long is also included in the package. The other output port is a 3.5 mm headphones jack, allowing you to hear exactly what’s being captured. Both ports along with a shock mount thread are located underneath the device; however, the shock mount itself is not included in the package and we’ll get to that later.

At the face side, it has a mute button and a volume control. At the back, there is another control for gain and a four-position pattern switch. You may choose between cardioid, bidirectional, omnidirectional & stereo picking patterns. This is achieved by combining three condenser capsules, whose signals are processed in different ways. Considering that the vast majority of traditional microphones use only single capsule, Blue Yeti will and does sound different. This can be especially noticeable in the cardioid mode; however, it’s not a necessarily bad thing!

Sound & quality

Blue Yeti sounds surprisingly rich for its cost. It is a sensitive mic so be prepared that it will be picking up both wanted and unwanted sounds alike. However, a proper positioning along with right picking pattern can help to achieve a good level of noise cancellation. For instance, if the source of noise is behind the mic, you may use a cardioid pattern; if the noise is coming from sides, a bidirectional pattern will be handy. This is where its functionality turns out very useful. If you play an acoustic guitar, you’ll especially like the stereo mode, which can make it sound much more natural.

The main advantage Blue Yeti boasts over its competitors is the THX certification. In fact, it was the first microphone that actually earned it. THX warrants for sound quality and guarantees the whole frequency range is delivered just the way it should – and this is indeed so. On the other hand, many other mics will often deviate from the natural pattern, coloring some frequencies and muting the others. Depending to the pitch of your voice or whatever you record those individual peculiarities can be both destructive and beneficial; however, any deviation greatly narrows the purpose of such device and more than often works as a disadvantage.

Although THX certification makes it hard to complain about Blue Yeti’s sound precision, this mic is still not devoid of some shortcomings. Condenser mics are generally capricious when it comes to environment noise, and even though this model offers a great deal of cancellation, for some uses this may not be enough. The thing is vibrations will also travel through the microphone stand, which you’ll hear, for example, if you place your mic at the table and try to do some typing. In order to eliminate such noises, people would usually use a shock mount. Yet, much to the surprise of the users, Blue Yeti has non-standard dimensions, thus many available shock mounts simply won’t fit.

Advantages, uses and application

To sum it all up, let us draw the line and say who and why should consider getting this particular microphone. Blue Yeti is made to handle things like podcasting & voiceovers, working great for any conference calls, and of course singing and playing instruments. You’ll get all that with near professional quality and simplest possible setup. Unlike other studio mics, you won’t need any special equipment like preamplifiers, etc. That makes it very easy to use with any computer or even laptop, as all you have to do is just plug it on and you’re ready to go.

Direct headphone output is also a very useful feature. It is still possible to hear yourself without it; that is by mapping the microphone through your PC back to your headphones or speakers, but that method is highly impractical. This seemingly unimportant feature will help you save from buying another piece of equipment that does exactly that. Then again, if you’ll use the pattern switch often, this will save you from buying three different mics. Overall, Blue Yeti would be both a great choice for any practicing singer and a perfect all-in-one budget solution for a home studio.

Best Price on Blue Yeti USB Microphone

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