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.

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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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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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Features

Rode Videomic NTG has been produced after Videomic Pro and Videomic Pro+, which are similar in a sense but do not have the USB functionality. Most of the features have been carried over particularly from our previously reviewed Videomic Pro+. I shall cover them briefly but won’t go into lengthy details because there are plenty of sources that do just that, the mic is being heavily marketed already but every feature adds to the price. Røde even went as far as selling you its exact disadvantages namely, inferior sound quality since computer market is dumb and they’ll buy it anyway, but more on that later.

• This mic has an internal battery that can work for 30 hours straight, but usually a recording never takes that long and thanks to an auto sensing function that powers the mic up only when the camera is on, it should never run out of juice. The battery is not serviceable but should anything go wrong, Rode will replace it for you while under warranty – and considering the problem they’ve run into with Videomic Pro+ batteries, maybe it’s for the better.
• The auto power sensing function works like this – it waits for the camera to power up the mic via 3.5mm jack, and when the current is detected, the mic turns on automatically. Although the feature is priceless, it is not fault-proof. In fact, it doesn’t work with higher-end professional equipment, I believe some Canon and Sony cams are on the list. If it can’t detect the camera, you will have to power it on manually …and if it still gives you only static, you will then have to procure an aftermarket TRS cable, which better be short unless you intend to look ridiculous.
• Rode Videomic NTG has a variable gain function once again, but the gain range has been extended from 0-10 to 0-15 whatever those numbers mean. Then you get a switchable 20 dB pad, a safety channel and a 2-stage frequency roll off. The good thing is – it comes with a guide on how to set up the levels properly and when the pad and safety channel should be used, so I don’t have to bother explaining this, thanks Rode for saving our time.
• The output ports, which you already know are the USB type-C and the 3.5mm trrs. The latter is auto-sensing, meaning it will work with cameras and computers’ TRS mic plugs and cellphones’ TRRS plugs without requiring a splitter. It has a relatively low impedance of 10 Ohms, which should be able to drive most headphones for direct monitoring. The USB-out provides 24-bit depth at 48 kHz sampling rate – this is fine, and type-C can potentially work with smartphones too.

Sound & quality

Now here is the part where I’m not too happy about Videomic NTG. It is obvious if you do some research and comparisons, for example by looking at the specs alone. What’s the buzz about 20 dB pad and safety channel whistles, when the dynamic range of the mic is only 105 dB, whereas Videomic Pro is specced for 120 dB? Here is another thing; the self-noise of the Videomic NTG is 15 dBA, for Videomic Pro it is 14 dBa, sounds like a negligible difference but even Rode admits this mic is noisier and noticeably so, because that’s acoustic noise and the USB transceiver might be occasionally adding a lot more to it.

Another clever quick hack is that the frequency response is specified as ±3 dB. If you are ok with math, it widens the range of acceptable parameters to plus side by 3 dB and minus side by 3 dB, thus making it 6 dB, which is enough to make it a complete mess. Meanwhile the response chart looks like a straight line, which it isn’t, because it has been normalized to look nice in accordance with ±3 dB specification, and the divisors on chart are 10 dB, lol, so the actual response has been effectively hidden. Videomic pro and pro+ show much more accurate curves that perform better in reality, even the pro+ is better despite being much more aggressive and directional.

However, that’s only half of the story because the real caveat is the off-axis response, which this time is demonstrated more clearly. If you overlay the polar pattern of the Videomic Pro and Videomic NTG, you can see that the Videomic Pro has a much more stable off-axis response. Videomic NTG is suffering badly from off-axis coloration; the high frequency sector is non-linear and rolls off rapidly. When used inside interiors this may result in bad comb-filtering effects, otherwise it may still require lots of EQ. When used outside there is another issue – wind noise, which is once again worse than in other DSLR mics of this price. Aside from that, Videomic NTG also has a poorer rejection from behind.

Why is this mic so subpar when it comes to off-axis coloration? Well, here is where marketing hype comes into play. Røde Videomic NTG indeed uses a new tube technology, which implies that the mic should be better, but this is not the case. The new tech, unfortunately, doesn’t mean better-sounding. It is a compromise – you sacrifice the quality for the size. Because the batteries have been moved inside, while keeping about the same length of the mic, Røde has had much less space to work with. They did a great job though at keeping a good degree of side rejection, matching that of Videomic Pro. Side rejection is always crucial for shotguns, but not every mic of this size offers a good rejection.

Durability & conclusion

Regarding the build and durability, the mic is pretty much solid and since everything is detachable, you will find it road worthy as well. There are no hanging battery docks, so it’s also aesthetically pleasant. However, one part you should be particularly careful about is the 3.5mm port. If you take it apart, the port is actually surface mounted, which caught me by surprise. If you are familiar with pc gadgets, the vast majority of failures are due to USB ports detaching from the boards. So, using a surface mounting instead of through hole is the worst possible decision one could make when designing the PCB for this class of gadgets. Rycote lyre is also worth mentioning for this build, the cable management is nice.

Time to wrap up with this review, so should you buy Rode Videomic NTG? Personally, I wouldn’t bother because I don’t need a USB mic. Videomic Pro is still just so much better in terms of quality, so for me Videomic NTG is a step back. You can buy a better shotgun for this money, but not every one will come with USB out, so if you really need this functionality it’s understandable. Comica VM20 has a similar concept, it’s much cheaper but unfortunately lacks in side rejection. Videomic Pro is far better choice if you don’t really need the USB and if you want a premium mic with all the features and maximum side rejection then go get Videomic Pro+ instead.

Best Price on Rode VideoMic NTG

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

Features

CVM-VM20 has an internal battery, rechargeable via USB. It uses a Type C connector commonly found on modern smartphones, and the charging cable is also included in the package. The battery lasts about 60 hours, which is not necessarily impressive if you are fixated on raw numbers. What’s far more important is that the mic has an actual OLED display that shows you precise battery levels, so you can always get the accurate readings and charge when necessary. With other mics, you don’t know when their batteries run out and the indicators are usually elusive too, not to mention the bulging battery compartments, which may feel a little bit awkward.

This mic has a two-step low cut button, which upon pressing will cycle it from flat to 75 Hz and 150 Hz roll off. It is nice to see a two-step low cut on a budget mic because usually only expensive mics have it. The 75 Hz low cut is crucial if you are talking super close to your mic, it prevents it from popping and overloading if for example you accidentally blow into the tube. I usually have it on by default, unless I need to capture some bass, but then I have to be more careful with handling. 150 Hz option is just as useful if you intend to record in an environment with motor noise, refrigerators, air-conditioners, vehicles, etc. There aren’t many useful sounds at those frequencies anyway.

At the opposite end from the tube, Comica VM20 features a gain knob, which allows boosting the output levels by as much as 20 dB, or 10 times when measured in volts. It is actually similar to Rode Videomic Pro, but unlike latter, VM20’s knob produces a variable gain. I can adjust it from 0-10 and always have the right gain for my needs. The knob feels tight and sturdy – it will never turn by accident, so you don’t have to worry about it. When used with my Galaxy cellphone I actually prefer the gain at around 5-level. Why? Because modern phones have AGC (automatic gain control), and they tend to crank the gain too high automatically during the silent passages, making the noise more audible.

Sound & quality

This mic sounds pretty much neutral and natural; it has a wide frequency range, crispy high end and a balanced low end. You can record videos with your phone, upload it to YouTube and get a very decent quality sound from get go. Compared to previously reviewed DSLR shotguns, this may be the easiest mic to work with. Full metal body also protects the VM20 from EMI, which may not sound like a big thing, considering we are only reviewing a budget mic here anyway? – Wrong, cellphones are one of the main sources of the electromagnetic interference, especially when the mic is literally sitting on your phone. Computers can also produce EMI, due to power saving states, so a shielded mic is always good.

On the other hand, signal to noise ratio isn’t that great, which means the mic will be producing a little bit of white noise on its own. This is what differentiates the budget mics from expensive shotguns. Rode Videomic Pro, for instance has a much better self-noise spec, and depending on your preferences may worth the upgrade, but for a budget mic Comica does pretty well, I mean you definitely get what you pay for. An extra gain may also help negating some noisy camera preamps, so it actually isn’t that bad. Anyway, the only time you can hear some noise is when recording indoors at night, with air conditioning and refrigerator turned off. For outdoors it really doesn’t matter, the ambient noise is much higher so the self-noise is negated.

Another difference from the Rode Videomic pro is the dynamic range, and the maximum SPL is lower. The mic will work fine for blogging outdoors for instance, but may not be able to handle extremely high sound pressure – generally, it will work for music but bringing it to a rock fest might not be the best idea. Finally, the pickup pattern isn’t as tight as the more expensive Rode Videomic pro. Comica VM20 captures a bit more of the surroundings, but it is still a shotgun and it is still directional, so as long as you are filming close enough to your target it will do the job. Well at least at a ‘selfie range’ when filming yourself with your phone while speaking for instance, it will definitely do the job.

Conclusion

Comica CVM-VM20 is a nice value for money, compact and road worthy shotgun, compatible with phones and cameras. It’s easy to work with and it has all the necessary features and accessories to start your production. The build quality of this Chinese mic actually surpasses the Rode. The sound quality is quite all right, it’s just clear and natural, so you do get what you paid for. Compared to expensive mics it may struggle catching up with signal to noise and dynamic range specs, and directionality but in this price range, I wouldn’t have to worry about that. If you want an inexpensive but durable, phone-compatible mic with a decent, natural sound and nice features +free dead cat, then of course look no further.

- Reviewed at $129.00

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Features

• Since not everyone is familiar with the former model, I am going to reiterate about its features and bring to your attention a bunch of small improvements as well in order to make an appropriate general overview. Rode VideoMic Pro+ offers low self-noise of 14 dBA, which helps to reduce the hiss when used in a quiet setting and or not pointed close enough to the subject. Furthermore, it has an active amplifier circuit, which allows boosting the produced electrical signal by as much as 20 dB or x10 if measured in volts. Why is this important? Well, the short answer is because it is a DSLR mic, and when used with camera preamps this can result in a better quality audio.
• (The long answer is, in professional application, the mics are usually connected via a balanced XLR cable. This cable has three pins, one for the ground and two for the signal, which is usually transmitted in a different phase from the ground using a balancing output circuit, so that when you subtract the ground from both ends on the receiver end, it effectively nullifies any potential noise introduced by the EMI. Then again, professional preamps are usually very quiet by themselves and can amplify the signal as much as needed without introducing any additional noise, so the only bottleneck is the acoustical self-noise of the mic itself, measured in dB or dBA… However, professional preamps can get quite expensive and even so, may not necessarily work unless connected via a proper cable, such as XLR to a balanced or low impedance source. Therefore, cameras generally don’t have such luxury and come with cheaper, sub-par preamps that can introduce a significant amount of noise due to active amplification and not rejecting the EMI properly, in addition to the noise generated by the mic itself. Therefore boosting the signal strength of the mic can effectively compensate for the deficiency of the camera preamps, thus further reducing the EMI, static or ground noises that might occur in your recording).
• Rode VideoMic Pro Plus uses a detachable 3.5mm trs-trs cable, which is of course better than the non-detachable cable on the non-Plus version. Not only because you can easily find a replacement but because you can now also plug a longer cable and use it with a boom, just like you would with a full-size shotgun without messing with extensions. Not many would have thought of using a DSLR mic like that but this actually works and effectively so if you want to capture a wider shot of somewhat talking while keeping the audio clean. Interviews could be a good example, or simply if you can’t get close enough you could zoom in a bit and extend your boom forward.
• Videomic Pro+ comes with a Rycote lyre suspension, which has become the new standard recently and provides quite a bit of physical isolation, so that the vibration and motor noises from the camera do not creep into your recordings. It is pretty much the same as the latest version of the non-plus, but the earlier version didn’t have one. The battery on the new Pro Plus is now rechargeable via a USB port. It uses a lithium battery instead of 9V and not only does it last longer (specced up to 100 hours), it can also be replaced with two AA size non-rechargeable batteries in case of emergency. The battery door simplifies the whole process.
• This mic has a two-stage high pass filter, flat, 75 Hz and 150 Hz roll off, which is a very useful feature. Without the low pass, the mic could overload if you accidently blow in it, plus it can filter out low frequency rumble, vibrational and other meaningless noise from your recordings. One interesting feature of this mic is that it automatically powers on when your camera is powered on. It detects most of the cameras but not all of them (so sometimes you may have to power it on manually). All the mic controls are also digital and they remember their state upon power cycling the device. LED strength also adjust depending on the lighting.

Sound & quality

This mic has a clean audio, with very little self-noise of only 14 dBA. This makes it suitable for recording in a quiet setting – not every mic, especially DSLR mic is capable of that. When the recorded signal is low it needs a lot of amplification, so on mics with higher self-noise this could become apparent. At the same time, it has a high dynamic range of 120 dB and specced for 134 dB maximum SPL, so extremely loud sounds aren’t a problem either. This could be useful if you want to record music festivals without degrading your sound for example, but most importantly, it prevents the mic from overloading when used at close range.

Moreover, Videomic Pro+ has a safety audio channel, which records in parallel but at a lower gain, so even if the main audio has been corrupted, you could still replace the bad parts with the safety audio in your editing software. Overall, this mic gives you a great sound quality, not only because of high gain and low noise, as mentioned early but also because of a tight pickup pattern. Rejection of the surroundings noise is just as important and the shotgun mics are suited for this task. However, when it comes to DSLR mics, the amount of rejection from the Videomic Pro Plus is unmatched. The supercardioid pattern it offers is almost as tight as full size short shotguns.

This is very important, and this is actually the biggest difference between the Pro Plus and the regular Pro version. Non-plus version is smaller, shorter and inferior when it comes to rejection. However, the latter has a more neutral, ready for production response. The difference in the pickup pattern is directly responsible for the difference in sound between the two. Videomic Pro+ has lots of clarity and sounds brighter, but the response is also a bit more colored, the upper midrange stands out, so some basic post processing is recommended. However, if I were to choose between the two, I would pick Pro Plus any time, because the additional side rejection is totally worth it.

Alternatives

This is undoubtedly a great mic from Rode: it offers maximum directionality for its relatively compact size, and produces a high quality, high gain sound signal for your camera. However, I do find the price somewhat questionable. The non-plus version was already somewhat pricey, Pro Plus is definitely an improvement but at the time of the review, the price is nearing a $300 mark and this is significant. FYI, for this money you could get a regular shotgun like NTG-2 and a decent on-camera Rycote lyre such as Rode SM3-R – no gimmicks, no battery holder, full metal shielded body, durable, better response and quality control.

Considerations

This is not the first iteration of their camera mics – rode constantly improves their model lineups and adds new useful features, but more features aren’t always better. The build quality is about average. The mic body has plastic parts and the battery placement outside the mic in my opinion is little bit impractical. Regular shotguns have a better feel, although unfortunately, they can’t be just straight plugged into each and every camera. Videomic Pro Plus just doesn’t feel solid enough for its price and with more features and buttons there are always more potential problems. Don’t get me wrong, Rode does offer 10-year warranty on their products, but dealing with customer service can be a hassle too.

The battery deck in particular, has a non-standard pin inside, in the middle, which is used for charging the battery that comes with the mic. You must use caution when taking it in and out or replacing it because if you do it carelessly you may damage it and will not be able to record. Another nuisance is that for the price, Videomic Pro+ doesn’t offer any extra accessories. One would think that a premium mic should have premium accessories with it, but this doesn’t seem to be the case. If you want a dead cat for example, you will have to buy it separately. Well, at least it has an integrated Rycote Lyre mount.

Conclusion

If you need a quality sound for your camera and can afford this mic, by all means buy it. This is probably the best camera mic out there that can be directly plugged via 3.5mm connector. However, it is definitely not cheap, and the build quality just cannot match that of a regular sized XLR shotgun.

- Reviewed at $299.00

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

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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Frequency response

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

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

Performance

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

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

Verdict

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

- Reviewed at $249

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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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Noise levels

There is a lot to be said about this mic’s sound quality but I’ll start with highlighting its incredibly low noise levels. The spec for equivalent A-weighted noise is only 8 (eight) dB! This pretty much beats every other shotgun I have previously reviewed; not only that – it surpasses the noise level of Schoeps top of the line mics. At the same time sensitivity is very high too – 40 mV/Pa. For comparison, MKH 416 is only 25 mV/Pa with A-weighted noise level of 13 dB. So, we have 5 dB difference in noise plus difference in sensitivity adds another 4 dB, which makes Sennheiser MKH 8060 effectively quieter by a whopping 9 dB.

This however, isn’t as important as it may seem because shotguns are mainly intended for outdoor use where the ambient background noise easily exceeds 50 dB, and for interiors, you could be getting as much from HVAC (air-conditioning, refrigerators, etc.) so plus/minus 9 dB barely makes any difference. No one actually complains about MKH 416 being noisy in the first place. In fact, the opposite appears to be true. While the self-noise maybe lower with MKH 8060, when used outside in a windy setting it appears to be much more susceptible, compared to the MKH 416 where the difference could be audible.

On the other hand, Sennheiser MKH 8060 does claim an advantage when it comes to indoor usage but for another reason. It has a more linear high frequency response and a different tube design helps to reduce variation in polar response among different frequencies while keeping the off-axis response low, which in turn results in reduction of the comb-filtering effects as well as other unwanted reflections. To put it simply, it has a better off-axis response, so in confined and untreated interiors or in proximity to the walls and ceilings, it should have an advantage. Yet, it’s important to consider its directionality too.

Frequency response

To say it has a better off-axis response is only half the truth, for although it may be better in terms of cancelling the comb-filter effects, and has a more stable higher end altogether, the increased directionality comes with its own trade-offs, which in this case actually affects the low-end and midrange instead. Indeed, MKH 416 with its wider pickup pattern does sound more natural than the MKH 8060. When it comes to the timbre of the voice, especially when off axis – it is much more forgiving, despite the steeper roll off at the higher frequencies, which some operators actually use to their advantage by shifting the axis slightly to get more mellow vs. brighter sound without compromising quality too much.

The frequency response of the MKH 8060 on axis is remarkably flat, without a slightest dent or bump all the way to the upper limit, and, probably even extending well beyond. This however doesn’t make it sound any special, so if you were expecting to hear some special “movie sound” you could easily get disappointed. Don’t get me wrong, the sound quality is superb; it has all the richness and openness, and the amount of detail is remarkable too, it’s just flat curves are never exciting and to me 416 just sounds better off the box. MKH 8060 could take time getting used to, though after a while it sounds just as good as your favorite mic.

This mic has three distinctive switches, one for -10 dB attenuator, and the other two for controlling the frequency response, both of which are quite useful depending on your environment. The high frequency boost is mainly used with blimp so it doesn’t sound muffled while covered in a bunch of fur. The low-end roll off is useful for reducing HVAC noises as well as compensating for proximity effect when very up-close, which you shouldn’t be doing anyway. Because switches make openings in the tube, this could potentially result in additional wind noise crawling into your recordings, so some advise sealing them with a tape.

Directionality, Humidity & Overall

Sennheiser MKH608060 has great specs on paper, better high frequency response and very low self-noise compared to the MKH 416; however, the mic was not meant to be the replacement of the latter, but rather for extending the range of the existing microphone. Sennheiser MKH 8060 does indeed provide a better side rejection and higher directionality but this comes at a price of becoming bulkier: 280mm vs 250mm in length and 25mm vs 19mm in width, (despite the reduction in weight 150g vs 175g) is a significant drawback. Schoeps CMIT 5 for comparison offers even more side rejection than MKH 8060 while having a smaller profile but that is not surprising as their mics are among the most expensive too.

Sennheiser mics however have advantage over CMIT when it comes to humidity. Since both MKH 416 and MKH 8060, as well as previously reviewed Rode NTG-3 are RF-biased, they can work at lower polarization voltages and therefore less prone to failure and crackling noises due to excessive moisture in 100% humidity conditions. When choosing between the two, Sennheisers MKH 416 appears to be even more rugged than the MKH 8060 and less susceptible to wind noise too. MKH 8060 on the other hand is ideal when extended reach is required and its improved off-axis rejection comes handy for cramped interiors, especially when you don’t have time to switch to your hypercardioid or only carry one mic.

- Reviewed at $1,499

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