What is it?

Warm Audio produces an impressive selection of vintage-inspired mics from full-on valve recreations, such as the WA-67, through to more affordable transformerless designs, such as the multipattern WA-87jr. Its most affordable designs are the Studio Essential models, which are available for both the WA-87jr and WA-47jr, and it’s the latter we have up for review.

Offering a more affordable but streamlined version of the WA-47jr, the WA-47jr SE is a vintage-inspired cardioid condenser. Featuring a large single backplate capsule, with gold-sputtered centre tapped diaphragm, the mic has a voicing based on the classic Neumann K47 capsule and FET-based circuitry inspired by Neumann’s U47 FET design. Available in both nickel and black finishes, the box includes the mic, a hard mount with thread converter and a storage pouch. There’s no flight case, but the padded retail box provides a good storage solution.

The transformerless phantom-powered design features a fully discrete signal path, utilising high-quality Wima film capacitors and Toshiba FETs. On the specification front, it offers excellent self-noise (9dBA) and good sensitivity (14mV/Pa). Importantly, and in line with what you’d expect from a FET U47 design, it also has high SPL handling (147dB maximum).

Meanwhile, in line with the streamlined remit, there are no on-body options such as a low-cut filter or a level pad. Finally, much like other Warm mics we’ve tested, the WA-47jr SE is manufactured in China, quality tested and checked at Warm’s Texas facility and comes with a 5-year warranty.

Performance

The WA-47jr SE build quality and finish are excellent, with good labelling and stylish yet minimal branding. At 52mm diameter and 212mm length, the mic has a reasonably slender profile and standard cylindrical shape, so it is not really based on a Neumann U47 shape. That said, the post-mounted capsule sits high in the headstock and slightly behind the grille framing, which is like the Neumann classic. At 647g, including the clip, it feels reassuringly solid and is easy to adjust and set up.

Neumann’s U47 FET is highly regarded as a more robust alternative to the valve version and is often preferred for high-SPL applications such as brass, bass guitar amps, and kick drums (typically outside, not inside). The capsule voicing features a presence boost of a few dB in the upper-mid frequencies, a further lift around 10kHz and a reasonably flat low-frequency response that tails off gently below about 250Hz.

The WA-47jr SE offers something similar, and first impressions are of a smooth mid to low-frequency response with some presence lift for the mid frequencies around 3-4kHz. The high-frequency air is not immediately obvious, and a quick look at the frequency response reveals a few dB of boost up to around 13kHz, which is slightly different to a U47. Nevertheless, if you’re looking for some kind of general comparison, the sonics are noticeably less hyped than a U87-style mic, for example.

The WA-47jr SE has a fixed cardioid pattern, which is reasonably focused, with obvious upper-frequency reduction from about 45 degrees off-axis onward. Meanwhile, the fully off-axis rejection, although not specified in detail on the chart, is good and will prove handy for directional use in the studio. Overall, the transition from on-axis to off-axis response is pretty smooth, making the mic easy to use for vocals or acoustic guitar, for example, which it captures really well.

In terms of high SPL uses, the WA-47jr SE performs well. We’d recommend a pop shield for vocal use; even so, the mic handles vocal plosives and other blast situations, such as kick drum sound holes, better than many large capsule condensers we’ve tried. All told, this makes for a very flexible mic.

Verdict

Maybe surprisingly, there are not that many options if you’re after an affordable mic inspired by the Neumann U47 FET. Warm’s WA-47 jr SE is not an exact copy (its own WA-47F fits that bill), but it certainly captures much of the original, including high-SPL handling and a smooth, unhyped frequency response. It’s a shame they couldn’t sneak in the low-cut filter, but overall, the WA-47jr SE still offers excellent value.

Hands-on demos

Warm Audio

Alternatives

Specifications

What is it?

Multifunctional recording hardware is nothing new, but this device from audio newcomer Hisong aims to push this to the limits. The S1 is a combined mic and audio interface, but with the added bonus of onboard DSP, minimal latency monitoring and both wired and wireless functionality. Clearly, this ‘all-in-one mobile recording capsule’, as Hisong calls it, is aiming high.

But before we get into how it works, let’s take a look at what you get. AirStudio S1 comes in three different bundles. The core 4-in-1 Musician Kit includes the S1 mic with proprietary wireless IEMs, an adjustable magnetic desktop stand, foam windscreen, USB-C cable, USB-C to USB-A adapter, IEM silicone tips and storage bag. The Creator Kit adds the RX Mini Wireless Receiver for a 5-in-1 package, and finally, the 6-in-1 Master Kit adds both the RX Mini and RX Plus Main Receiver, with the latter including further physical connectivity.

Fundamental to all bundles is the main S1 unit, which, in addition to its mic duties, is also a 2-in 2-out wired USB audio interface. It also includes wireless IEMs and integrated low-latency monitoring. Power comes from the onboard rechargeable battery (up to 10 hours of battery time) or via USB. Meanwhile, the IEMs are stored and charged inside the slide-open mic body. The S1 includes some on-body buttons for setting mic and monitoring options, but the whole ecosystem is primarily managed using the Hisong Link mobile app. Note: There is no desktop app.

The two RX-equipped kits add wireless connectivity between the S1 and your USB-equipped recording device. The RX Mini just provides wireless connection, however, the RX Plus is a more fully-featured rechargeable battery-powered wireless breakout box with two mini jack outputs (line and headphone) as well as a USB-C powering input and on-body level buttons. There’s also a slot-in USB-C shoe for connection to a target device and a cold shoe option for camera top mounting via the included 3.5mm to 3.5mm cable.

Performance

We don’t usually dwell on the unboxing aspect of the products we test, but here we’ll make an exception as the S1 package is excellently conceived. All components come in a bespoke compact toiletries-style carry case. This includes plenty of pocket sections, so even if you buy the Master Kit, all bits slot away neatly for transit.

At just over 12cm long, the S1 is nicely compact, and the use of magnetic coupling to the table top stand or included camera stand adapter makes mounting the mic quick and flexible. The S1 mic is end-addressed with two modes, condenser and enhanced dynamic, which you select using the on/off switch. These provide cardioid and super-cardioid patterns, respectively, and the condenser mode is obviously brighter with a much wider pickup pattern. Both modes handle plosives pretty well, and there’s only low-level proximity, making the S1 good for speech. That said, it definitely sounds good enough to capture other instruments.

The onboard IEMs pair automatically with the S1 providing immediate minimal latency monitoring, and the S1’s onboard buttons provide various options including mic mute and level. You’ll find more extensive controls in the Hisong Link mobile app, where you can also choose from a chain of DSP options including EQ, compression, reverb, noise reduction and limiting. These are quite basic single slider designs, but are nonetheless handy for quick changes. What’s more you can also specify processed or unprocessed for the USB output (though not the RX output). The mobile app also includes two handy recording features, OneTrack and DualTrack, designed for RX and USB connection respectively.

The kit has some further interesting functionality. First up, you can use the RX Mini and RX Plus at the same time. So, for example if you wanted to simultaneously send your mic audio to your camera mounted RX Plus and use its mini jack output to record onto the camera track, and at the same time record the S1 output to a laptop or phone all wirelessly, then you can. With the RX Plus in use, you also have both IEMs and a headphone output, again, both outputting simultaneously. Finally, the S1 is also available as a Bluetooth music target, allowing you to stream via Bluetooth to your S1 in stereo, and this audio will be blended with the mic source and sent to both RX devices.

Verdict

It’s clear a lot of thought has gone into this product, with functionality and portability at its heart. But it’s sonically pretty decent too, and although maybe not a first choice for audiophile music users, it still provides a great general purpose solution.

Hands-on demos

HISONG

Alternatives

Specifications

Pairing ribbon and condenser mics on the same source is a classic studio recording technique, but doing it successfully is not always straightforward.

Phase alignment, level matching and positioning issues mean that getting set up can sometimes take a lot longer than you’d think, and even then, the results are not always what you were hoping for.

All of which explains why JZ Microphones has just launched the MU-1, which it claims is the first studio mic to incorporate a ribbon element and a large-diaphragm condenser capsule side by side. These are placed in a level-matched, phase-coherent all-metal body with the aim of giving producers a reliable ribbon-plus-condenser option that can be pulled out quickly whenever they need it.

A single 5-pin XLR carries both signals, and you can then split these into two standard 3-pin XLRs using the included breakout Y-cable. This means that you can record either capsule on its own, or both on separate channels simultaneously so that they can be blended as required.

The MU-1 was designed by Grammy Award-winning producer and engineer Marc Urselli (U2, Nick Cave, Foo Fighters, Lou Reed, Elton John, John Zorn), who says: "The ribbon-and-condenser technique has been my favorite way of recording things for a long time. However, it involves having to set up two stands, negotiate space, align mics in the physical space, and align their phase afterwards.

“MU-1 is the first time the sound comes out of one microphone - phase-coherent, level-matched, and completely repeatable from session to session. That changes how I work: it delivers the best sound, simplifies setup, delivers options, offers a sonic palette that spans decades and improves everything."

Handbuilt in Latvia and shipping in a wooden box with its own shockmount, the MU-1 is currently available for pre-order priced at $1999/€1999. It’s set to ship in August, and you can find out more on the JZ Microphones website.

The t-bone, the audio brand that’s owned by esteemed retailer Thomann, has announced that it’s launching a new line of wireless microphones: The t-bone Free 300.

In a cheery statement, the German firm said the new line meant “more freedom for your performance… say goodbye to unravelling cables, trip hazards on stage, and restricted movement.”

The Free 300 range comes in two types – handheld mic systems and bodypack systems. Both the Free 300 HT 823 and the HT 548 in those types are equipped with three pre-programmed frequency groups and ten channels each, meaning you can run six systems simultaneously, which, of course, is very useful if you need multiple performers in a band mic-ed up at the same time.

As well as that, both the 823 and 548 include high-contrast LCD displays so you can check your frequency, channel, and battery status at a glance, even in environments where there isn’t much light.

You can also switch between handheld transmitter and pocket transmitter, though you can’t use both simultaneously. The range for both is 100 metres and they also both come with a rack mount.

According to t-bone, the 823 is “perfect for presenters and performers who need a license-free, professional wireless system that combines ease of use with high-quality sound. Its durable construction and professional features make it a trusted companion for stage, rehearsal, or event use.”

Meanwhile, the 548 “delivers clear sound and reliable performance with a range of up to 100 m. Its robust design and professional features make it an ideal choice for performers who need a cost-effective, easy-to-use wireless solution.”

For more information head over to t bone’s website at www.tbone.audio.

They might be musically adventurous, but Radiohead have tended to favour wired instrument and mic setups over wireless solutions when they’re performing on stage.

That changed in 2025, though, when the band reunited and performed a run of European live shows. This time, they made use of the Sound Devices Astral Wireless technology, and Radiohead’s FOH mixer Simon Hodge has now been explaining what convinced them that it was time to make the switch.

“The technology always needed to catch up in a sonic sense,” he says. “The band doesn’t tend to change how they operate for the sake of changing; they only are interested in upgrades that will serve their musical goals.

“Although the band have used RF systems for guitars in the past, the opinion was always that it never sounded as good as a cable and would not be adopted,” he continues. “When we became aware of Sound Devices Astral, we realised that the team had gone to some effort to make sure it truly did sound like a jack and cable input with customizable capacitance and impedance. I remember thinking ‘We might finally have something interesting here.’”

The change wasn’t made without careful consideration, though. “After listening to it myself, we brought it into Jonny [Greenwood]’s studio and did some blind tests between Astral and their preferred cables,” Hodge says. “We all listened and even the most cynical guitar techs were impressed! The quality of the audio path was obvious, and it wasn’t changing the sound at all.”

In the end, Radiohead ended up using three Sound Devices Astral ARX32 Wireless Receivers, 42 Astral TX Digital Wireless Bodypack Transmitters, and six Astral HH Wireless Handheld Microphones for their stage show. There was also the Astral Guitar Cable, which appealed to the band because of its selectable input impedance and cable capacitance, which enabled them to match their cabled setups.

The wireless gear also helped with when band members switched guitars during the set. Together with Radiohead’s RF Tech Matt Hayes, Hodge designed a custom solution which fed the Astral ARX32 inputs into a Prodigy Audio Processor via Dante and, used custom Streamdeck controllers to provide easy accessibility to both the band and their respective guitar techs.

“The band travels with dozens of guitars, Ed O’Brien himself had 32 on this run,” Hodge reports. “This was the first time we could have all 32 at once accessible and easily switchable in the same interface, a choice that either the musician or tech can make as needed.

“The need for quick, seamless changes in a live show is incredibly important and often more challenging when done in an ‘in the round’ setup as we had,” he continues. “The ease of use in the Astral UI allowed us to manipulate the signal flow seamlessly, which worked really well for the logistics of the show and allowed us total control with no compromises.”

It sounds like the Astral Wireless gear is here to stay, then, having stood up to the challenges of live performance without detracting from the overall spectacle.

“The band is very invested in the experience being as real as possible without any ‘fixes’ or gimmicks,” says Hodge (there are no backing tracks or Auto-Tune in play). “There’s a lot of pressure for these shows to be amazing given the following that the band have. This is countered by the fact that the band are extremely reasonable people who are very invested in their output and their fans, so they enjoy the challenge to get the best results, rather than deferring to ‘easier’ solutions.”

Summarising what makes the Sound Devices kit different, Hodge says: “It was an excellent experience for both the band and the fans because the setup allowed it to be intimate while still giving us excellent control of all the sonic and visual details that are so important,” he says. “We are all very invested in that personal experience and anything added only makes the cut if it’s guaranteed to do that.”

“The Astral Guitar System ended up being a game changer for us, and the band have been quite happy with the results on stage.”

Live sound technology has come a long way over the past 60 years, but one microphone has stayed front and centre throughout: Shure’s SM58.

Still viewed as one of the most reliable and consistent dynamic mics in the world, the SM58 remains a staple on stages around the world. And you won’t just find it in pubs and clubs: despite its affordability, even some big-name popstars continue to swear by it – Olivia Dean, for example.

Dean is something of an outlier among many of her pop peers in that she prefers a wired mic to a wireless setup when she’s performing, and Shure’s bombproof classic is one of her go-to models.

“The SM58 has been a staple of my live show for years,” she says. “Having the right microphone is so important to me; I need something reliable and durable and the SM58 has that warm, crisp and classic sound that I love.”

That said, on her current tour, Dean isn’t using just any old SM58: “We ended up going with a chrome finish for The Art of Loving Tour, which fits perfectly with the show design,” she says.

As well as being famed for its sound, the SM58 is also favoured by live engineers because of its cardioid pickup pattern, which helps to minimise feedback and background noise.

And then there’s that durability: Swedish magazine Studio once tested an SM58 after using it as a hammer, dropping it, freezing it, submerging it in water and running over it with a car, and it still worked. In fact, it continued to do its duties even after it had then been buried in the ground and endured rain, snow and more freezing temperatures.

It’s not just live sound history that the SM58 has been part of, either – it’s also been used on a few famous recordings, sometimes in rather unusual environments.

Speaking in 2024, the Human League’s Phil Oakey revealed that it was Shure’s mic that he had in his hand when he sang on their hit Don’t You Want Me, and that the take was captured while he was standing in a Sheffield studio toilet.

Speaking in celebration of the SM58’s 60th birthday, Chris Schyvinck, President and CEO of Shure, said: “Very few products remain relevant for 60 years, let alone become the industry benchmark. The SM58 has been trusted across generations not because of trends, but because it works, night after night, show after show.”

Rode PodMic USB review: What is it?

The Rode PodMic USB is a broadcast-style dynamic microphone that tries to solve a very modern podcasting problem, namely wanting the tighter, room-forgiving sound of a dynamic, but with the convenience of USB. Rode’s answer is a dual-output mic with both XLR and USB-C, a built-in headphone output for zero-latency monitoring, and onboard APHEX processing you can control through Rode software. In other words, it can behave like a classic interface mic one day, then become a simple plug-and-play desk mic the next without changing your whole rig.

My test setup was a typical home studio desk: laptop with an external monitor, small nearfields on foam pads, and a regular wireless typing keyboard whose clicky keys always seem to find their way into voice recordings. The PodMic USB was tested using a boom arm clamped to the desk, angled slightly downward so I could work close without blocking the monitor, along with a separate mic stand. I ran it into a DAW for voiceover and sung takes, plus a few live calls in the middle of the week and a bit of acoustic guitar when I probably should have been working…

Rode PodMic USB review: Performance

If you already know your way around USB mics, the Rode PodMic USB immediately feels like it is built for the recurring, important parts of recording. It is a dynamic end-address mic with a tight cardioid pattern, and that combination is pretty established as the ideal pairing for untreated rooms. You can work closer than you would with a typical USB condenser, leaning into proximity effect for that thicker broadcast tone, and keeping more of the room out of the capture simply because the mic is not as eager to scoop up reflections and desk ambience. Rode’s own placement guidance backs this up too, with the mic happiest at close distance where speech stays present and confident.

In my temporary desk setup, good sounds arrived fast. Like, almost instantly. With the mic about 5-inches away, slightly off-axis, it gave me a firm low-mid foundation without turning consonants into a spitty mess. The voicing is warm and full-bodied, but there was enough clarity to keep intelligibility intact, which is exactly what you want for podcasts, narration and streaming. I tracked three common scenarios: a straight voiceover read at consistent distance, a more animated faux-YouTuber segment with bigger level swings, and a quick sung chorus where plosives and proximity can get unruly. Across those, the PodMic USB stayed composed as long as I treated it like a broadcast mic, meaning close placement and controlled angle rather than sitting back and hoping the mic could do it all.

The physical design is a big part of why it works on a desk. The integrated swing mount makes positioning easy, and the mic is properly heavy, which helps it feel stable and planted once it’s in place. The flipside is that the weight and leverage really do ask for a solid arm and a decent clamp, especially if your desk has any wobble. As with any boom-mounted mic, you remain at the mercy of your overall desk stability - like a drunken ski lesson, any wobbles in the legs are going to come back to haunt you.

On a lighter stand placed directly on the desk, the mic will tend to translate vibrations into low thumps. Rode includes internal measures to reduce vibration, but I definitely noticed desk-borne handling noise when the mic was stand-mounted on the same surface as my hands and keyboard. I saw the same behaviour in a controlled way by tapping the desktop and shifting my forearms. Moving it onto a boom arm reduced those knocks immediately because the desk stopped being part of the mic’s mechanical path.

The onboard USB side is where the PodMic USB begins to show its strength. Rode builds in its Revolution Preamp design and pairs it with APHEX processing, and the feature set is aimed at getting a finished voice quickly. You have access to the core tools that home studio users actually lean on for speech: a high-pass filter to lose excess rumble, a compressor for level control, a noise gate for pauses, and the APHEX-style enhancement that can add brightness and perceived weight - when used gently. Those options are spelled out in Rode’s documentation, and in practice they work best when you resist the temptation to overdo them. A light high-pass plus moderate compression was the sweet spot for me because it kept the mic sounding natural while still delivering consistency.

Monitoring is another practical win. The headphone output is designed for zero-latency listening, which means you can hear yourself without the annoying delay that can show up when you monitor through a computer buffer. That matters more than people admit, especially when you are trying to speak with natural pacing or record vocals where timing is everything.

Slightly less positive is noise or hiss that’s tied to gain staging or setup rather than the capsule itself. One example is hearing low level noise out of the box, then pushing processing or gain hard and hearing hiss as a result, sometimes even in the recorded signal. That kind of complaint comes up in the wild often enough that it is worth mentioning as a risk factor, not a certainty. In my testing, I only heard obvious noise when I forced extremes, like cranking monitoring volume unnecessarily high or stacking unnecessary gain in software after already boosting in-app. The sensible approach is to set the mic gain correctly, stay close to the grille, and use DSP as seasoning rather than a rescue act.

Another real-world quirk is firmware and connectivity behaviour. Rode’s own support guidance repeatedly points out that updates can fail through some USB hubs, and that direct connection is the safer route. The takeaway for buyers is simple: if you plan to use Rode Central or related apps, do your first setup plugged directly into the computer with a reliable cable, then confirm your settings before you build habits around it.

Against the obvious competitors, the PodMic USB has clear strengths. Compared with a Shure MV7, it’s closest competition, you are in similar territory sonically and conceptually, but the Rode leans hard into software-controlled APHEX processing and the dual XLR plus USB workflow, while Shure leans into its own app ecosystem and a very established broadcast heritage in dynamics. The MV7’s published response range is narrower than the PodMic USB’s headline bandwidth, but in practice both are voiced for speech, so it might come down to your own personal preference.

Compared with budget dual-output options like the Audio-Technica ATR2100x-USB and the Samson Q2U, the PodMic USB is less of an entry-level mic and more of a solid, sensible option you can grow with. Those mics are all excellent value and very capable, but the Rode is built like a studio tool, ships with a proper pop filter, and adds onboard processing that can save time when you are bouncing between streaming, calls and DAW work.

Where it outperforms a lot of desktop USB condensers is simply how forgiving it is. In a normal room, a dynamic like this lets you get closer, reduce room tone, and keep the voice anchored even when the environment is not perfect.

Rode PodMic USB review: Final verdict

The PodMic USB is for people who want a broadcast-leaning voice sound without turning their desk into a small-format studio every time they record. As a dynamic mic with a tight cardioid pattern and a close-working sweet spot, it rewards deliberate placement and gives you a more controlled capture than most condenser USB mics in the same kind of room. If your space is lively, your desk is noisy, or your workflow involves talking more than singing, that alone is a strong reason to look at it.

Its strongest selling point is versatility. You get XLR for traditional interface or mixer setups, USB-C for plug-and-play, a headphone output for zero-latency monitoring, and onboard processing tools that can take you from raw to finished faster when you are working across different apps. That is a very modern feature set, and it is implemented in a way that makes sense for home users who jump between a DAW, a streaming app, and everyday calls.

The cautions are mostly about setup and expectations. It is heavy enough that a flimsy stand can become part of the problem, and desk-borne vibration is a known annoyance if you mount it on the same surface you are typing on. Put it on a decent boom arm and most of that disappears.

The other caution is noise complaints that show up when users push gain or processing aggressively, or when USB power and firmware setup are not ideal. Treat it like a proper broadcast mic, stay close, update it sensibly with a direct connection, and it is far less likely to bite you.

If you are choosing one desktop mic to cover podcasting, streaming and clean home-studio voice capture, the PodMic USB makes a strong case because it stays practical while still feeling like it was more expensive than it actually is.

Rode PodMic USB review: Alternatives

Rode PodMic USB review: Hands-on demos

Podcastage

Dark Corner Studios

Nexgen

Rode PodMic USB review: Specifications

Rode NT-USB+: What is it?

In a world filled with decent quality, low-cost USB microphones, brands have to generally pick a feature or lean on their reputation in order to stand out. Some can do both, like Rode, but how does the Rode NT-USB+ stand out right now, some four years after its launch, when there’s just so much competition? Let’s take a look.

Essentially, the Rode NT-USB+ is the superpowered upgrade to the venerable NT-USB, bringing onboard monitoring, an enhanced preamp and DSP magic to help users get better results with less effort. It’s built for the reality of home recording - one mic, one cable, and you’re ready to record, stream or chat without any of the hassle associated with audio interfaces, XLR cables and the like. It connects via USB-C, runs class compliant on computers and most mobile devices, and records at 24-bit/48kHz.

Rode’s philosophy is simple. It takes the simplicity of a standard USB mic and, using onboard wizardry, opens the door to quality and performance levels more normally associated with a higher class of equipment. Of course, some of this additional innovation requires an app to unlock, but that isn’t unusual these days.

To test the Rode NT-USB+, I tried to treat it like a real purchase, not a showroom demo. It lived on my very messy desk, next to my laptop, and slightly off centre from a large monitor with nearfield monitor speakers to the sides. Tests involved recording voiceover takes, the occasional sung vocal line (much to my family’s dismay), Teams calls and a couple of quick takes with the trusty acoustic guitar by my desk. Monitoring was handled by the onboard headphone out - more on that later.

Rode NT-USB+: Performance

The first thing experienced USB mic users listen for is noise - that annoying hum you hear when the gain is raised - and thankfully the NT-USB+ is reassuringly quiet in a normal gain range. Often you only notice once you start compressing or stacking takes, but here the baseline cleanliness is enough that I could do a spoken take, add gentle compression in the DAW, and not immediately regret it. That alone makes it feel like Rode spent the money where it counts, namely the preamp and conversion, rather than bolting on eye-catching features that look good on a box. RGB lighting anyone?

Tone-wise, it lands in a sensible place for content and music. On speech, it has that present, articulate midrange that makes diction easy without sounding overly hyped. This may or may not be a good thing for you - some producers actively seek out mics that have a colour or flavour of their own, and the Rode on test here just isn’t that mic. That said, there’s plenty that can be done once your takes have been recorded, and a good, clean take is always preferable to one that requires lots of work afterwards.

On sung vocals it stayed composed as long as I did the usual home-studio discipline: capsule slightly off-axis, pop filter on, and distance close enough that I could keep the gain at a sensible level. Rode even calls out the pop filter as part of the intended workflow, and despite looking a little plasticky, it is not just filler in the box. I found it genuinely helped tame those nasty plosives when I was working close, which is where cardioid condensers shine.

That cardioid-only approach is also part of why it can outperform the usual “everything mic” competition. A Blue Yeti, for example, gives you multiple patterns, but I’d bet most buyers leave it in cardioid anyway, and the extra capsule geometry can make placement more fiddly. The NT-USB+ asks you to commit to one pattern and then rewards you with straightforward positioning. In my desk setup, turning the mic a touch away from the keyboard reduced key noise more predictably than leaving the mic square-on and trying to fix it later. It still hears your room because it is a condenser, therefore sensitive to any and all sounds, but it makes it easier to keep the recording focused.

Monitoring is where this mic starts feeling like a tool rather than a toy. The headphone output is powerful enough to be practical, and the mix control is great. Being able to blend direct mic with computer playback means you can track without the slapback latency that kills confidence, especially on vocal phrasing. When I ran a vocal over a busy instrumental, I could keep the direct signal prominent for timing, then bring the DAW return up just enough to stay musical.

The other big differentiator here is DSP that lives with the microphone. Through Rode Connect, Central or Reporter you can enable a high-pass filter, compressor, noise gate and APHEX sweetening, and those settings can be saved so they travel with you when you move the mic between devices. That is useful if your workflow involves a DAW on the desktop, a laptop for calls, and a phone for… phone things. I tested this by dialing in a simple speech chain, unplugging, and then recording a short take on a second machine. The same processing was there, which makes the mic feel consistent across your workflow. Nice touch!

There are some quirks to report. One recurring theme I found when researching how other users had got on is noise that appears only in the headphone output, not in the recorded signal. In my case, I could provoke a faint hiss by cranking the headphone level higher than I would ever use, and it reminded me that onboard headphone amps are inherently sensitive to USB power and grounding. Other users describe constant hiss or static in the headphone jack regardless of knob position, with recordings staying clean, which points to monitoring circuitry and power conditions rather than the capsule itself. If you hit this, it is worth trying a different USB port, avoiding an unpowered hub, and testing with a second computer before you assume the mic is faulty. It can be annoying, but your takes will generally be fine.

Another practical quirk is that the NT-USB+ will expose how desk mounted your desk mounted mic setup really is. If the stand is sitting on the same surface as your keyboard, you may hear thumps and taps more than you expect, especially if you are used to a mic with a chunky base, like the Yeti. In my setup, sliding the stand onto a small foam pad I had been using to isolate a monitor speaker reduced low bumps immediately, and moving the keyboard slightly further away did more than any noise gate. This is not a flaw so much as the reality of a sensitive condenser placed in a busy desk environment. Nobody has cracked the code yet, so it’s harsh to criticise Rode here.

Competition-wise, against the Blue Yeti, I definitely felt like the Rode is more purpose-built for a single person workflow, and the DSP plus saved settings are a real advantage if you move between apps and devices. Against an Audio-Technica AT2020USB-X, the AT gives you higher sample-rate options up to 96kHz and a slick touch-mute, but it does not offer the same APHEX-style onboard processing ecosystem. Against an Elgato Wave:3, Elgato’s Clipguard concept is excellent for people who get unexpectedly loud, but the Rode’s broader approach, using DSP, makes more sense for hybrid music and content users.

My overall take from the home-studio test is that the NT-USB+ is strongest when you treat it like a proper microphone. Get it close, use the included pop filter, monitor directly, and either keep it clean or use the onboard processing gently. Do that, and it delivers a polished result with less hassle than most desk USB mics at this level.

Rode NT-USB+: Final verdict

The Rode NT-USB+ is the rare desktop USB microphone that feels comfortable in a music workflow, not just a streaming one. It gives you the basics you actually use, namely a cardioid condenser capsule, solid conversion at 24-bit/48kHz, proper direct monitoring, and the kind of gain structure that does not force you into extreme settings just to get a healthy level. If you are recording vocals, voiceover, acoustic guitar scratch parts, or regular online calls, it sounds clean and present with minimal effort, and it responds well to sensible placement.

The reason it earns a stronger recommendation than many of the other desk mics I’ve tested is the ecosystem around it. The onboard DSP is not just marketing buzz-speak. Being able to add a high-pass filter, dynamics control, and tasteful enhancement, inside the mic, can save time when you need a consistent broadcast-ready tone across different apps. The fact you can save those settings to the microphone itself matters in real life, especially if you bounce between a DAW, streaming software, and mobile recording.

There are two caveats I would mention to anyone coming from a Blue Yeti or similar. First, you lose multi-pattern flexibility. If you regularly record two people around one mic, or you genuinely use omni for room capture, the Yeti’s pattern switch still has value. Second, pay attention to monitoring behavior. You may experience hiss or static in the headphone output that does not show up in recordings, and while it can be down to power, ports, hubs, or grounding, it is something you should test early within your return window. Or make peace with the fact this is a common occurrence with USB microphones.

If, however, your main goal is one-person vocal capture on a desk with a clean signal, easy monitoring, and a sensible path to a finished sound, the NT-USB+ is one of the most rounded choices in its bracket. It does not try to be everything. It tries to be the one USB mic you stop thinking about once you take it out the box.

Rode NT-USB+: Alternatives

Rode NT-USB+: Hands-on demos

Rode

Tom Buck

Podcastage

Rode NT-USB+: Specifications

What is it?

A decent large capsule condenser microphone is one of the most useful recording tools you can buy. Choose wisely and with minimal maintenance it should last you a lifetime. Neumann’s U87 is the most well-known large capsule condenser, so it’s no surprise you can pick up all manner of designs based on it, and the models from Warm Audio are a case in point.

The WA-87jr is one of three similarly tuned U87-inspired mics from Warm Audio and at $299 is their middle-priced offering. It is a multipattern dual-diaphragm phantom-powered mic that’s available in either black or nickel finish. The package includes the mic, a storage pouch, and both a screw-on hard clip and suspension cradle. They’ve even included a replacement pair of cradle elastic bands, which is handy. The only downside is there’s no flight case, although the foam-lined cardboard box ably accommodates all the bits.

The dual backplate capsule is a custom K-87 style design with gold-sputtered, centred tapped diaphragms. It’s the same capsule used in their flagship and considerably more expensive WA-87 R2. This delivers three polar patterns – cardioid, figure 8 and omnidirectional. Beyond this, the electronics use a fully discrete surface-mount FET-based transformerless circuit utilising Wima film capacitors and Toshiba FETs. This is more affordable than the transformer-based circuit found in the WA-87 R2.

Further features include a switchable -10dB pad and a switchable 70Hz high-pass filter. Finally, although assembled in China, the mics are hand-tested at Warm Audio’s facility in Austin, Texas, and carry a reassuring five-year warranty.

Performance

The WA-87jr feels very well-made with a high-quality finish. The on-body switches have a solid feel and the cradle and clip are well-milled and easy to tighten. The headstock design maybe isn’t quite as stylish as an original U87, but it’s good to see a dual-layer grille, and this feels strong enough to see off bumps and knocks or even a wayward drum stick.

The mic is tuned to have a mid to high-frequency lift. Much like the U87Ai, this is slightly different depending on the polar pattern. But in cardioid mode, which is the mode you’ll want for vocal recording, this peaks at around 9kHz. The lift is 2dB at most and just enough to add some articulation and air. For lower frequencies, the cardioid mode also has a proximity effect that becomes pretty obvious from about 20cm and closer. In cardioid mode, unless you have excellent control of plosives, you’ll find a pop shield essential for close miking vocals. Meanwhile, in terms of isolation, the suspension cradle does an excellent job of reducing stand bump noises.

Warm Audio doesn’t provide detailed frequency charts for each polar pattern. As expected, in cardioid mode, we found the fully off-axis position noticeably rejects the mid-range, but high and low-frequency rejection is more irregular. Importantly, the on-axis response is quite broad, so you can move around quite a bit without the response changing drastically. The quoted self noise figure is 9dBA alongside a sensitivity of 10mV/Pa. This means you’ll need a bit more gain than the best-in-class large capsule condensers. However, the noise figure is excellent, and not far off some of the quietest condensers.

The WA-87jr achieves its figure-8 and omnidirectional modes by combining its two back-to-back diaphragms. Although typical for a large capsule design, this can be less precise than single capsule or ribbon designs. Even so, the figure-8 sounds pretty consistent on both sides. The omni, meanwhile, does have some subtle high-frequency variations in the pattern, and this is to be expected. That said, the omni mode is still very handy for capturing room ambience, particularly given its low self-noise.

Verdict

Overall, we really like the WA-87jr. It captures the essence of the U87 design and importantly, features multiple polar patterns and on-body pad and filter options, making it ideal for a multitude of recording tasks.

Hands-on demos

Warm Audio

Alternatives

Specifications

NAMM 2026: Shure has announced some extraordinary-looking new additions to its respected KSM line of condenser microphones today at the NAMM Show. The KSM32C, the KSM40C and the KSM44P brings the line bang up to date, and seek to further the range’s penchant for exemplary audio capture within an elegantly-crafted exterior.

Aimed at a plethora of studio and instrumental tasks, the three new additions to the line include newly engineered, hand-crafted miniature capsules that enhance off-axis rejection and overall clarity.

The first in the new line, the large diaphragm condenser KSM32C, is being promoted with the tagline, ’Small capsule, big sound’ and is said to deliver a smooth, balanced response with exceptionally low-frequency performance. This, Shure tell us, makes it ideal for both vocals and instrument recording, alongside other more direct duties such as drum overhead capture.

The KSM40C (which wears a tagline of ‘Warmth you can feel, detail you can hear) is also a large diaphragm condenser that sports a much more robust proximity effect and a high-frequency boost to aid the natural-feel of its captured sound sources. This makes it a great fit for taking in all the nuances of a wider array of instruments, including - in Shure’s words - upright bass, guitar amps and the thud of a kick drum.

The third offering, the KSM44P is the real headline here. This dual-diaphragm beauty is said to bring all that the other microphones in the range offer to the table, but also promises to maximize sensitivity and stabilize pattern consistency. This beefy, multi-pattern professional studio microphone features natural clarity and deep detail. Again, it can be thrown at a range of tasks, namely vocals, pianos, stereo techniques, distant miking and ensembles.

“One of the most immediately striking features is their impossibly low self-noise,” said Greg Norman, an engineer at Steve Albini’s legendary Electrical Audio studio who has been working with this new KSM series ahead of their launch. “So low, in fact, that while tracking a very quiet vocal, I found myself double-checking to confirm the mic was even active. This level of noise performance is seriously impressive.”

The KSM32C is available in either a ‘Stage Kit’ or ‘Studio Kit’, and all these microphones come bundled with a plethora of further relevant accessories, including shock mounts, pop filters, zippered carry case and mic clamps. Further info on specific package details can be found over at Shure’s website.

KSM32C/HM Cardioid Condenser Microphone (Stage Kit) - $659
KSM32C/SM Cardioid Condenser Microphone (Studio Kit) - $729
KSM40C Large Diaphragm Cardioid Condenser Microphone - $879
KSM44MP Large Diaphragm Multi-Pattern Condenser Microphone - $1,099

The KSM line will be available from Spring, Shure say. But we’ll be sure to swing by the company’s booth at the NAMM Show and take a look at these new KSM microphones ourselves. Keep an eye on our NAMM 2026 live blog for updates!

What is it?

AKG is responsible for some of the most popular and iconic microphones in recording history, and continues to manufacture classics such as the C414 condenser, alongside more affordable options such as the C3000. Its latest venture is the new C-Series. This offers their famous styling at an even more affordable price point, bringing AKG to an even wider user base.

The range includes three studio condenser mics - two larger diaphragm side address models (C104 and C114) and one end address pencil style model (C151) - and we have all three up on the test bench. Key design features to note include mic bodies made from recycled metal and the use of recycled pulp and other sustainable materials for the retail box. Indeed, for all three mics, the retail box also doubles as the storage box, with no further storage pouch included. As you would expect from AKG, the finish of each mic is excellent, and particularly good for this price point.

From a technical perspective, each mic offers something different. The C151 is a traditional small diaphragm (16mm) cardioid condenser. Its good transient response and high SPL handling are ideal for close miking instruments, meanwhile its light weight and cardioid pattern mean a pair of C151s would suit XY stereo recording.

Next up, the C104 is also a fixed-pattern cardioid condenser, but this mic has a larger 22mm diaphragm in a side-address configuration. Ideal for vocals, speech and instrument recording, its low self noise make it perfect for critical recording tasks.

The C114 is the most expensive and most flexible of the three mics. It uses a large 26mm dual diaphragm capsule to deliver a choice of cardioid, omnidirectional and figure 8 pickup patterns.

All three mics are phantom-powered condensers using transformerless FET circuitry and have good self-noise figures. They also include dual-thread mic clips designed for both ⅜” and ⅝” threaded stands – a nice touch. The only slight frustration is that there are no on-body options, such as a low-cut filter.

Performance

C151

This is the simplest mic and comes with a regular low-profile mic clip. We found the sound to be reasonably bright in the top end and this is confirmed on the frequency chart, which indicates peaks just above 5kHz and 10khz. Less obvious from listening tests is the gradual low-frequency tail off, which starts around 300Hz.

The mic works very well for instruments and captures a balanced sound from an acoustic guitar, for example. Despite the slightly pushed top end, it also works well on percussion. Used right in close, it has a moderate proximity that enhances the low frequencies. It’s also quite sensitive to plosives and wind, so you might want to purchase a foam wind shield if required.

C104

The C104 and C114 are both visually reminiscent of the classic AKG C414 shape, and although that’s where the similarity pretty much ends, it’s great to see AKG recycling this styling.

Of all three mics, the C104 will likely attract the most interest, as large diaphragm condensers make a great choice for vocals or speech, and can also be used for individual instruments.

The mic is a bottom-mount design and comes with an AKG-branded custom stand mount. This offers no isolation, which is a bit of a shame. But beyond this minor gripe, once set up, the mic both looks and sounds very good. In typical AKG style, the on-axis grille is silver and the off-axis side black, making the setup quick and intuitive.

Sonically, the C104 has a reasonably forward upper mid sound that enhances articulation in speech, vocals and instruments. It’s also quite full in the lower mid frequencies, with a noticeable proximity as you get in close.

The on-axis grille offers decent protection from plosives, and although we wouldn’t recommend using it without a pop shield for close miking, a skilled voice artist may well not need one. All in all, the C104 is a great all-rounder offering fantastic value.

C114

The C114 comes with its own C-shaped bottom-mounted suspension cradle. The combination looks very slick, and we found the cradle provided very good isolation. As mentioned, this mic has a very different capsule from the C104, and also has different sonics. In cardioid mode, there’s some lift in the mid to high frequencies, but this is less obvious than the C104, delivering a more neutral sound.

In figure 8 mode, meanwhile, the on-axis sound has more presence in the upper mid frequencies. The 180-degree off-axis sound is also consistent, so you could easily use this as the side mic in a mid/side setup.

Finally, in omnidirectional mode, the C114 has more high-frequency ‘air’ and sounds good on axis with the two diaphragms. The off-axis performance is less linear, which is not unusual for dual diaphragm omnis, and we would happily use this as an ambient mic.

Verdict

All three mics are simple to use and decently spec’d, especially considering the price. Throw in quality construction and familiar AKG styling, and these should prove suitably popular with a wide range of users.

Hands-on demos

Alternatives

Specifications

C104

C114

C151

NAMM 2026: AKG has announced the launch of three new condenser microphones under the C-Series banner: C104, C114 and C151. Aimed squarely at modern musicians and creators, the new C-Series mics are positioned as high-performance entry-level microphones suitable for a broad range of recording applications.

Drawing on the company’s considerable legacy in microphone design, AKG’s new C-Series mics promise to balance professional performance with user-friendly design, flexibility and sustainability. AKG emphasizes that the microphones are intended not only for music production and recording, but also for podcasting, streaming, gaming and content creation.

Sitting in AKG’s product line-up below its established studio flagships, the new C-Series offers musicians a choice of three affordable, entry-level workhorse mics that pay homage to AKG’s long history in studio recording.

At the top of the range we have the C114, a large-diaphragm condenser offering three polar patterns (omnidirectional, cardioid and figure-8) with an edge-terminated capsule that bears an unmistakable resemblance to the classic AKG C414 and C12. Positioned as an affordable, C414-style all-rounder that covers as much ground as possible, the C114 is suitable for everything from recording vocals and guitars to podcasting and streaming.

Joining the C114 is the C104, another large-diaphragm mic with a fixed cardioid pattern that trades the flexibility of the C114’s multi-pattern design for a significantly reduced price point. This is geared towards podcasting, streaming and video production, and would suit first-time buyers that value ease-of-use over versatility.

Finally, the C151 is a small-diaphragm pencil condenser with a cardioid capsule. Ideal for stereo or tight-space setups, the C151 is aimed at content creators or musicians recording detailed sound sources such as acoustic guitar, piano or drum overheads.

All three microphones cover a standard 20 Hz to 20 kHz range and feature transformerless FET circuitry, which AKG says provides an ultra-low noise floor and a wide dynamic range.

Sustainability is a key consideration behind the new C-Series: the microphone bodies are manufactured from 100% recycled PIR metal, and both the accessories and recyclable packing have been designed for low environmental impact.

AKG C114, C104 and C151 are available now and pricing details are below.

Find out more on AKG’s website.

• Pricing:
• C104: €135 / £119 / $129
• C114: €239 / £209 / $229
• C151: €135 / £119 / $129

What is it?

While its FRFR Spark Cab signalled Positive Grid's ambitions for its Spark range beyond the home, the Spark LINK wireless guitar system in early 2024 was a clear step beyond amplification and software for the company. The LINK XLR system is now a step further outside expectations - aimed predominantly at vocalists.

The LINK XLR is designed for dynamic microphones, and features internal rechargeable batteries for its transmitter and receiver – up to seven hours of battery life from a single charge via USB-C . It can also be used with other XLR devices with a mic level out, but is not compatible with those that require phantom power.

Positive Grid states 24-bit/48kHz audio with 103.7dB dynamic range and a stable 2.4GHz wireless connection. Up to four LINK systems can be used in one area and a sight line distance of 21 meters of wireless range is claimed, so I'll be putting all that to the test in a couple of band rehearsals.

It'll be my first as a vocalist/guitarist with a wireless mic, and I thought I'd commit further with a wireless guitar system by borrowing Positive Grid's LINK system for guitar too. Let's plug in!

Specs

• Launch price: $169 | £149 | €179
• Type: XLR wireless system for dynamic microphone
• Audio quality: 24-bit/48kHz
• Latency: Less than 3ms
• Frequency response: 20Hz ~ 20kHz
• Dynamic range: 103.7dB
• Wireless band: 2.4GHz
• Channels: 4
• Distance range: Up to 21 metres (70ft) line of sight
• Power: 500mAh internal rechargeable batteries offering up to 7 hours of continuous use, 5V 1A or higher USB-C charger required
• Dimensions: L x H x W Transmitter 98.99mm x 27.6mm x 25.4mm
  Receiver: 93.96mm x 27.6mm x 25.4mm
• Weight: Transmitter 55.9g Receiver 50.7g
• Contact: Positive Grid

Usability and sounds

I'm not exactly old school with guitar gear, but on reflection, a pattern has emerged between me and some areas of technology. I was later than most in abandoning wired headphones for Bluetooth with my listening, and I had an MP3 player when everyone else had already switched to streaming services on their phones. Even when I'm tripping over cables in my testing space, I still haven't tried going wireless with my guitar.

So this is a great opportunity for me to embrace a new approach to see if it convinces me. And first impressions are good; the LINK XLR system couldn't be simpler.

A receiver and transmitter are in the box, along with a braided gold and black USB-C to USB-C Y charging cable to enable both to be charged at once (charging time from empty to full is around two hours).

The colour scheme is now a familiar site for anyone who has used the Spark range of practice amps as well as the larger units – and I've reviewed a couple myself. The matte black is sleek but if you're looking for stealthy and low key, the gold plastic front panels of the transmitter and receiver aren't quite that vibe. But they are distinctively Positive Grid Spark.

The matte finish isn't ideal for avoiding scratch marks from general use either, but they only show close up and directly under light. The casing itself feels sturdy enough – though I wouldn't call it rugged like PG's Go amp – and with a pairing button / LED combo on the front and USB-C port on the back, along with a recessed reset button, it's all a simple plug-in-and-play deal. Though Positive Grid does provide a downloadable user guide on a scannable code.

When the receiver and transmitter are turned on they'll flash blue and then pair, the next colour their LEDs show will depend on battery status; green for battery level 16%-100%, yellow for 5%-15% and red when the battery is below 5%. So that green range is quite wide and something you can't really assume to rely upon as a 'good to go' colour ahead of a lengthy practice session or gig. I would have expected a narrower range so you'll really need to keep a mental note of usage time to be safe.

Helpfully, the transmitter will power down if no signal is detected for 15 minutes to conserve battery life, and the receiver 15 seconds later. This occurred a couple of times over the two band rehearsals I tested the LINK XLR for when we took breaks.

The quoted latency of "as low as 3ms" checks – throughout the practice sessions I was never really conscious of any difference to my usual wired performance with my trusty ol' Shure SM58 until one specific issue elsewhere…

When I'm not playing guitar on certain songs in the grunge covers band I'm singing for, I sometimes take my microphone off the stand. It feel like it helps me with certain demanding songs, but with the Spark LINK XLR fitted it's not possible to take the mic off its usual holder without removing the transmitter first. Any vocalists who want to take their mic off the stand mid-performance are going to find this a potential obstacle. But this isn't a unique issue to the Spark LINK XLR.

I tried the Spark LINK XLR with a Zoom LiveTrak L-20R digital mixer running three XTUGA IEM1200 wireless in-ear monitor systems (including my own), and also separately with my Laney A1+ acoustic combo serving as a portable PA.

The stated 21-metre maximum range wasn't possible to test in the rehearsal situation I was in, due to walls impeding the radio signal – but a test outside confirmed its accuracy. I can say the same for the seven-hour battery life – the Spark LINK XLR lasted through both rehearsal situations I used it for.

Using it alongside the loaned LINK system for my guitar, I didn't encounter any signal issues or dropouts with both using 2.4GHz transmission – both LINKs were able to take advantage of the maximum of four exclusive channels available. Indeed, the performance was so seamless I will probably be investing in a wireless guitar system for home and live use too soon.

Verdict

Verdict: ★★★★☆

The main potential issue with the LINK XLR are for those vocalists who want to be able to easily hold their mic and return it to the stand via a holder. Because the transmitter essentially blocks the mic from getting free of the holder without it being removed first. This is not an unusual issue for wireless mic systems, and a question for individual users at how much of an issue it will be. But in terms of audio and signal performance, the LINK XLR delivers everything I would want as a vocalist with the only caveat being remembering to recharge it!

But I say that as someone who will only be playing smaller gigs. While its line of sight distance range is under some of the pricier competition, including Boss, Sennheiser and Xvive, and it doesn't offer the larger 5.8GHz band functionality of some, the Spark LINK XLR's battery life and performance stack up for the price and should deliver for a lot of gigging vocalists in smaller venues out there.

MusicRadar verdict: The LINK XLR represents competitive value in the market for vocalists, and is a good way to go wireless – especially as an alternative to a full-blown digital wireless mic rig.

Hands-on videos

Positive Grid

• “Every bit as clear and crisp as a cable”: Positive Grid Spark Link review

• Launch price: $169 | £149 | €179
• Type: XLR wireless system for dynamic microphone
• Features:
• Contact: Positive Grid

For serious podcasters, creators, streamers, and even musicians who demand solid capture without fuss, a cool 15% off the Shure MV7+ is well worth your attention. I use the MV7+ personally and find it’s the best podcast microphone for the money, so when it goes on sale, the attention is justified.

Thanks to its hybrid USB/XLR connectivity, impressive onboard DSP, and ease of use the MV7+ can cover a lot of ground. The marriage of broadcast-level pedigree (drawing on the legacy of models like the SM7 line) with modern, creator-friendly features: USB-C, XLR, real-time denoiser, Auto-Level gain control, digital pop filter, and a sleek LED touch-panel, cos it’s got to look good on the streams right?

• Grab the Shure MV7+ with a massive 15% off at Amazon

It’s more than a pretty mic, though. In my sessions, the MV7+ has saved me plenty of times, thanks to those features that reduce cleanup time and make everything sound great from the first take. Which, for someone who records spoken word, voice-overs, and streams, is a real win.

What kind of discount can you expect in the Black Friday music deals? With the sale offering 15% off, the MV7+ drops into a tier where you can justify it not just as a “nice to have” but genuinely as a direct upgrade. From typical list pricing of $319 down to $269, it moves it firmly into the interesting value territory and is well worth a dip.

The Shure MV7+ is a mic I trust when I’m recording serious content and need minimal post-fix. If you’re already running a USB or hybrid workflow and your voice is your output, this is definitely one you should consider. The deal won’t last forever, and when it’s gone, the price will bounce back.

I picked it for the top spot in both our podcast mics guide and our guide to the best USB mics, and it earned a deserved four and a half stars out of five in my Shure MV7+ review. Whether you’re looking to start a podcast, upgrade your spoken word capabilities, or add another useful mic to an existing locker, this deal on this versatile Shure mic is well worth your hard-earned cash.

Shop more Black Friday deals

• B&H Photo: Early Bird Holiday deals
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Musician's Friend: Early Black Friday 50% sale
• Reverb: 80% off music gear
• Scan Computers: Pro audio savings
• Sweetwater: Black Friday deals up to 80% off
• Thomann: Up to 70% off Cyber Week sale

What is it?

The t.bone wireless microphone system from Thomann is an all-in-one package designed to make reliable wireless audio accessible to everyone – from public speakers to gigging musicians, without breaking the bank. Priced at just £123, it’s clearly aimed at those who want dependable performance and ease of use in a budget-friendly setup.

Operating within the 823–832MHz frequency band, the system combines a handheld super cardioid microphone and a compact receiver. The mic runs on two AA batteries, while the receiver is powered via a 12V 0.5A DC supply, though it’s worth noting that a UK power adapter isn’t included. Setup is refreshingly straightforward; once powered, the system pairs and performs within seconds.

The microphone itself feels reassuringly solid in hand, slightly bulky, but not heavy – and includes a stand clip for convenience. Thomann has built in some thoughtful functionality too: auto-squelch to reduce unwanted noise and an auto-scan feature that uses infrared to link the transmitter and receiver seamlessly.

Two included antennas boost transmission stability, while the receiver’s 10 preprogrammed frequency groups, each offering 10 channels, give users plenty of flexibility for avoiding interference. Around the back, you’ll find XLR and ¼-inch jack outputs, making it easy to connect to mixers or PA systems. On the front panel, a gain knob offers quick level adjustments, though it does feel a touch lightweight compared to more premium models.

Performance

There’s no better test for a wireless microphone than a real gig, so we took the t.bone freeU HT 823 out for a two-hour pub performance to see how it stacked up against our trusty Sennheiser e945, a long-time wired favourite known for its clarity and dependability. We’ll admit, we approached the test with a fair bit of scepticism, but the t.bone quickly proved it could hold its own in a live environment.

Straight out of the box, setup was refreshingly simple. The system powered up smoothly, connected instantly, and was ready to use within minutes. The front-panel volume adjustment felt sensitive, offering plenty of headroom; we rarely pushed it past the 25% mark. Once up and running, the signal quality was clean and crisp, with no noticeable background hiss or unwanted interference. It might not deliver the rich, warm tonal depth of high-end models like the Sennheiser or Shure SM58, but the difference isn’t as dramatic as you’d expect from a system at this price.

The microphone itself has a solid, confidence-inspiring build. At around 426 grams, it’s not particularly heavy, though the larger grille does make it feel slightly oversized during longer performances. That said, it’s comfortable enough to handle and sits nicely on a stand thanks to the included clip.

What really impressed us was the reliability. Over the entire two-hour set, we experienced no dropouts or signal interruptions, even while moving around the stage. The display showed around 60% battery life remaining at the end, which suggests it could easily handle a full evening of use without worry.

Sound-wise, the t.bone delivered punchy and well-balanced vocals that cut through the mix cleanly. It lacks a touch of the high-end sparkle and depth found in more expensive models, but for most live or spoken-word applications, the performance is more than adequate. Handling noise was minimal, and the microphone showed good rejection of background sounds, making it suitable for lively venues or events.

The system also played nicely with other wireless setups – no interference with our in-ear monitors or our guitarist’s wireless rig, which is a big plus for anyone performing with multiple systems on stage.

If there’s a weak spot, it’s mainly in ergonomics. The grille could be slightly smaller for comfort, and the gain knob on the receiver feels a little lightweight. But these are minor quibbles in what is otherwise a very competent and impressively priced wireless package.

Verdict

In short, the t.bone freeU HT 823 offers a reliable, great-sounding, and user-friendly solution for those wanting to ditch the cables without draining their wallet. It’s perhaps best suited to public speakers, small venues, and emerging musicians – but at under £150, it’s hard not to be impressed by the performance on offer.

Alternatives

Specifications

Sweetwater is getting ahead of the Black Friday game dishing out some amazing deals on music gear in its Early Access Black Friday sales event. If you're looking to upgrade your home studio or expand guitar collection, or finally take up the piano, Sweetwater is well worth your attention right now.

Naturally, with so many incredible deals to explore, visiting the Sweetwater site is only advisable if you have plenty of time on your hands. So, to save you some valuable time, we've done the hard work for you and gathered some of the stand out deals, including enormous reductions on some very desirable gear indeed.

Now, if you spot something you like, be quick as the sale ends on the 12th of November.

Positive Grid has expanded the Spark eco-system with a wireless system for microphones and XLR-equipped instruments that connects to mixing desks and PA systems with a minimum of fuss.

From the brand that brought us the next-gen desktop amp in the shape of the Spark, comes the Spark Link XLR, the plug-in-and-play wireless dongle connector, thingamajig, that could be the $169 solution your live performance has been waiting for.

If it performs as well as the MusicRadar-approved Spark Link, which is a guitar wireless system something similar for 1/4” connections, we will have few complaints – “easy to set up, crystal-clear audio, excellent range, and durable build” in the plus column, “no pedalboard charger” in the minus. And what about that range.

With a range of 70 feet (line of sight, matching the original Spark Link), it should cover most stages, most venues. We all can all think of at least one vocalist in our social circles that would make full use of that range – whether their audience or bandmates like it or not. Hey, sometimes it is good to be unshackled from all that cabling.

It will naturally be a neat fit for microphones. But any XLR-equipped device can be connected.

You can use up to four of these at the one time, and the performance stats measure up to the 1/4” equivalent, with a frequency range of 20Hz to 20kHz, a latency of less than 3ms, and a battery that gives you a maximum of six hours playing time. That’s a lot of singing.

But then you don’t have to be singing – as Positive Grid helpfully suggests, these could be used for public speaking, hosting Q&As, content creation, podcasters and livestreamers, and for religious services, or hooking up a DI box or dynamic microphone to deliver an acoustic guitar performance to the PA.

There are no menus to navigate. “Simply plug its transmitter into an XLR mic and plug its receiver into the mic-level input of a PA system, mixer or audio interface,” says Positive Grid. That’s pretty much the manual.

The quality of the audio is tip-top, professional-grade, handing it at 24-bit/48kHz resolution with a dynamic range of 103.7dB, over a 2.4GHz connection.

Available now, the Link XLR is priced $169, and is available direct from Positive Grid, Amazon, and dealers.

You can check out MusicRadar’s review of the Positive Grid Spark Link to see how that performed.

RECORDING WEEK 2025: While many DAW-based musicians in 2025 tend to deal with electronic sounds and loops, there is nothing like the addition of a real life human element to really bring a project to life. Thankfully, plugging in a microphone and recording audio is now simpler than ever, but the way you approach this could make or break your project, and the chances are this begins with a microphone.

If we put our technical heads on for a moment, a microphone is a form of transducer; this technical term describes a device that converts one form of energy to another. In essence, the sound which we hear is a form of wave, manifesting as pressure variations in the air.

The ‘air’ element is important, because if you tried playing a musical instrument in a vacuum, you wouldn't be able to hear it. (We’ll gloss over the lack of oxygen, but you get the point!)

Microphones contain a thin and flexible material called a diaphragm. When the pressure variations in the air hit the diaphragm, these vibrations are converted into an electrical signal, hence the conversion from acoustic energy to electrical energy.

Once converted to electrical energy, we capture that electrical signal with recording equipment, process it to shape the sound, and eventually convert it back into acoustic energy through speakers or headphones.

Pure pop
If you have ever sung or spoken into a microphone, you will probably be well-versed with the concept of ‘popping’.

This is created when a performer uses words that contain plosives, such as ‘Ps’ or ‘Bs’. A sharp blast of acoustic energy, masquerading as wind, hits the diaphragm with great force, much like a tidal wave hitting a shoreline. The resulting sound is described as a ‘pop’, and is normally an undesirable element in the recording process. However, it's also an important component for anyone who beatboxes, as it can be relied upon to mimic the sound of a kick drum.

It's also noticeable that the closer you get to a microphone, the more you tend to exaggerate low frequency content. Not so good for singer/songwriters, but excellent if you're beatboxing, unless a singer is trying to create a very intimate sound where the closeness can be incredibly endearing.

If unwanted popping is a problem for you, the easiest fix is to purchase a pop shield. This simple mesh filter is clipped in front of the microphone, allowing sound to pass through while dispersing sudden bursts of air.

Going polar
All microphones employ what is known as a polar pattern. This defines how much signal will be picked up by the microphone, around the 360° of the diaphragm.

The most common polar pattern is described as cardiod. If you imagine the shape of a heart, cast as an image across the front of the diaphragm, it would indicate that the bottom of the heart is where the microphone picks up the most signal. Around the back of the diaphragm, little-to-no signal will be captured.

An omnidirectional microphone will pick up equal sound all the way around the diaphragm, whereas a figure-of-8 polar pattern embraces the signal on either side, just like the pattern of a number 8.

Types
If you are choosing a microphone for the first time, or working to a budget, you probably want some form of microphone which can be used for all things. The good news is, most decent microphones will do a fairly good job across the board, though you should be mindful of their limitations and handle them carefully to avoid damage.

Broadly speaking, microphones fall into three main categories; Dynamic, condenser and ribbon.

Dynamic microphones are by far the most common, and are undoubtedly the most robust microphones available. If you perform live, the chances are you will use a dynamic microphone. It's safe to say that 99% of the time, live performance will involve the use of dynamic mics.

There are some very tried-and-tested dynamic designs which have been around for many years.

The ubiquitous Shure SM57/58 are highly recognisable. The SM57 is very common as a drum and guitar mic, while the SM58 is an eternal classic for vocals and frontline instrumentation.

It lends itself particularly to vocals, as it is equipped with a rugged pop shield, which does a reasonable job of preventing pops in a live situation. In fact, the 57 and 58 are so versatile, they will do a fantastic job in most recording environments. You could even place one in a bass drum, and it wouldn't complain!

One thing that you will find, if using dynamic microphones for recording, is that you may have to boost the input signal considerably. Dynamic microphones are passive in design and do not require additional power to operate. Therefore, they don't lend themselves to quieter recording scenarios, where background noise/hiss may become invasive.

This is where the condenser microphone slides into view. Condensers are normally the microphone of choice when it comes to recording.

While they operate in much the same way as dynamic microphones, they also employ a capacitor (aka condenser) to convert the sound into an electrical signal. This means that the microphone requires a form of powering, which is supplied from audio interfaces and mixing desks in the form of Phantom Power.

This electricity supply conveniently runs down the microphone cable at 48v, which is just enough power for the mic to do its thing. Some more elaborate or expensive condenser microphones may have their own external power supply, but phantom power is by far the most common option.

Because condenser microphones are so much more sensitive, they are perfect for recording quieter content, or could be used to record ambiently, where they are placed a considerable distance from the instrument source. They are incredibly versatile, but do be aware that placing condensers too close to exceptionally loud instrumentation, such as very loud guitar amplifiers, could result in damage to the microphone. It's rare, but it can happen!

Condensers also fall into two sub-categories; large diaphragm and small diaphragm condensers. Large diaphragm condensers do tend to look fairly substantial in their size. Small condensers, on the other hand, are often smaller and longer, sometimes described as pencil microphones.

They're not normally as small as pencils, but the visual association is understandable. They can also be a little more convenient in certain mic settings, where space around an instrument is enclosed or challenging.

Ribbon microphones are a category of microphone that falls between dynamic and condenser. As the name suggests, they employ a thin ribbon (often made from aluminium) which operates as both diaphragm and sound transducer.

Characteristically, they often provide a beautiful warm and rounded sound, which many describe as having a vintage character. They also tend to operate in a figure-of-8 polar pattern, meaning that they capture a signal from both sides of the microphone. This often means that the resulting sound is very open and natural.

Note that Ribbon mics can be damaged if exposed to phantom power, so you have to be careful when using alongside condenser microphones. They also emit a very low signal output, which will need amplifying considerably. This can be done using the gain on a microphone input, although there are devices that will help lift the signal externally too. These often require phantom power, eliminating the possibility of accidental damage to the microphone.

Ribbon microphones tend to exhibit a reduced frequency response, particularly in the top end. This means that they sound fantastic as overheads on drum kits, or on high strings as they don't exaggerate the brighter elements. They are also particularly good for recording brass and saxophones, or even pianos.

A few faves…
With so many mics available, it's difficult to know where to begin, so here are a few classic models to consider, all with a proven track record.

Shure SM57 and SM58 (£91/£115) - The eternal classic dynamic microphones, which are perfect for live, and useful for recording.

Shure SM7(B) (£459) - Another classic dynamic that was used by Michael Jackson, for many of his studio albums. It's also a popular podcasting choice

Aston Origin (£195) - A condenser mic, the Origin has become a contemporary classic. With a fixed cardioid polar pattern, it's excellent for vocal and instrumental recording.

Neumann TLM 103 (£749) - One of the more affordable microphone options from Neumann, it also employs a fixed cardioid polar pattern, using the same capsule as the infamous U87.

AKG-C414 (£859) - The humble 414 is another eternal classic, popular for recording acoustic guitar, acoustic piano, drum overheads and woodwinds/sax. It's become particularly popular for recording felt piano.

Neumann U87(Ai) (£2550) - One of the most iconic microphones in existence, the U87 has garnered a reputation as a formidable vocal mic over the last 50 years. It also sounds superb on just about everything else, from double bass up to piccolo! (Some contemporary engineers suggest that the U87 is a little bland by todays standards, with more colourful options available at this price point.)

Coles 4038 (£1099) - The Coles is about as British as ribbon microphones can get, having been a BBC classic for many years. It'll sound superb in so many settings, but works particularly well on brass and high strings. Rich and warm!

Royer R-121 (£1399) - Regarded by many as an underrated contemporary classic, the Royer is a beautiful example of a ribbon microphone, ideal for many string and brass based recording environments.

AEA R88A (£2899) - This mic is not only ribbon based, but stereo too. Ideal for recording small ensembles or to place over a piano for an amazingly colourful sound.

As the Weeknd, Abel Tesfaye has gone from underground alt-R&B artist to one of the biggest pop stars in the world, which means that his recent After Hours Til Dawn tour saw him filling stadiums rather than the smaller venues he started in.

A job well done, then, but it turns out that there was one unwanted technical side effect of the shows getting bigger, and it was down to The Weeknd’s live sound team - front of house engineer Derek Brener, monitor engineer Lewis Lowder, and RF technician Diego Correa - to solve it.

“I’d been chasing this very subtle intermodulated distortion that had begun to manifest once the systems got larger,” explains Brener. “I drove everyone crazy with it because I was the only one who noticed at first, but once I pointed it out to Diego and Lewis, we all heard it and wanted it gone.”

Obviously, a problem with the main attraction’s mic is always cause for concern, but Brener and his team did at least manage to work out what was going on.

“We came to realize that it was the result of the combination of [the Weeknd]’s unique vocal timbre and the hyping of compression and high-end,” he says. “This being companded gave us this high-end ‘rizz’ in certain areas.”

It’s one thing to isolate a problem, though; what you really need to do is fix it, and that took a while. In fact, it took a whole new mic setup.

“After months of trying to figure this out and swapping things out multiple times for other brands, we were introduced to the Sound Devices Astral and the Astral HH product line and realised we finally had a solution,” says Brener. This offers not only improved headroom and fidelity but also Sound Devices’ Gain Forward technology, which removes the need for companding.

“It really sounds like a wired microphone to me – not something you can say for most wireless units,” says Berner. “It’s a really flexible mic in terms of aesthetics and customisation as well, so we tricked it out in a gold shell and used [The Weeknd]’s favoured Sennheiser 5235 capsule and he took to it without saying anything – the ultimate compliment!”

Whether they actually told Tesfaye what they’d done isn’t quite clear, but it sounds like everyone is happy with the new arrangement.

“Most importantly – the ‘rizz’ was gone,” says Brener. “It solved this big problem that had been plaguing us for years, and suddenly we had a lot more flexibility in the RF setup as well.”

She might have the purest of voices, but Icelandic jazz-adjacent pop star Laufey reckons that she doesn’t need an amazing vocal chain to get good results when it’s being recorded.

Discussing the creation of Tough Luck - a recent single from her new album, A Matter Of Time - on the Tape Notes Podcast, Laufey agreed with her producer, Spencer Stewart, when he suggested that it’s the quality of the performer rather than the gear that matters most, and that it was “shame” rather than necessity that made him upgrade his recording setup.

“The first two [Laufey] albums [Neumann] TLM103 was the microphone - it’s a pretty common mic - and then Steve, our genius, beautiful engineer, who’s mixed all three albums, was like ‘Man, you need to get a better vocal chain.’ And so out of shame, I went and did that. So now we have a [Neumann] U67 going through some preamps and a compressor. And so that’s what you’re hearing on this third album.”

Despite this investment though - the U67 is a significantly pricier mic than the TLM103 - Stewart suggests that he’s always been happy to work with whatever’s available.

“I’ve always produced with an attitude that it doesn’t matter what gear you’re using,” he says. “It matters what notes you’re playing and who’s playing it. I think we could have done the whole thing on a [Shure] SM7 and it would have been fine.

“Different microphones have different frequency responses but so do different cellists,” he points out. “And Lau[fey] has a specific frequency response in her playing and to me that far outweighs whatever mic you put in front of it.

“It’s fun to have these vanity purchases of like, buying a nice microphone - and it does make it sound better - but ultimately, when you listen to the first album, Laufey, are you like ‘Wow, this sounds bad’?”

“Not at all,” replies Laufey, before explaining her own recording philosophy. “People sometimes expect me to be an audio snob because I exude ‘music snob’ sometimes, even though I’m not a snob,” she says. “The thing is, I’m not a snob at all. I don’t even remember the names of the microphones that we’ve recorded on. And sometimes I’ve done ‘clean versions’ [minus the swears] on a voice memo before. I’ve been in a different country and needed to turn the word into something else. I’m so with Spencer on that - I think the phone sounds great sometimes. Sometimes I listen to a voice memo and I’m like ‘whoa.’”

That feeling that all our music-making problems would be solved if we only had that extra piece of gear is certainly one that we’re familiar with. However, as Spencer Stewart concludes by saying, we often obsess about it to distract ourselves from what’s actually important.

“Sometimes thinking about gear can be an excuse not to think about the harder thing, which is ‘are your ideas good?’ It’s harder to make good note selections than it is to have the right microphone, so that’s my take on that.”

What is it?

Ribbon mics have a reputation for being fragile and having low output, and unfortunately this often deters potential users. But they are excellent at capturing complex sounds and in a controlled studio environment are a highly desirable recording tool.

Available in single and matched pairs, Fen-tone from retro gear maestro Warm Audio, is a contemporary side address figure 8 ribbon mic inspired by Bang and Olufsen’s classic BM3 and BM4 mics. But despite the visual similarity, Fen-tone ups the offering considerably, with both passive and active modes. The latter employs an on-board phantom powered JFET line lifter based on their standalone Warm Lifter preamp, and is enabled using an on-body switch. This provides 26dB of boost, making Fen-tone better compatible with a wide range of mic pres and interfaces. Meanwhile the passive option delivers a more retro experience for those with a suitable low noise high gain mic pre.

In construction terms, Fen-tone uses a raft of high-quality components including a custom Japanese ribbon, rare earth Neodymium magnet and CineMag USA output transformer. The whole mic is housed in a mirror finish compact pencil style housing and comes with a molded compact flight case. Further accessories include a mic sock, mic clip and polishing cloth.

Performance

Fen-tone is unquestionably a beautifully made mic, and with final testing and quality inspection at Warm’s Austin HQ, plus a five-year warranty, the £599 price tag seems reasonable.

The mic is quite compact and at around 300g is light enough for a regular boom stand, which can only be a good thing. There’s no cradle, but the included clamp-style clip does the job and facilitates easy setup. The visible motor ‘wings’ design also provides handy visual feedback when orientating the mic’s figure 8 pattern.

Although the temptation is to position the mic with the logo towards the source, Warm Audio is keen to emphasise that the Fen-tone has no dark or bright side, so you can use whichever side is more convenient.

We started testing with the line lifter active. This delivers a very healthy output level, and higher than you’d get from a typical phantom-powered condenser. As you might expect, it’s unwise to hot plug the mic with the phantom active, and for safety it’s also best to switch off phantom power when using the passive mode.

For comparison, in passive mode the output level is much lower, but not as low as many ribbon mics we’ve tried. Indeed, we think most modern preamps and interfaces should have enough gain to work in passive mode for many sources.

From a sonic perspective, the Fen-tone is everything that you would expect from this type of ribbon mic, delivering a smooth sound with gentle high frequency roll off. It also has impressive side rejection and as mentioned both on axis sides sound identical.

In keeping with other mics of this style, it’s great for nearfield use and with a high quoted maximum SPL is perfect for close miking guitar amps, bass cabs, or brass instruments, as long as you shield any direct wind.

The mic does exhibit some low-frequency proximity, and we found this very useful for getting ballsy electric guitars and punchy acoustic guitars. That said, it has no on integrated low-cut filters, which would add further low-frequency tailoring.

We tested the mic on different sources in both passive and active modes with the same mic preamp, and although the sound is close, there are some subtle differences. On electric guitar for example, the mid range sounded more forward and slightly brighter overall in active mode. Even so, the differences are subtle and have little bearing on the core voicing of the mic.

Finally, as you would expect from a ribbon design, you can EQ the recordings very successfully, so if you need to reduce the proximity or add some sheen before recording or at the mix stage, this should sound very natural and smooth.

Verdict

Fen-tone’s passive/active design might seem a little unnecessary, but the upshot is a highly flexible mic with an excellent overall delivery. What’s more, it’s also beautifully made and finished. Top marks.

Hands-on demos

Warm Audio

Alternatives

Specifications

What is it?

The Universal Audio SD-1 is a dynamic microphone designed for versatility. This could mean recording vocals, podcasting, streaming, and music. Being a Universal Audio product, there are expectations to manage here. It says it aims to provide professional-grade sound in an accessible package, making it an attractive option for musicians, content creators, and broadcasters alike. Does it succeed?

At its core, the SD-1 features a cardioid polar pattern, which helps reject unwanted background noise, focusing on the sound source directly in front of it. This makes it particularly effective in untreated rooms where environmental noise could otherwise be an issue. It also includes two onboard EQ switches: a low-cut filter (rolling off frequencies below 200Hz) to eliminate rumble and a presence boost (targeting 3-5kHz) to enhance vocal clarity. These settings allow users to tailor the mic’s response without the need for additional post-processing.

Physically, the SD-1 is built like a tank, with a robust metal body and an integrated shock mount to reduce vibrations. It also comes with a built-in foam windscreen to minimise plosives, making it ideal for speech and close-mic vocal work. Despite being a dynamic microphone, it requires a significant amount of gain from an audio interface or preamp, similar to industry staples like the Shure SM7B, so it’s worth keeping this in mind before you click ‘buy’.

Overall, however, the SD-1 is an excellent choice for podcasters, vocalists, and musicians who need a versatile, high-quality microphone without breaking the bank. Whether you're tracking vocals, capturing guitar amps, or streaming live content, the SD-1 offers a well-rounded feature set tailored to modern recording needs.

Pricing

• Full price: £229

At the time of writing, the SD-1, alongside it's compatriot, the SC-1 have been on the market for a few months and in that time, there has been a slight reduction in the price, compared to launch.

In the UK you can pick on up for about £211, which will be a saving of £88.

Performance

Universal Audio is a known quantity in the world of high-end audio gear. From legendary analogue hardware to industry-standard UAD plugins and interfaces, UA has built a reputation for premium sound quality, usually with a price tag to match. That’s why the SD-1 is such an intriguing product. It’s significantly more affordable than most of UA’s catalogue, but does it still live up to the brand’s reputation?

In our testing, the SD-1 proved a solid performer, punching above its price point in several key areas. The build quality is impressive; it feels professional, with a solid metal chassis and a design reminiscent of the Shure SM7B. It feels like UA wanted to create something that looks and feels premium despite its lower price, and it’d be hard to argue that it hasn’t achieved this.

On vocals, the SD-1 delivers a warm and natural tone with a slight midrange focus, making it well-suited for speech, podcasting, and singing. The built-in low-cut filter is useful for removing excessive low-end rumble, while the presence boost adds clarity, though it can make harsher voices sound a bit brittle. Unlike some budget dynamic mics, the SD-1 avoids sounding too muddy or dull, though it lacks the airy high-end of a condenser mic.

Instrument recording was another pleasant surprise. Used on a small Fender valve amp, the SD-1 captured a punchy, focused sound with good detail. As a dynamic amp, we’d have no hesitations putting it up against the front of a larger cab, but there are probably other mics – like the Shure SM57 – that are better suited to this kind of application. Good to see some versatility though. It also performed well on snare drums, providing a tight and controlled tone. In short, for recording instruments, while it may not be your first choice and its bulky size may preclude it from getting into nooks and crannies, it’s versatile enough to handle multiple recording scenarios.

Where the SD-1 truly shone was when it came to recording voiceovers and podcasts. For us, it’s up there with mics like the Shure SM7B for accurate voice-tracking, with superb high-quality recordings captured which require minimal tweaking in post-production. You might want to consider employing a shock mount for studio work, as it doesn’t come with one in the box, but otherwise, we’d happily recommend the SD-1 for such applications.

However, there are some trade-offs. The SD-1, like other broadcast-style dynamic mics, requires a lot of gain to get a strong signal. If your audio interface has lower-gain preamps, you may need a signal booster like a Cloudlifter or a high-quality external preamp. This is an important factor to consider if you're on a budget, as it could add to the overall cost. You’ll still capture decent results with a more basic interface, but to truly unlock the SD-1's potential we’d recommend pairing it with something that can truly give it the platform to shine.

So, is there a benefit to buying a "budget" product from a premium brand? In this case, yes. While the SD-1 isn't revolutionary, and it’s not short of competition, it offers a level of design, build, and sonic quality that’s hard to find at this price point. It doesn’t feel like a cheap knockoff with a fancy logo. UA could have tried to cash in on its reputation, but instead, the SD-1 feels like a well-thought-out microphone that just happens to be more accessible and easier on the wallet. For those who want a Universal Audio product without spending thousands, the SD-1 is a compelling entry point into its ecosystem.

Verdict

The Universal Audio SD-1 stands out as a versatile and durable dynamic microphone suitable for a range of applications. Its natural sound signature and practical features make it a valuable tool for both professionals and hobbyists. While it requires a preamp with ample gain and has a bulkier design, these considerations are outweighed by its performance and affordability. Whether you're recording vocals, instruments, or podcasts, the SD-1 is a worthy contender in its class.

Hands-on demos

Universal Audio

Alternatives

Specifications

What is it?

Essentially, the Universal Audio SC-1 is a large-diaphragm condenser microphone designed to grant access to a variety of classic microphone tones from the history of recording through advanced modelling technology. At a basic level, it features a cardioid polar pattern, focusing on sound sources directly in front while minimising ambient noise from the sides and rear, while a frequency response spanning 20Hz to 20kHz ensures the SC-1 captures a wide range of audio details, making it suitable for various recording applications. ​

One of the standout features of the SC-1 is its integration with Universal Audio's Hemisphere Mic Modeling plugin. This software allows users to emulate the characteristics of eight renowned microphones, including models inspired by the Neumann U87, U67, and U47, the Telefunken ELA M 251, the AKG C12 and C414, the Sony C-800G, and the Neumann TLM 103. These names might not mean much to a beginner, but those of us who’ve been around the block will be positively excited by this. It’s ‘kid in a sweetshop’ stuff. This modelling capability provides users with sonic options, effectively offering multiple microphone sounds in one unit. ​

Physically, the SC-1 is a tough cookie, with its metal construction ensuring durability for both studio and field use. It has a self-noise level of 12dB(A), making it suitable for capturing subtle nuances in performances without introducing unwanted noise, and the mic can handle sound pressure levels up to 145dB, allowing it to record loud sources like drums and amplified instruments without distortion should you need to, although we’d argue there are better options on the market for that.

The SC-1 is aimed at musicians, recording engineers, and content creators seeking a versatile microphone capable of adapting to various recording scenarios. Its ability to emulate multiple classic microphones makes it particularly valuable in project studios or for individuals who require a broad range of tonal options without investing in multiple high-end microphones. As a result, the SC-1 excels in recording vocals, acoustic instruments, and as a room or overhead microphone for drums, offering flexibility across different genres and applications. ​But how does it perform in a real-world environment?

Pricing

• Launch price: £399

The SC-1 was first announced at the back end of 2023 alongside UA's Hemisphere modelling software. Since then, the prices have dropped a bit, so you can expect to pick up these up for around £360. Some outlets have been spotted as going as low as £345, so there are some deals to be had.

Performance

In our experience with the Universal Audio SC-1, we found it to be a versatile and reliable microphone that delivers on its promise of providing access to classic microphone tones through modelling technology. Straight out of the box, the SC-1 exhibits a rich and full-bodied sound, capturing speech and vocals with clarity and presence. Its cardioid polar pattern performed admirably at rejecting unwanted noise, making it suitable for various recording environments. ​

The integration with the Hemisphere Mic Modeling plugin significantly enhances the SC-1's versatility. The plugin's user-friendly interface allows for seamless switching between different microphone models, each imparting distinct tonal characteristics. For instance, the U87 model offers a balanced and smooth sound, ideal for vocals, while the C-800G model provides a bright and airy quality, which brought life and shimmer to some acoustic guitar recordings we did. This flexibility means you can tailor the microphone's response to suit your specific recording needs without the necessity of physically swapping microphones. ​You might even find something you weren’t expecting, and isn’t that half the fun of studio work?

However, the SC-1 does have some limitations. Notably, it lacks on-body controls such as a high-pass filter or pad switch, which are common features on many condenser microphones. This omission means that any adjustments to the microphone's response must be made through the – admittedly excellent – Hemisphere plugin or within the recording software, potentially adding steps to the workflow. Additionally, the SC-1 is supplied with a standard hard mount rather than a shock mount. This design choice can result in the transmission of mechanical vibrations and handling noise, particularly when recording in less controlled environments. Investing in a compatible shock mount is advisable to mitigate these issues. ​

Another consideration is the reliance on the Hemisphere plugin to access the full range of microphone models. While the SC-1 performs admirably as a standalone microphone, the modelling capabilities are contingent upon the plugin, which requires appropriate software and hardware compatibility. Users should ensure that their recording setup can accommodate the plugin to fully leverage the SC-1's features.

Despite these considerations, the SC-1's low self-noise and high SPL handling make it a versatile tool in various recording scenarios. Its ability to capture subtle nuances without introducing noise is particularly beneficial for acoustic instruments and delicate vocal performances. The high SPL tolerance also allows the SC-1 to handle louder sources like drums and electric guitar amplifiers without distortion, further showcasing its adaptability.

Verdict

The Universal Audio SC-1 is a commendable addition to any recording setup, offering a blend of solid standalone performance and the added versatility of microphone modelling through the Hemisphere plugin. Its robust construction, low self-noise, and ability to emulate a range of classic microphones make it a valuable asset for musicians, engineers, and content creators seeking flexibility without compromising on sound quality. While the lack of on-body controls and the necessity for additional accessories like a shock mount may require some adaptation, the SC-1's overall performance and feature set provide substantial value, particularly for those looking to expand their tonal palette without investing in multiple microphones.

Hands-on demos

Universal Audio

Alternatives

Specifications

You’ve got to hand it to those advertising execs. When they were asked (presumably) by Lincoln to create the ‘ultimate mic drop moment’ to promote the new Lincoln Navigator SUV, they went very big and very literal.

The result is a suitably expensive looking ad that stars tennis legend Serena Williams and features what at first glance appear to be hundreds of microphones falling from the sky.

Now, as anyone who’s accidentally hit themselves in the face with a mic after misjudging a stand move on stage, these things are heavy enough to do a fair bit of damage, so what’s going on?

While you might suspect that CGI is responsible - and it may be, at least in part - it transpires that most of the mics you see being dropped on the street are made of rubber (or another similar material), as you can clearly see them bouncing off the floor.

They must be pretty light, too, as a brief behind-the-scenes clip shows them being fired from confetti cannons and being dropped from plastic crates.

Which isn’t to say that some mics can’t survive this kind of abuse. Back in 2007, Swedish magazine Studio took a legendarily durable Shure SM58 and used it as a hammer, dropped it on the floor, froze it, submerged it in water and - as Serena does at the end of the Lincoln ad - drove over with a car. And it still worked.

That wasn’t the end of it, though: they went on to bury it in the ground for a year to endure “rain, snow, freezing temperatures and a bunch of nasty micro organisms.” And guess that? It still worked when they dug it up.

As genuine mic drop moments go, that’s pretty impressive.

Williams, of course, also had a real-life mic drop moment of her own earlier this year when she made a surprise cameo appearance during Kendrick Lamar's Super Bowl Halftime show.

What is it?

If you’ve ever been near a studio, looked at photos of a recording session, or simply heard tell of the audio magic that occurs inside the most expensive playgrounds on Earth, you’re probably aware of Sennheiser’s MD 421 dynamic microphone. It’s the large diaphragm dynamic mic that has excelled at capturing broadcast dialogue, guitar amps, and perhaps most notably, drums since it was first launched in the ’60s.

Issued in various iterations over the decades, it’s recognisable visually from either the grey/cream or black housing, and sonically by its ability to deliver a wide frequency response, while also handling high SPLs. It’s these points that have made it such a constant success, lending the MD 421 to all kinds of applications.

But the MD 421 isn’t without its quirks. For a start, it’s blooming massive when compared to some other ‘instrument’ mics, which also means it can’t be mounted in a standard mic clip. So, if you want to use one, you’re going to need a stand, and in the case of a drum kit, you’re going to need lots of them.

Until now, because Sennheiser has put the MD 421 on a hot wash, and come up with the MD 421 Kompakt. It’s smaller, lighter, and comes with its own mounting hardware, making it ready to clamp to your drum hoop (although it can also be mounted to a traditional stand, natch). What’s more, Sennheiser reckons that the Kompakt delivers the same audio performance as the legend it’s derived from. Let’s find out if size really does matter…

Pricing

• Full price: $279 £229/€279

Performance

The Kompakt arrives in a cardboard box, lined with the usual foam. Somewhat bizarrely, the mic is shrink-wrapped to the underside of a piece of cardboard. However, once you’ve removed that, you’ll discard it and probably never think about it again (unless you’re writing a review, of course), because Sennheiser also packages it with a pencil case and the aforementioned drum clamp. Our first impression is that it’s surprisingly light. We’ve owned MD 421s before, and for many years captured the sound of our toms with Sennheiser’s E604 mics – live staples which feature a similar mounting system to what we find here – and the Kompakt is in a similar weight class.

Getting set up is easy – attach it to the clamp, clip it on the drum rim and you’re ready to plug in. But, while we're overjoyed with the fact that we can mount these mics without requiring an army of stands, the clip is also our first gripe. It’s a bit basic, with a friction-style screw determining the angle. Great news if you want to grab the mic and quickly change the placement angle, not so great when you find it’s slipping and pressed against the drum head a few bars later. It’s solvable by tightening the screw, but it would have been nice to see a small thumbwheel to secure it more firmly.

With that out of the way, though, we have to hand it to Sennheiser. On rack and floor toms, the MD 421 Kompakt delivers on its promises with a big, round capture of the lower frequencies, coupled by a bit of a top-end boost to aid with clarity. Unlike some drum mics, it’s fairly flat and transparent (as is its bigger sibling), giving you full control over the signal for processing after, and while this might mean that you need to get your hands dirty in order to carve out your sound, it’s all there as part of your canvas. It’s great on snare drums too, picking up plenty of body and crack, even from a fairly close position, and the reduced tail of the mic means that you can angle it correctly (despite some common misconceptions, the 421 is an end-address mic) without the exhaust end and cable getting in the way.

While it certainly works on kick drums, we preferred it as an ‘inside’ close mic for the batter head, delivering the click and attack of the beater rather than attempting to use it as the full-boom ‘kick-out’ mic. If it’s the only mic you have, it’ll cover the full spectrum of the bass drum, particularly in a live setting. However there are, of course, more tailored options designed specifically to go lower than the MD 421’s 30Hz floor, which actually rolls off and begins its descent at around 80Hz.

Verdict

There’s something about the shrinking of a product that makes us all believe that it’s going to be a stone cold bargain. The MD 421 Kompakt currently streets at around £100 less than the full-fat MD 421, and about £100 more than what’s likely to be a firm rival in the Audix D2 or 4. But, they’re for different customers. If you want a natural, open-sounding revision of a studio classic that’s better optimised for live use to boot, then it’s a great buy, and a convenient one at that.

Hands-on demos

Sennheiser

Alternatives

Specifications

NAMM 2025: There’s a whole raft of new products on the way from Shure, with the venerable studio brand pushing out the boat in multiple sonic directions.

Shure Nexadyne Dynamic Instrument Microphones

First off the blocks are Shure’s new line of Nexadyne dynamic instrument microphones. There are three new mics in the range, each featuring Shure’s patented Revonic Technology, and each tailored for a specific purpose.

While typical instrument microphones use a single transducer, Shure’s Nexadynes feature two precisely calibrated transducers working together to achieve perfect performance. The result is a sound with natural, authentic clarity that similarly keeps out unwanted noise.

Their combination of acoustic signal processing and exceptional polar pattern linearity delivers a stronger and clearer output with less need for EQ corrections later, Shure claims.

The Nexadyne 2 Dynamic Kick Drum Microphone features a contoured EQ, built-in acoustic protection from stage rumble, and improved high-frequency extension and attack. Designed for perfect placement, its swivel joint is separated from its XLR output to avoid strain on all-important connections.

Nexadyne 5 Dynamic Guitar Amp Microphone features a tiny, full-range dynamic cartridge design for easy placement, either hanging from your amp or secured with the mic clip (supplied) and stand.

Finally. the Nexadyne 6 Tom/Snare Microphone is designed to minimise bleed while delivering stronger focus and flexibility. With a clear high-frequency response, extremely flat mid-range and full low-end it also boasts a unique fixed angle design and a new, smaller drum mount (the A6D, which comes supplied) to reduce movement once the performance starts. The Nexadyne 6 is also available in the three-pack.

All three new mics feature a compact design and a discreet, black finish for unobtrusive deployment and come complete with a storage bag and brass mount adapters.

“Nexadyne Instrument mics bring Shure’s revolutionary Revonic technology to more audio professionals and performers,” said Nick Wood, Senior Director, Global Marketing and Product Management, at Shure. “Nexadyne is about capturing the essence of a performance. Now the same breakthrough dual transducer design that powers our Nexadyne Vocal Microphones is available in three new supercardioid models perfect for backline and instrument applications.”

The new Nexadynes will be available from February starting at £215 including VAT.

Shure SLX-D Quad-Channel Digital Receivers

Joining the new Nexadynes at NAMM comes a new wireless mic solution from Shure.

Building on its popular SLX-D wireless units, the new SLXD4Q+ offers the same quality and reliability, with four channels on board for four simultaneous wireless inputs into a single unit.

And maximising its potential, Shure’s new unit is available in both a standard (SLXD4Q+) and Dante-enabled (SLXD4QDAN+) version.

There’s new and improved 138MHz tuning range capability for the first time, the ability to sum the audio into a single output, XLR, 1/4-inch, and Dante output options, and it all fits in a single, compact rack space. Plus, two units can be cascaded to create an eight-channel SLX-D set up if required.

And through Shure’s ongoing partnership with Yamaha, Shure’s latest wireless product will once again be controllable from compatible Yamaha digital mixers.

"SLX-D Quad Receivers bring everything to the table that users expect from SLX-D: flawless 24-bit audio, streamlined, network-ready setup, and rock-solid RF," said Shure’s Nick Wood. “Now these features are available in a space-saving, four-channel receiver with wide tuning bands that cover the available UHF frequency range. This means a single SLX-D Quad receiver can be deployed throughout an entire country and sync with any band of existing SLX-D transmitters.”

The SLXD4Q+ is available now for £2,289 with the Dante-enabled SLXD4QDAN+ in coming in at £2,949.

Shure SM39 Vocal Performance Headset Microphone

The SM39 is Shure’s latest hands-free mic set-up, allowing complete freedom while always ensuring that vocals and on-stage performance are both delivered entirely unhindered to your audience.

It features a lightweight, low-profile design, a comfortable, secure fit for extended wear, and is all set to integrate seamlessly with Shure’s Axient Digital mic systems and all Shure Wireless Systems.

The SM39 is available now from £379 RRP inc VAT.

Shure KSM11 Wired Cardioid Condenser Vocal Microphone

Finally, there’s a new addition at the top of the Shure live mic tree.

The new KSM11 Wired Cardioid Condenser Vocal Microphone is a new, wired version of the company's famous, top quality wireless vocal mic, offering the extra security that only a solid, physical XLR connection can deliver.

Shure’s famous KSM11 capsule delivers a sound that requires substantially less processing and EQ to produce stage-ready sound.

The new KSM11 wired version (with XLR) comes in at £749 RRP inc VAT and is available now.

Justin Timberlake needs to sound great at every show, through every song in his repertoire. Fortunately, his tour crew have a special, low-budget secret on hand to ensure that the star remains permanently on point.

Timberlake is currently back in the States as the Forget Tomorrow tour (promoting his current album Everything I Thought It Was, released in March 2024) returns to the USA for a second leg as part of its ever extended global run.

Taking a leaf out of the epic books of Taylor Swift (whose two-year Eras Tour only recently ended) and Harry Styles (whose endless Love On Tour wound up promoting two new albums across three years) Timberlake has been on tour since April 2024 and won’t conclude until July this year.

And while the jaunt is ostensibly an album promo, it’s essentially a career showcase, with all the hits from his six-album catalogue, showing his full range (both in terms of vocal highs and musical directions).

As such, Timberlake needs to be great at every gig and through every song, and while you might assume that this would involve the use of every bit of trickery that 2025 can offer, the technology that delivers his trademark sound is refreshingly simple – unlike his amazing, flying, video box sub-stage that threatens to crush audiences (literally) every night…

Behind the scenes and front of house, the magic comes from Montreal-based Solotech and engineer Jaymz Hardy-Martin III, and he took the time to fill in Mix Online on what’s making the magic.

“I’m there just to make the sound come to life,” Hardy-Martin explains. “I don’t put myself on the mix; I just want to make what you have sound great live in any environment. I always start simple and then add only as needed.”

And as part of this ‘start simple’ philosophy, Hardy-Martin’s pic of vocal mic for such a superstar may surprise you.

I'm Lovin' It

The choice arose when, during rehearsals for the tour, Timberlake borrowed his choreographer’s Shure 58 to speak to the in-house crew.

“He sounded like when I talk to him in person, so I said, ‘Well, that’s the mic,'" remembers Hardy-Martin. "That makes it more personal for the fans, because even though you’re in an arena with 20,000 people, you feel like you’re talking to him one-on-one."

The Shure SM58 is perhaps the most popular microphone in the world: a dynamic mic ruggedly built for the road with a uniform cardioid polar pattern designed to capture a full vocal range in high noise pressure environments while doing its best to leave the background blast behind. Shure has been making (and delicately refining) 58s for 59 years, and you can join the legions of superstars who’ve relied on them (Justin Timberlake included) for around £110…

Supplementing this hardcore, no-nonsense mic is a surprisingly simple (albeit rather more hi-tech) EQ and effects line-up.

“I have the Waves F6 [EQ] on Justin, because he has a huge range, from falsetto on Cry Me A River to low register on No Angels,” explains Hardy-Martin. “ I can’t EQ that from song to song, but just F6 and a little bit of compression on him, and the 58 is perfect.”

Elsewhere, a Waves PSE is used on the vocal to prevent feedback – essential when the star is being flown out above the audience and in front of the L-Acoustics PA – along with plug-ins such as Manny Marroquin Distortion and Enigma Modulation.

And with Timberlake’s all-important vocals in the bag, Hardy-Martin uses one final bit of magic across the entire mix. “My secret sauce is the [Waves] L3 [Multimaximizer plug-in] on my overall master bus,” he says. “Put it on that last output and depending how hard you hit it, it brings everything in tighter, a little louder, a little more in your face and clearer.”

With all this tech at his fingers Hardy-Martin and team have one final visual indicator as to whether his mix is hitting the spot - the fans in the cheap seats.

“I’m always looking in the back corner,” he explains, “and if that person standing against the wall is dancing, I know it sounds and feels good. Even though we walked up there when the room was empty, everything is still translating, so when I see them moving, I always tell Hilario Gonzalez, my system engineer, ‘We did a good job tonight!”

You can find out more about the tour and get tickets via Justin Timberlake's website.

Unless you’ve been living on an island, you’ve most likely heard the MD 421 in action. We’re talking about the legendary Sennheiser microphone featured in countless award-winning performances and productions over the last five decades. This year, the company released the latest version of the classic MD 421 called MD 421 Kompakt, and it's here just in time for your holiday shopping. The new design delivers the same remarkable dynamic range and crystal-clear sound as previous versions, and with its new, attractive price tag, this microphone might just be the best gift idea for the musicians on your list.

The gift of a classic Sennheiser microphone–and this one in particular–is a smart decision for the following reasons:

It’s Not a Trend

The MD 421 is not going out of style any time soon–and maybe never. This microphone has been a fixture in professional recording studios for many years. Sennheiser introduced the now classic MD 421 dynamic microphone back in 1960, and it proved to be so good that it has been used on a long list of the most popular recordings since. It remains a favorite of recording artists and engineers to this day.

In 1998, the company introduced the second-generation, the MD 421 II, that gained its own following. Now, 26 years later, Sennheiser has delivered perhaps its most significant MD 421 redesign with the MD 421 Kompakt.

So, what’s changed? The most obvious changes you can see if you put the MD 421 II and the MD 421 Kompakt side by side. MD 421 Kompaktis about half the size and weight as the MD 421 II and comes with a better mounting system or mic clip. The thing is, it still has the same great sound as its predecessors.

In terms of how it’s used, the only difference between the MD 421 Kompakt and its predecessors is the absence of a five-position bass roll-off switch. While some audio engineers might miss it, having the microphone permanently set to record ‘flat’, simplifies its use, since so many sound professionals prefer using it in that configuration.

A final plus that guarantees that this 2024 gift won’t go out of style is simply that it comes from Sennheiser and is just one of a long line of high-quality German-engineered products that have been trusted by generations of music artists and professional recording engineers. Everyone who is anyone has recorded with the MD 421, and you’d be hard pressed to find a professional studio without one.

Ultra Versatile

There isn’t much worse than giving a gift that doesn’t get used, but that won’t happen when you give the gift of great sound with an MD 421. While the MD 421 sound profile is legendary for use on drums and other high SPL (sound pressure level) sources, the full-range response of the MD 421 has made it a favorite for horns, as well. Many saxophone players request them for use in the studio and on stage. And, because the MD 421 can handle exceptionally ‘hot’ sources like guitar cabinets, it can capture tone that other mics (even much more expensive ones) miss. Engineers often look to the MD 421 to render a brighter, edgier tone from bass cabinets, too.

While there are many choices for vocal mics, the sonic detail and clarity that the MD 421 can deliver makes it an option there, as well. In fact, it was used for years by the broadcast industry, so producers don’t shy away from giving it a try when they need to find a “best fit” mic for vocal performances.

It sounds like the MD 421 can do it all in the studio, right? That explains why it has been a go-to mic for audio engineers for years. No matter where you put it, it delivers incredibly clear sound reproduction, capturing pristine audio with remarkable fidelity and detail. So, it's easy to see why so many recording professionals and sound companies won’t be without MD 421s in their microphone locker.

High Quality

There isn’t much worse than a gift that breaks or becomes unreliable. Those types of problems are all too common with today’s popular technology and music technology is no exception. But you can rest easy when you give quality. The MD 421 has a solid track record of use in demanding situations, including close up on drums and daily use in the rough-and-tumble world of sound for live stage productions. These workhorse mics have survived countless hits by drum sticks along with regular drops and fumbles on stage, but they keep on working. That kind of reliable performance doesn't happen by accident. It happens by design.

Part of what you are buying with any Sennheiser microphone is a history of German engineering. Like many of the classic microphones used by professionals, that classic look of the MD 421 has changed very little. This new version of the MD 421 features a rugged black stainless steel multi-layer mesh grille and black fiber-reinforced injection-molded plastic body. Its general appearance is nearly identical to the MD 421 II, though it has the added benefits of being half the length and half the weight. For connectivity the mic uses a reliable gold-plated XLR connector.

For many users, past its new compact size, the most important change in the physical design of the MD 421 can be found on its underside. It’s a fixed, pivoting mic mount that measures 1.5“ when fully extended. The mic mount is another quality innovation from Sennheiser that makes for a simpler, safer attachment to stands or drum rims. The mount threading is brass rather than plastic, and it conveniently accepts both US 5/8“ mic stand threads and European 3/8“ threads, so no external adaptors are necessary.

It’s a Great Buy

With all its history, versatility, and legendary performance, this mic is a great choice for anyone on your holiday shopping list that makes music, but the clincher is that the redesign of the MD 421 has made this mic universally affordable. So, whether you are gift buying for that special someone who is recording in a professional studio, performing on stage, or tracking at home, this mic will make them sound their best. What could be better? And, that’s why it could just be the best gift of 2024.

​The MD 421 Kompakt is available now for $279 USD (MSRP). That’s an outstanding deal and compares extremely well with other microphones in this class. The version for drums retails at $299 USD (MSRP) and comes complete with an MZH 604 drum clamp that lets you get your MD 421 Kompakt in just the right spot for great sound without having to place an additional mic stand. The MZH drum clamp included with the drum version is also available separately for $19.95 USD (MSRP).

This Black Friday, Sweetwater is rolling out exceptional deals on Shure microphones, offering substantial savings on some of the industry's most acclaimed models. Whether you're a seasoned professional or an aspiring producer, these discounts present a prime opportunity to elevate your audio setup with top-tier equipment.

Renowned for its warm, smooth sound and versatility, the Shure SM7B is a staple in both broadcasting and recording studios. Its flat, wide-range frequency response ensures the natural reproduction of both music and speech, making it ideal for vocals, podcasts, and even instrument recording. The built-in air suspension shock isolation and pop filter eliminate mechanical noise and breathiness, delivering pristine audio quality. With a $40 discount, upgrading to this iconic microphone has never been more accessible.

If you’re looking for a less expensive entry into the world of Shure mics, the Shure MV7X - inspired by the SM7B - offers a dynamic microphone experience tailored for podcasters and vocalists. Its XLR output connects seamlessly to professional interfaces, providing rich, natural vocal reproduction. The Voice Isolation Technology focuses on your voice, reducing background noise - a crucial feature for home studios and untreated rooms. At $159, this deal offers an affordable path to professional-grade recordings.

If you’re looking to upgrade, then the Shure KSM8 stands out as the world's first dual-diaphragm dynamic handheld microphone, delivering unparalleled control over proximity effect and off-axis rejection. This innovation results in exceptionally consistent sound quality, regardless of microphone technique. Its flat frequency response captures vocals with remarkable clarity and detail, making it a favourite among live sound engineers and performers. With an $80 discount, investing in this cutting-edge microphone is a compelling choice for professionals seeking superior performance.

Finally, as a go-to mic for live vocal performances, the Shure Beta 58A offers a brightened midrange and bass roll-off, ensuring vocals cut through the mix with clarity. Its super-cardioid pattern provides excellent isolation from other sound sources, reducing feedback and unwanted noise. Built to withstand the rigours of touring, its rugged construction ensures reliability on stage. At $135, this deal provides exceptional value for a microphone trusted by professionals worldwide.

These Black Friday microphone deals at Sweetwater present a unique opportunity to acquire industry-leading Shure mics at unbeatable prices. Whether you're enhancing your studio setup or upgrading your live performance gear, these offers are well worth looking out for.

It's worth noting that Sweetwater have a huge range of offers on right now, with a whopping up to 80% off across guitars, studio gear, drums, and live sound equipment. So, we'd highly recommend checking out the full sale to see what discounted goodies you can find. 

Also, be sure to bookmark our Black Friday music deals page, where you'll find the very best Cyber Weekend sales from across the entire internet. 

Shop more Black Friday sales

• B&H Photo: Mics, monitors, headphones
• Guitar Center: Up to 50% off BF sale
• Musician's Friend: Up to 50% off holiday sale
• Sweetwater: Huge 80% savings
• Andertons: Black Friday price promise
• PMT: Christmas gifting guide
• Waves: Plugins from as little as $19.99

The choice of microphones available to, let’s be honest, people who aren’t emotionally invested in microphones, is mind-boggling these days. You see, not everybody wants to mess around with audio interfaces and a sea of cables and wires. The notion of being able to unpack, plug in and use a mic with the minimum of fuss is massively appealing, and the big mic brands are well aware of this.

Hence why I have the Shure MV6, a new dynamic USB microphone, in for review. The MV6 is aimed squarely at content creators, streamers, and podcasters who want high-quality audio without the complications of more advanced studio-style setups. Essentially, if you’ve ever wanted to up your podcasting microphone game, but haven’t got the stomach for adding audio interfaces, XLR cables and more into your setup, then the MV6 could be the perfect option for you.

It promises user-friendly design and top-tier noise isolation features, meaning it’s ideal for capturing clear vocals in a variety of environments. As part of Shure’s growing line of devices catering to the home studio and streaming markets (including the recent Shure SM4), the MV6 could be a real winner if it gets the basics right, i.e. simplicity, ease of use, and high-quality audio recordings. Let’s find out if it does that.

Shure MV6 review: What is it?

It’s clear when unboxing the MV6 that this isn’t a mic designed for studio snobs or audiophile producers. That’s not a criticism, by the way. The mic itself, for a start, comes with a pretty standard matte black chassis, but is punctuated by pops of lime green to introduce a bit of visual appeal. The theory being, I guess, that the mic will appear on cameras and live-streams, so you may as well have something that looks good.

Up front, the Shure MV6 promises plug-and-play functionality, making it exceptionally easy to use, even for beginners. The ubiquitous USB-C connection on the mic’s bottom allows for easy connection with computers or mobile devices, bypassing the need for a separate audio interface, while a 3.5mm headphone out means you can monitor your sound as you’re streaming or recording. It’s so simple and executed flawlessly.

At the heart of the MV6 is its dynamic capsule, which is ideal for speech and vocals. A cardioid polar pattern, designed to isolate the user's voice while minimising background noise, further adds to its desktop speech credentials. This is especially beneficial for those working in noisy or untreated environments, where controlling ambient sound is difficult. The mic's frequency response (50 Hz to 15 kHz) is optimised for vocal clarity, delivering crisp, focused audio that’s ideal for voice recording but slightly limited for capturing instruments with higher frequency detail. Put simply; if you’re looking for something to record your acoustic guitar then there are better options available to you at a similar price point.

The MV6 also features auto-level mode, which adjusts the microphone's sensitivity based on the distance between the user and the mic. This helps maintain consistent audio levels during dynamic recording sessions or streams, where users might shift around without realising it. Additionally, the built-in digital popper stopper minimises harsh plosive sounds, allowing for smoother vocal recordings without needing a separate pop filter​.

In my opinion, a standout feature of the MV6 is its integration with the Shure MOTIV Mix app. This extends the microphone’s functionality massively and offers users much more control over their audio settings, granting access to a range of audio customization options, such as tone adjustment and noise reduction. Velvety broadcast tones are but a few clicks of the app away at all times.

One of the MOTIV Mix app’s most notable features is auto-levelling, which ensures your audio stays consistent even as you move closer or further away from the mic. This is particularly useful for streamers or podcasters who might not always maintain a consistent distance from the microphone during recording sessions. The app also offers three distinct tone presets - Dark, Natural, and Bright - allowing users to tailor the sound to suit different recording environments or personal preferences, making it much easier to capture professional-sounding audio without the need for external equipment​.

Additionally, the app’s noise reduction feature helps to filter out unwanted background noise, such as fan hums or room reverb, ensuring a cleaner vocal track. While the noise reduction can sometimes be overly aggressive, cutting out subtler details in the recording, it’s an invaluable tool for users working in less-than-ideal recording spaces​.

However, it's worth noting that the microphone itself lacks physical gain or volume controls, meaning all adjustments need to be made within the MOTIV Mix app. While this keeps the design sleek and compact, some users might miss the tactile feedback of manual control knobs​.

Shure MV6 review: Performance & verdict

In real-world testing, I found the Shure MV6 excelled at delivering clean, professional-quality speech recordings. You’d expect it to do this anyway, but with the super-loud fan from my old gaming PC making it sound like lift-off at Cape Canaveral, the MV6 had an additional challenge to overcome. Thankfully, the mic was able to effectively block out that awful din, producing virtually noise-free recordings. Impressive. The auto-levelling feature, which ensures that your voice remains clear and consistent throughout your recording, was also put through its paces and performed as well as you’d expect. These two factors mean Shure’s promise of it being ideal for podcasters, streamers, and even voiceover artists who require a simple but reliable mic for spoken word recording rang true.

The microphone’s real-time denoiser and popper-stopper had a positive impact on both the quality of the captured sound and the ease with which it could be edited afterwards. In comparison to other USB microphones like the veteran Blue Yeti or gamer-focused Razer Seiren, I found the MV6 offered better background noise rejection which, when combined with the usual Shure levels of high-quality audio, makes it a better all-round choice.

What the MV6 lacks is an XLR output. This may or may not be an issue for you. However if you’re looking for more versatility, and the ability to choose between the simplicity of USB and the depth of a traditional XLR connection, then Shure’s own MV7+ might be a better - albeit more expensive - choice. The voice isolation functionality on the MV6, however, is a nifty trick you don’t see at this end of the price spectrum, ensuring your voice is always front and centre. I was also really impressed with the MOTIV Mix app, which went way above and beyond what you’d expect from a complementary app, giving you much deeper control over a variety of parameters which will make you sound the best you possibly can.

Overall, the Shure MV6 is a well-rounded, highly effective microphone that punches well above its price tag in terms of both build quality and performance. Its easy setup, superb noise isolation, and integration with the MOTIV Mix app make it a standout choice for content creators, podcasters, and streamers looking to up their audio game. While it might not satisfy users who prefer deeper, manual control over their settings, the app-based adjustments and auto-levelling offer a simple, intuitive way to capture consistent, high-quality audio. For those needing a step up from cheaper, more basic condenser microphones, the MV6 is an excellent investment​.

Shure MV6 review: Hands-on demos

Brian MacDuff

Wasabi

LAS Curry

Shure MV6 review: Specifications

• Type: Dynamic
• Polar pattern: Cardioid
• Frequency response: 50Hz to 15kHz
• Connection: USB-C
• Weight: 1,287g (inc. stand)
• Contact: Shure

Shure SM4 review: What is it?

In the world of recording microphones, few names command respect as much as Shure. From its industry-standard SM57 and SM58 mics, through to the broadcast and podcast mic royalty that is the SM7b, Shure knows a thing or two about a thing or two. Hence why we were so excited when it announced it had a new mic ready for us to test, namely the Shure SM4.

As a large-diaphragm condenser microphone, designed for home studio users who need pro-grade sound without lots of hassle, the SM4 is an enticing proposition. It features a cardioid polar pattern, rejecting noise from the sides and rear, making it perfect for recording vocals or instruments at home. It also has some unique proprietary tech thanks to the inclusion of an interference shield which acts as a Faraday cage to protect the mic’s capsule from microwave interference.

Think of how many screens, mobile devices and other electronic things you have in your recording space. Each of these has the potential to add unwanted noise and gremlins to your recordings, so the inclusion of a shield to protect against these is so good you wonder why they aren’t present on more mics. Sure, you can faff around with ferrite capsules, but it’s better if the mic just deals with it itself right?

A lot of thought has gone into the overall package too, with small details like the length of the elastic bands on the shock mount tweaked to improve performance. So, potentially, there’s a lot to like here. But how does it measure up in the studio? Let’s take a look.

Shure SM4 review: Performance & verdict

Standard testing procedure for large diaphragm mics means I test each with an acoustic guitar, from multiple angles, and then a speech reading from a variety of different scripts. In each of these tests, the SM4 performed admirably. In purely sonic terms the SM4 shone, capturing rich mid-range frequencies, making it an ideal choice for vocals and acoustic instruments. It picked up plenty in the way of detail without ever being overly harsh, which means I captured a polished sound that didn’t require too much post-production.

The interference shield, a key part of the value proposition, was also surprisingly useful, protecting my recordings from the multitude of other electronic gear I have to hand at any given moment. As someone who often prints out voiceover scripts, for fear of holding a phone too close to the mic, this is a small innovation I can get behind. I can see a situation where a singer might have lyrics on their phone, so the ability to have said phone up close without worrying about it pinging or zapping your take is something you’ll appreciate. The fact it also acts as an internal pop filter is a bonus, saving you from extra accessories or making your setup look too bulky. Vocals come through clean, crisp and present, aligning with Shure’s promise of ‘mix-ready’ sound.

Aesthetically, the SM4 looks quite understated. The matt black finish looks classy, and it’s certainly not an attention-grabber - I say this as a good thing. Shure says it’s put a lot of thought into the design, keeping in mind that often people are filming video at the same time as recording audio. This could be for YouTube videos, or it could be for Teams/Zoom video calls, but the fact it doesn’t dominate visually is a positive thing in my eyes. This same trend for discrete design extends to the shock mount, which has been similarly slimmed down. The elastic bands have also been shorted, reducing the inevitable mid-life sagging that happens to the best of us.

The fact remains, however, that this is a crowded marketplace. In the same price range, alternatives like the Audio Technica AT2020 and Rode NT1A are worthy contenders. The Rode, in particular, is known for its ultra-low self-noise, making it a favourite among home studio users who prioritise noiseless recording environments. However, the SM4’s interference shield and compact shock mount give it a real edge when recording in spaces where interference from electronics is common, or where visual presentation is just as important as sound quality.

Who stands to benefit most from the SM4 then? If you’re a singer-songwriter, podcaster or content creator who needs a microphone that’s easy to set up, resistant to interferences and delivers professional sound with minimal effort, then the Shure SM4 is an excellent choice. Its compact size, internal pop filters and durable options make it a flexible option, particularly in multi-use spaces or for people who need to shoot video alongside their audio recordings.

Shure SM4 review: Hands-on demos

Dealcasters

LAS Curry

Obscure Mics

Shure SM4 review: Specification

• Type: Condenser
• Polar pattern: Cardioid
• Frequency response: 20Hz to 20kHz
• Connection: XLR
• Weight: 463g
• Contact: Shure

Shure has announced the release of a new microphone, the SM4. Aimed at musicians and producers working from a home studio, the SM4 is said to be equipped with a number of handy features that make it easy to achieve professional-quality recordings "with minimal effort". 

The SM4 is a condenser microphone endowed with a one-inch dual-diaphragm capsule; its uniform cardioid polar pattern should help capture only the chosen sound source while avoiding unwanted noise.

With the SM4, Shure aims to make the recording process as hassle-free as possible, helping you overcome common issues that plague recording engineers and distract from the creative process. Recordings should be clean, clear and plosive-free thanks to its internal pop filter, while patent-pending shielding technology aims to block RF interference from nearby wireless devices.

Shure says that the SM4 is a versatile microphone that delivers a controlled low end and detailed highs. Thanks to its max SPL of 140dB, its capable of capturing everything from whispered vocals to ear-splitting guitar solos with precision and clarity.

Shure SM4 is available now and priced at £195/€229/$199.

Optional accessories for the SM4 include a shock mount and magnetic pop shield; these can be purchased as part of the SM4 Home Recording Kit bundle, priced at £249/€289/$269.

Find out more at Shure's website.

Shure MV7+: What is it?

The MV7+ podcasting microphone is the latest addition to Shure’s lineup of audio equipment, tailored specifically for content creators, podcasters and streamers. One of the standout features of the MV7+ is its hybrid connectivity, offering both XLR and USB-C outputs. This dual connectivity allows the microphone to be used in various setups, from professional studios to simple home recording environments, making it incredibly versatile.

The mic’s design also sees significant improvements, including a sleek all-metal form factor, an extended foam windscreen for better plosive protection, and a customisable multicolour LED touch panel for intuitive control over gain, monitoring levels, and mute functions.

Shure has also integrated advanced DSP features into the MV7+, such as real-time denoising and a digital pop filter, which work together to ensure clear and professional-quality audio even in challenging environments. An improved Auto-Level mode adjusts the microphone’s gain based on the user’s distance and volume, optimising audio levels dynamically. It should be said that these features were only available when using the mic in USB-C mode, however. Additionally, the ShurePlus MOTIV app provides extensive control over sound settings, allowing users to fine-tune their audio with ease.

Shure MV7+: Performance and verdict

Compared to competitors like the Audio Technica AT2020USB+ and the Rode PodMic, the Shure MV7+ offers several distinct advantages. The hybrid XLR and USB-C connectivity sets it apart, providing greater flexibility and future-proofing against technological advancements. In terms of build quality, while the AT2020USB+ and PodMic are also well-constructed, the MV7+’s touch panel and customisable LED indicators add a modern touch that enhances user experience and control.

The MV7+ excels in sound isolation and clarity. We started by testing the MV7+ in perhaps its most obvious setting, which is to record voice tracks for a set of voiceover commissions. The additional features you unlock by connecting directly via USB make the MV7+ worth the admission price alone. Auto-level, digital pop filtering and even the option to add reverb to the speech track meant the final recordings were already pretty much ready to use. For speed and simplicity, allied with high-quality audio recordings, the MV7+ is nigh-on as good as it gets in the price bracket.

To test its streaming capabilities, again powered by USB, we used the mic for a series of video calls. One of the features Shure has pushed is the auto-level mode, which adjusts gain and level settings in relation to your proximity to the mic.

In theory, this means that the gentle movements the user makes towards and away from the microphone – often without realising – wouldn’t affect the dynamics of the sound at the other end. We're happy to report this worked flawlessly, with our subjects on the other end of the call reporting a steady, well-balanced sound even in spite of us looking fairly ridiculous while carrying out the tests.

The Shure MV7+ is a formidable choice for podcasters and content creators looking for a high-quality, versatile microphone. While it comes at a slightly more premium price, the investment is justified by its performance and flexibility.

MusicRadar verdict: Finesses the original to deliver one of the most versatile, feature-laden mics for podcasting, streaming and recording.

Shure MV7+: The web says

"The Shure MV7+ carries over what we liked from the original and adds several automated tools that help novices and seasoned podcasters alike get more out of it."
PCMag

Shure MV7+: Hands-on demos

Shure Performance & Production

Podcastage

Brian MacDuff

Ray Ortega

Shure MV7+: Specifications

• KEY FEATURES Podcast and streaming microphone with hybrid USB/XLR outputs and onboard DSP.
• CONTACT: Shure

Shure SM7dB review: What is it?

If you’ve listened to a podcast over the last 10 years, then you’ll likely have heard the work of the Shure SM7B, which has become the go-to podcasting microphone of its era. Building on the legacy of the SM7B, the SM7dB, which we’re looking at today, aims to increase its capabilities by introducing a built-in preamp, offering up to +28dB of gain, making it, in theory, more usable across a variety of different applications.

The SM7dB aims to simplify the recording process by essentially eliminating the need for external preamps. This feature is particularly beneficial for users with audio interfaces that lack sufficient gain, as it ensures optimal sound levels without additional (or more expensive) equipment. Less background hiss at higher levels, and a much cleaner sound available for recording or streaming as a result. Simple.

Very little else has changed; the SM7dB’s cardioid polar pattern still effectively isolates the sound source, minimising background noise and making it ideal for home studios and professional recording environments alike​. The SM7dB also retains the iconic design - other than a slightly stealthier-looking appearance - and sound signature of its predecessor, ensuring the same warm, smooth audio quality that has made the SM7B a staple in studios worldwide.

Whether you're a podcaster looking to enhance the clarity of your voice, a streamer aiming for professional-grade audio, or a musician seeking a reliable microphone for studio recordings, the Shure SM7dB offers a user-friendly and high-quality solution. But how does it work in the real world? Is the addition of a hefty preamp enough to tempt you into upgrading from your original SM7B? Let’s take a look.

Shure SM7dB review: Performance & verdict

Design and build quality

The Shure SM7dB maintains the iconic design of its predecessors with a sleek, matte black finish and rugged construction that - after years of using an SM7B - we’d have no problems recommending. As a dynamic mic, it’s already inherently more robust than a typical condenser, and its rugged exterior gives us extra cause for confidence. Weighing approximately 837g, it still feels substantial in the hand and well-built, ensuring longevity even under rigorous use. The SM7dB also includes a detachable windscreen, which helps reduce plosive sounds and unwanted noise, and did a great job in my testing studio of keeping those nasty pops to a minimum.

Features and connectivity

One of the standout features of the SM7dB is its built-in preamp, which provides up to +28dB of gain. This eliminates the need for external preamps, making it a convenient option for users with interfaces that may lack sufficient gain. It does, however, require +48V phantom power to operate the built-in preamp, but this is standard in most modern audio interfaces so shouldn’t be a cause for concern. The preamp can also be bypassed if you need it to, allowing users to revert to the original SM7B settings, or if you can’t get a 48V signal to it.

Overall performance

The SM7dB genuinely excels in delivering clear, natural sound across a wide frequency range (50 to 20,000 Hz). For speech applications, like podcasts or streaming, there aren’t many that compare when it comes to unlocking that rich, velvety broadcast sound you hear from the professionals. Its cardioid polar pattern performs well at isolating the sound source, minimizing background noise and making it great for less-than-ideal recording spaces.

The microphone’s performance is further enhanced by features like bass roll-off and presence boost, which allow users to tailor the frequency response to suit different recording needs - sometimes nice to head things off at source if you can, rather than fixing everything in post, and these extra controls were welcomed.

Comparison with similar microphones

Compared to other dynamic microphones like the Sennheiser MD 421-II and the Rode Procaster, the SM7dB stands out for its integrated preamp, which simplifies the recording setup by providing sufficient gain without additional equipment. The Sennheiser MD 421-II is known for its versatility and excellent sound reproduction, particularly for instruments, but it lacks the built-in gain boost of the SM7dB.

Likewise, the Rode Procaster, while offering robust build quality and good sound isolation, also does not include a built-in preamp, making the Shure SM7dB a more convenient option for those seeking an all-in-one solution.

Realistically, you’re either looking at a higher-end audio interface or even dedicated mic preamps as your main alternatives here.

Comparison with the Shure SM7B

The elephant in the room comes with the comparison to the original SM7B. Clearly, the primary advantage of the SM7dB over the SM7B is the integrated preamp, which addresses one of the main limitations of the SM7B - its need for a high-gain external preamp to achieve optimal sound levels. This makes the SM7dB more user-friendly and accessible, particularly for podcasters and streamers who may not have access to high-end audio interfaces. The sound signature of the SM7dB remains faithful to the SM7B, ensuring the warm, smooth audio quality that users have come to expect from Shure, so while it is a new model, it’s an evolution rather than a revolution.

Conclusion

The Shure SM7dB is a worthy successor to the SM7B, offering all the benefits of its predecessor with the added convenience of an integrated preamp. Its robust design, excellent sound isolation, and versatile features make it a top choice for professionals in various audio fields. While slightly more expensive, the built-in gain control and ease of setup justify the investment for those seeking high-quality, hassle-free recording solutions. Whether you're upgrading from the SM7B or exploring professional microphones for the first time, the SM7dB is a compelling option that stands out in its category.

Shure SM7dB review: Hands-on demos

Podcastage

Sean Divine

Senpai Gaming

Shure SM7dB review: Specification

• Type: Dynamic
• Frequency range: 20Hz to 20kHz
• Polar pattern: Cardioid
• Connectivity: XLR
• Boost: +18dB or +28dB
• Controls: Bass rolloff or mid-range emphasis
• Contact: Shure

If a show sounds good, it's not just down to the musicians onstage – there's an army of people making sure things go to plan. And the front-of-house sound engineer is a key figure in mixing what we hear, and making sure the myriad components and miles of cables behind delivering an artist's sound live don't fail and leave the audience angry. Dave Natale is one of the very best of that breed with 45 years proving it.

He's worked with the best; Jeff Beck, Eddie Van Halen, The Rolling Stones, Fleetwood Mac, Tina Turner and Prince amongst just some of the artists on his resume – many of who he's worked with for multiple years. Natale's new chat with Rick Beato is essential viewing for not just a musician who plays live, but listeners who want to understand more about what it takes to deliver great sound night after night on the road. But when Beato brought up the sometimes prickly subject of digital Vs analogue gear, Natale had no hesitations on sharing his clear perspective.

"Analogue sounds better to you whether you know it does or you don't – your brain is smarter than you are," begins Natale. "Six million years of evolution is not gonna be fooled by 30 years of chip design.  Now that's what I think, but [points to ears] these are analogue and they always will be. If you wanna argue that I'm available all day long and that's the way it is. Analogue is better, it is."

Natale has a story to illustrate his point too – and it throws up the issues of generational experience and perspective. "We did a thing once where we had a CD of the piece of music and the turntable of a piece of music, synced up with a blind tester. 

"We'd switch them back and forwards, we'd sync up the playback so it was in sync and you'd switch and you'd listen to A or B, or they would switch it and I said, 'Analogue or digital'; when I heard it. And I was right 9/10 times. They couldn't believe that and the reason [the tester] couldn't believe it was that he was young. So he never heard vinyl, or he never heard enough vinyl to know what it was I was hearing because I heard mountains of vinyl. Because there are little things – there are artifacts… but I picked it 9/10 times. Did I get lucky? Probably."

Perspectives and variables aside, Natale's reputation for delivering the goods night after night means he has a good handle on reliable setups and gear for guitarists and drummers onstage. And yes, when it comes to the best microphones to use his choices have been consistent.

"Beyerdynamic M88 – that's the only one I've ever used," says Natale of his kickdrum mic choice, adding that he prefers the drum hole to be off the side for placement. "There's a little too much attack, dead centre. If you have the holes off to the side you can angle the mic toward the centre of the drum."

"It just sounds good," is Natale's simple reasoning for sticking with the M88, but he has to be prepared before a tour. "The problem is the 88 gets beat up by the concussion," he adds. "So I take about ten to twelve out to rehearsals and I go through them with the drum tech and monitor guy. I sit on the front of the drum riser and I don't listen to them. I let the monitor guy and the drum tech decide. 

"The drum tech is listening to the monitors – he knows what his guy wants to hear, so he knows from a relative viewpoint what we're going for. And the monitor guy has the difficult job of making it sound like that. I can do whatever I want to the EQ and it's not going to affect anyone except the audience, so I just switch back and forth between these mics – I hold it in the correct position."

Natale then describes the process of testing each M88 to find the optimum performer, eventually filtering down to around three. "A main, where the two of them agree which one sounds the best, the next one that sounds the best is the spare and then there's a third one just in case."

For the toms it's the industry standard Sennheiser MD421 and on the snare the tried and true Shure SM57, with the old-school approach of top snare mic at the top only for the FOH mix. "I don't use the bottom mic but monitor guys like the bottom mic or some performers want to hear the sizzle so I put the bottom mic on but don't plug it into the console [for the front of house mix]."

For drum overhead mics Natale has opted for Austrian Audio OC18 large diaphragm condensers, and it's Shure dynamics elsewhere:"I have 57s on all the guitars and 58s on the vocals. "It's all old guy standard stuff," adds Natale. 

And he doesn't use noise gates or compression on the drums he mixes. "I don't use anything because when you insert something there's another point of failure, if the return on the insert fails that's it – your channel goes down. And I don't want anything interrupting the show because that's not a good scene. That's number one. Number two is I'm kind of lazy. Number three is nobody is there because I'm mixing the show – they don't give two shits who I am, they don't care who I am and I like it that way. They came to see the band on the stage, so I try to present the band like the band, only really loud. I don't tend to mess around with their sound. It’s the band loud, that's it. Goodnight, then I leave."

He doesn't rule out the use of a limiter on vocals though. "I'll use a Manley [ELOP Stereo Electro-Optical Limiter] on a vocal because vocalists, when they get excited they give it a little extra sometimes. And this goes to the way I mix – the loudest thing on the planet has got to be the vocal. At all times. When a vocal is going on, you better be able to hear it. Not almost – perfectly. Every word. Because when people are driving around in their cars and a song comes on the radio, they're singing along with the song – they want to hear that vocal. So to get it up loud, compress it a little bit. That's the only thing I would ever use."   

Natale chooses Electro Voice RE20 big diaphragm condenser mics for bass amps. "I don't use a lot of the microphone," he reveals. "If the bassist has a lot of effects there's a pre-DI  and a Post-DI. The microphone is there, and you can use it for things, but I find because of the gigantic spaces I'm in, you need as much definition as humanly possible if I want to stand a chance of reaching the guy [in the audience] who's sitting up in the next zip code." Instead the mic is more of a backup if Natale loses the DI signals for any reason.  

Check out the full interview video above. 

• Best microphones for recording 2024: top studio mics for instruments, vocals and more

Lewitt Ray: What is it?

If you’re familiar with microphones, either through recording, performing or streaming, then you’ll likely also be familiar with the proximity effect. This (usually) undesirable phenomenon shows itself when you move too close to a microphone and are rewarded with boomy, bass-heavy recordings. Up to now, it’s just been another thing producers and sound engineers have to contend with when they’re recording microphones. But Lewitt, the Austrian mic brand, is nothing if not innovative in this space. 

The Lewitt Ray looks on first glance like yet another large capsule condenser aimed at podcasters. It’s slightly shorter and stubbier than similar mics of its ilk, but has a pleasing weight to it. However, with the new Aura technology front and centre of the Ray’s spec sheet, we have something quite unique that should excite podcasters, streamers and musicians.

Lewitt Ray: Performance and verdict

The Aura functionality – currently going through the patent process – is very impressive indeed. It uses a ‘time of flight’ sensor to identify where you are in relation to the microphone. By taking this measurement, the mic instantly adjusts the tone or level of what it’s capturing, giving you balanced recordings without big peaks or dips in your sound’s volume or timbre. Active between 5cm and 100cm of the mic’s front, it gives plenty of room for the subject to move around without it affecting the final sound too much. Lewitt calls it autofocus for your voice, which we think is a good way of visualising the effect. 

Naturally, the room in which you’re recording will still have an impact on the outcome – the sound a mic captures from 5cm will be different to 100cm away, on account of a space’s size and the resulting reverb. So taken to extremes, you might find the sound has a strange colouration to it. Within sensible limits, however, Aura does a great job of delivering balanced, dynamic sounds at superb quality levels. 

Another neat feature the Aura tech allows the Ray to do is mute by distance. You decide a predetermined threshold using buttons on the front of the mic, and then the mic will automatically mute you if you move beyond that. It’s a simple trick but useful nonetheless. There’s also a dedicated mute button – not something you often find on an XLR microphone.

Despite all this digital trickery, the actual signal path is 100% analogue. Connectivity is handled by XLR, which requires 48v phantom power from your mixer or audio interface, and we liked how the package includes a chunky shock mount, magnetic pop filter and foam wind shield. 

So who is the Lewitt Ray for? We think the Aura features in particular, especially mute by distance, lend themselves neatly to the world of podcasters and streamers, where the goal is surely to forget there’s a microphone in front of you in the first place. 

For musicians, there is plenty to be excited by too. Recording acoustic guitars, for example, can be made simpler on account of the fact that the player doesn’t need to remain rigidly still when capturing a take. By handling those minute variations in proximity automatically, the Lewitt Ray allows users to focus on what they’re saying, or doing, rather than how it’s being captured. 

MusicRadar verdict: The Lewitt Ray introduces Aura range detection and makes us wonder how we lived without it. A superb option for podcasters, streamers and musicians.

Lewitt Ray: The web says

"Ray is an easy recommendation for anyone recording vocals, be it singing, spoken word, podcast or voiceover."
MusicTech

Lewitt Ray: Hands-on demos

LEWITT

Tom Buck

Bolo Da Producer

New Layer

Lewitt Ray: Specifications

• KEY FEATURES: Aura range detection, Mute by distance, Large diaphragm condenser, XLR connectivity, comes with shock mount, pop filter and wind shield.
• CONTACT: Lewitt

Over the last 12 months, Lauten Audio has been hard at work pumping out some truly stellar content in its Snare series, all of which has helped showcase the brand’s Snare mic. As the name suggests, Snare mic is a dedicated microphone for your snare drum. Now, Lauten is taking us to the next stage with its newly announced Tom Mic.

The Tom Mic takes a similar approach to the Snare Mic, in that it’s a purpose-designed microphone, and once again, Lauten has opted for a large-diaphragm condenser design to capture all the slap, beef and boom that our rack and floor toms are capable of producing.

The Tom Mic uses a super cardioid polar pattern, offering up to 28dB of off-axis rejection to keep the bleed out, while focusing on the drum you’re pointing it at. As with the Snare Mic, Tom Mic is packing a couple of extra tricks up its sleeve thanks to Lauten’s high and low-pass filter switches.

This pair of three-position filter switches revoice the microphone’s response to accent or attenuate different elements of the toms’ sound, with flat, 140Hz and 80Hz roll-offs on the high-pass, and flat, 5kHz or 12kHz selectable for the low pass filter. Used in combination, you can optimise the Tom mic for different applications, from increased attack, note definition, low end clarity, or even for use as a bottom-head mic.

Tom Mic is a side-address mic, allowing for precise placement at close proximity to your toms without getting in the way of hard-hitting sticks. However, Lauten says it has designed the Tom Mic to live up to inevitable punishment both on the road and in the studio, with a solid brass headframe and mildew-resistant filter to stop dust and debris from getting to the capsule.

“Being a fly on the wall during studio sessions, we learned that big, large diaphragm condenser microphones on Toms are a recording engineer's dream,” says Lauten Audio Founder Brian Loudenslager.  “Typically though, they are limited to rooms in the studio with amazing acoustics and are unusable live due to bleed and the fact that they would get in the way of performing. 

"We've made that dream possible in any situation. Tom Mic has that sound without the footprint or bleed. The most common feedback is that they're so easy and forgiving to get a good tom sound without any processing.

“Tom Mic is three-plus years in the making, and much thought and effort went into making a microphone with this timbre, this much rejection, and in this size.”

The Lauten Audio Tom Mic is available to order now with a US street price of $398/£349. For more information, or to find your nearest stockist, click here.

Universal Audio has expanded its range of Standard Series modelling mics with the release of three new models that are designed to take care of drum and instrument recording.

The new SD-3, SD-5 and SD-7 models join the SD-1, SP-1 and SC-1 in the Standard Series range, and each one comes with the Hemisphere mic modelling software in Apollo DSP and native formats for PC and Mac.

This enables you to model 32 classic dynamic, condenser and ribbon mic tones in realtime, while also giving you the option to adjust the mic’s filter, proximity effect and off-axis response, both before and after recording.

The SD-3 ($129 or $349 for three) is designed for capturing snare, percussion and guitar amp sounds and comes with a cardioid polar pattern that rejects off-axis sounds. The SD-5 ($199) , meanwhile, could be your new go-to for kick and bass, and offers a supercardioid polar pattern that rejects off-axis sounds while maintaining low-frequency presence.

Finally, there’s the tom-friendly SD-7 ($149), which can also be used on toms, guitar and bass amps, horns, percussion, and other loud or transient-rich sources. This has a hypercardioid polar pattern that rejects off-axis sounds.

Each mic is designed to handle extreme SPL and come with an integrated standmount and storage pouch. All-metal construction, meanwhile, should help with durability.

Find out more about the new Standard Series mics on the Universal Audio website.

Introducing the FlashTrack DSP Microphone from CloudVocal, the ultimate solution for impeccable sound quality. With its innovative built-in digital signal processing (DSP), the FlashTrack microphone revolutionizes your recording experience by offering unmatched versatility and convenience.

At the heart of FlashTrack lies its 1-inch diameter condenser capsule, capable of capturing every nuance and detail of your performance. Whether you're recording vocals, instruments, podcasts, or livestreaming, FlashTrack ensures a solid foundation for rich and characterful sound, thanks to its high-quality components and advanced technology. With a remarkable maximum SPL of 130dB and a 46dB low-noise preamplifier circuit, this microphone delivers pristine audio reproduction, allowing you to explore your creativity without limitations.

Gone are the days of cumbersome software and plugins – FlashTrack grants you direct access to essential effects right at your fingertips. With its intuitive interface, you can effortlessly adjust the microphone's EQ, add reverb, compression, and more, enhancing your recordings with studio-quality effects in real-time. 

Adjusting parameters like these on-the-fly, directly from the microphone itself, is quicker, easier and more intuitive than digging out the right plugin in your DAW, loading it up and diving through menus to tweak the correct settings. Whether you're a seasoned professional or a novice enthusiast, FlashTrack empowers you to achieve professional-grade results with ease.

But the innovation doesn't stop there. FlashTrack goes beyond conventional microphones by offering authentic emulations of various microphone types. With its high-performance digital processor, FlashTrack faithfully reproduces the impulse responses of iconic microphones, allowing you to switch between different sound profiles effortlessly. From the precise bass and warm mids of a ribbon mic to the classic sound of FM radio voices, FlashTrack offers unparalleled versatility to enhance your creative vision.

Designed for seamless integration into your workflow, FlashTrack supports both analogue and Bluetooth inputs, ensuring compatibility with a wide range of devices. Whether you're recording on your phone, tablet, or laptop, FlashTrack delivers uncompromising audio quality, taking your content to new heights.

Experience the future of recording with the FlashTrack DSP Microphone. Visit CloudVocal’s website to find out more.

*FlashTrack is a USB-powered device that allows you to connect to your PC/laptop and even mobile devices as long as they support USB audio input. 

** For devices that use lightning connectors, an official lightning-to-USB adapter is required. 

Choosing the right microphone can feel overwhelming in a crowded market where each product competes for attention. Each microphone serves a unique purpose, capturing specific frequency ranges and employing precise polar patterns.

Your choice will greatly impact the recording quality. Some microphones highlight brighter frequencies, while others favour darker tones. Some excel at capturing close-range detail, while others capture a broader spectrum with less granularity. 

Even within the same style, there are variations tailored for different applications like vocals or instruments. Understanding these nuances is essential for making informed decisions that match your recording requirements, whether you’re a singer recording their first demo, or a drummer looking to get the best snare sound possible. Here we’re going to look in closer detail, to help you find the right mics for your needs.

Dynamic or condenser?

Microphones typically fall into two styles: dynamic and condenser. Dynamic microphones are ideal for live settings, and are equipped with passive components like a diaphragm, voice coil and magnet to handle high-volume environments while minimising background noise.

Condenser micropones utilise phantom power to charge a sensitive diaphragm and backplate capacitor, offering a wider frequency response and natural sound, perfect for studio use with proper room treatment. However, they require careful handling to avoid overloading the backplate capsule. Ultimately, the choice between dynamic and condenser mic depends on the audio source, environment and desired sound quality.

Jack of all trades and a master of none

Top-tier condenser microphones like the Neumann U87 and AKG 414 offer versatility, while reliable dynamic options such as the Shure SM58 provide durability, affordability and reliability. However, it's essential to recognise that each microphone is designed for specific applications and sound characteristics. Understanding factors like frequency response, sensitivity to handling and environmental noise, and polar pattern is crucial when considering adding a microphone to your collection. 

For first-time buyers, opting for a versatile microphone that can cover multiple applications can be a wise choice. However, as you expand your collection, investing in microphones tailored to specific instruments and environments becomes advantageous. While using the same microphone across various sources might seem convenient, the results can vary significantly.

Vocal vs instrument microphones

When it comes to selecting the ideal vocal microphone, manufacturers often provide a dedicated vocal variant alongside the instrument version, such as the sE V7 and V7X. This distinction recognises the unique tone, dynamics, and range of sounds produced by the human voice, which can significantly differ from specific instruments. 

For instance, a vocal microphone might focus on a narrow frequency range, such as 3000Hz to 8000Hz, to capture the sibilant frequencies and harmonics inherent in the vocal range. Conversely, an instrument microphone like the Electro-Voice RE-20 is designed with a tight low-end response tailored specifically for bass amps and kick drums. 

Voices vary in shape, size, and tonality, each possessing its own unique range and timbre. Therefore, what works well for one individual may not necessarily be the best fit for another.

Noise rejection

Microphone selection is heavily influenced by whether it will be used for live or studio purposes. In live performances, dynamic vocal microphones are preferred for their superior noise rejection capabilities. Vocal performances are often dynamic, with performers moving around and directing air towards the microphone diaphragm. To counteract unwanted noise from microphone stand knocks, handling, wind noise and plosives, vocal microphones typically incorporate a rolled-off low end with a high-pass filter. 

Dynamic microphones like the Shure SM58 are favoured for live vocals due to their minimal handling noise and consistent noise capture. Their tight polar pattern and off-axis noise rejection help minimise bleed and focus on specific areas of an instrument, making them well-suited for particular applications.

Recording instruments

Instrument microphones, whether dynamic or condenser, are valued for their ability to capture a wide range of sound. However, they can be sensitive to loud knocks, bangs, and wind noise due to their lack of low-end filtering. Opting for a dynamic instrument microphone will reduce bleed, but it remains susceptible to such disturbances. 

In studio environments, condenser microphones typically shine. Close-miking with condenser mics allows for capturing subtle nuances like finger movements on a fingerboard and dynamic inflections. Microphones with broader polar patterns are often used as overheads to capture the full sound of a drum kit from above or to record a group of orchestral players.

Capturing vocals

Condenser vocal microphones are engineered to function within an ideal frequency range to capture both male and female vocal ranges effectively. Female voices typically range from 350Hz to 17kHz, whereas male voices generally fall between 100Hz and 8kHz. While the primary aim of vocal microphones is to capture the fundamental tones and harmonics of both voice types, it's advisable to research which microphone will yield the best results for your specific voice.

Accentuating harshness

Using a vocal microphone on instruments like guitars, violins or violas, which have harsh harmonics within the vocal range, can result in an unpleasant sound, as it accentuates these harmonics. When recording such instruments, selecting a microphone that focuses on the instrument's fundamental frequency rather than its harmonics can help mitigate this issue. By doing so, you'll reduce the prominence of harsh harmonics, requiring less EQ adjustment later on. This approach allows you to preserve the instrument's natural sound without excessive processing.

Clip on for precision

Instrument microphones are often crafted in unique sizes and shapes to accommodate various applications, such as fitting into bass drums or clipping onto specific areas of instruments. This design allows them to focus on precise close-mic areas and keeps mic stands out of the performer's way, enabling them to feel comfortable, deliver their best performance, and move around freely during performances. This style of mic is commonly used for instruments like woodwinds, brass, strings and percussion.

Our recommendations

Røde NT1 Signature: What is it?

Billed as “the world’s most popular studio microphone”, the Røde NT1 has been a mainstay of home recording musicians for over 30 years. This signature edition eschews the NT1 5th Generation’s USB connectivity, returning to a more traditional studio style with a single XLR out.

Speaking of style, it’s also available in a range of matte colourways including blue, green, pink, purple, and red, or if you prefer your mics more monochrome, it’s available in black too.

Røde NT1 Signature: Performance and verdict

Like its predecessor, it features a JFET impedance converter, ultra-low noise floor of just 4dBA, and can withstand SPLs up to 142dB. This makes it ideal for capturing a variety of sources from the quietest whisper of a vocal to the blast of a snare drum or guitar cab. It has the same HP-6, 1-inch sputtered gold capsule that the previous generation features too, promising excellent noise rejection.

Our review model came in sleek matte black with a shock mount, pop filter, XLR cable, and soft sheath for the mic itself. The mic feels robust in your hand, if not heavy. The aluminium shell is super smooth and should be tough enough to be resistant to dings and scratches, and it gives us the overall feeling that it’s more than capable of putting up with use and abuse in a working studio. There are no low-cut or pad switches like you’d find on other condenser mics, but to be fair, these are nice extras rather than must-haves for us.

To start our testing, we placed the NT1 about eight feet in front of a DW drum kit to see how it captured the wide frequency response. The results were really quite good, with it performing well as a drum room mic, capturing a very honest picture of the sound of our kit in a less-than-stellar rehearsal room. You could even purchase two and use them as a pair of budget overheads.

Next, we wheeled out our Orange 2x10 tube amp and placed the mic right up against the grill, dialling up the volume. Things got fizzy the more we cranked the volume at that distance, but bringing it back about or foot or so opened things up, delivering a nice ambience that never got wishy-washy. Recording both rhythm sounds and leads delivered more than usable tones, and we can see it pairing nicely with an SM57 for a more focused sound.

Our final test was on vocals and here we believe we found the NT1’s raison d’être. Capturing a Billie Eilish-style breathy vocal we were blown away by the warmth and detail in the sound. It’s neutral, but never dull-sounding, despite being darker than the NT1A which we’ve used many times previously.

Overall it’s this tonal neutrality of the mic that we’ve ended up loving, making it ultra-versatile as well as fantastic value for money.

MusicRadar verdict: Versatile enough to do a great job on drums, guitars, vocals, or anything else, this excellent value mic is well worth the asking price.

Røde NT1 Signature: The web says

"When it comes to the age-old engineer’s debate of ‘if you had to choose one mic to record absolutely everything…’, the new RØDE NT1 Signature Series has shot straight to the top of our shortlist."
MusicTech

Røde NT1 Signature: Hands-on demos

RØDE

Curtis Judd

Edward Smith

Reid Stefan

Røde NT1 Signature: Specifications

• KEY FEATURES: A large diaphragm cardioid condenser microphone with a 4dBA noise floor and excellent background noise rejection. Comes with a shock mount, pop filter, XLR cable, and microphone soft case.
• CONTACT: Røde

Even if you’ve never heard of an SM57 or an SM58, you’ve almost certainly heard an SM57 or an SM58. As two of the world’s most popular dynamic microphones, each has appeared on countless recordings and at pretty much every live venue across the globe at one point or another. Whether it’s your local recording studio or the arena in your city center, you’ll find both of these mics hard at work thanks to their versatility and legendary build quality.

If you’re looking to pick up an SM57 or SM58, you may be wondering which you should go for. After all, they’re pretty much the same microphone just with a different grille right? Kind of. There’s a little more to it than that, so to help you decide which to go for we’ve opted to lay out all the pros and cons in one place, and hopefully help you cement your decision. 

SM57 vs SM58: At a glance

Each microphone is based on the same cartridge, but they take an ever so slightly different approach to the grille design. The SM58 uses a ball grille to place the subject further away, which reduces the proximity effect and features a built-in pop shield to reduce the plosives you’ll get from vocals. Primarily the 58 will be used on live vocals, studio vocals, and sometimes public address systems

The SM57 meanwhile has a grille that is part of the cartridge which places the subject much closer, which gives you a more pronounced proximity effect and a slightly different frequency response. The SM57 is most likely to be found on guitar cabs, snare drums, brass, and pretty much any other instrument or amplifier.  

Shure SM57 vs SM58: History

The history of both microphones starts with the Shure Unidyne that first appeared way back in 1937, designed by Benjamin Bauer. It was the first single-element directional microphone with a cardioid pickup pattern. Before the Unidyne microphones used an omnidirectional element with a bi-directional pickup pattern. This method resulted in microphones that were large, bulky, and very inconsistent in their performance.

The Unidyne was a revelation, providing excellent noise and feedback rejection. It was smaller and more predictable, making it immensely popular. It remained that way until 1960 when further advancements were made by Shure engineer Ernie Seeler resulting in the Unidyne III capsule. 

This same capsule would later come to be used in the SM57 and its secret weapon was the pneumatic shock mount, which used hundreds of pages of mathematical equations to balance the diaphragm resonance, cartridge mass, resistance values, inertances, and cavity volumes to improve the performance of the microphone. 

It’s what enabled dynamic microphones to be used as handheld devices and forms the basis for nearly all dynamic mic designs today. In 1966 we got the SM58 design, which took the already existing SM57 and added the rounded grille, giving us the famous vocal mic that still performs across the globe.

Shure SM57 vs SM58: Build quality & design

Both mics are renowned for their outstanding ruggedness, and the running joke with either is that you only buy a new one to use it on something else. If you search online you’ll find many videos of people running them over with trucks, throwing them off buildings, hitting them with baseball bats, and even using them as makeshift spatulas. The end result is they still pass a signal when you get them back into the studio or onstage.

Whilst they’re ruggedly built, the capsule design does differ slightly on each. The SM57 features an integral resonator/grille, with the grille being part of the microphone capsule itself. As it’s designed to be placed close to instrumental sound sources where the proximity effect isn’t as much of an issue, this smaller capsule is a big part of what makes the SM57 so versatile. If you try and use one without the capsule, you’ll find it delivers a vastly different sound.

The SM58 meanwhile features a ball grille with a built-in pop filter, giving it a very different look from the 57. This pop filter consists of a thin foam inside the ball grille, which is very effective at reducing plosives even when the microphone is practically inside the singer's mouth. The ball grille plays a different role too, by keeping the sound source further away from the capsule, which reduces the proximity effect.

Winner: Some small differences aside, there’s no separating these two when it comes to ruggedness and design. They are inherently the same microphone capsule, with two different grilles for different tasks. We’re calling this one a draw.

Shure SM57 vs SM58: Usability

Both mics feature cardioid polar patterns, which means that the mic is sensitive in a head-on position, less so from the sides, and rejects noise from the rear. This polar pattern results in the rejection of ‘off-axis’ sounds and is what makes the SM57 so good for miking guitar cabs in both a live and studio scenario, as well as making it great for rejecting hi-hat noise when you use it on a snare drum.

It's also why the SM58 is favoured for live vocal performances, as you’re less likely to pick up other instruments during the performance, allowing for more gain at the desk. Of course, this doesn’t account for the singer pointing the mic directly at the wedge monitor, but it’s certainly a vast improvement on using any other type of mic polar pattern for this purpose.

Both mics also feature very high max SPL levels, which is the measure of how loud a sound source they can take before distorting. The SM57 has a max rating of 190dB, which is equivalent to a shotgun blast or rocket lift-off. This means it will handle any guitar amp with ease. The SM58 meanwhile has a max rating of 180 dB, which is far louder than any singer could possibly deliver, with the highest recorded human screams hitting around 120-130 dB.

With each mic, you’ll lose detail and potentially capture more room noise the further away you are from the source, so both are best used up close and personal. This does come down to personal taste, as you may want some of the room sound in your recording, or a bit of bleed to add some character to live performances.

Winner: There’s no separating the two here again, both polar patterns and max SPL ratings are similar, and both help each mic to excel at its particular purpose. They both perform admirably up close to the loudest sources and are excellent at rejecting off-axis noise, responding in similar ways when you back away from the mic.

Shure SM57 vs SM58: Sound

There are slightly differing frequency responses as a result of what each mic's intended use is. The SM58 has slightly less bass, going from 50Hz-15kHz whereas the SM57 features a little more bass response with a measurement of 40Hz-15kHz. They each cover a large part of the sound spectrum, as anything above or below this range would be difficult for a human ear to discern.

The slight decrease of the low end in the SM58 is an important part of what allows a singer to get close to the microphone without suffering from the proximity effect. At the other end of the scale, the SM58 features a presence boost around the 2-7 kHz mark, which enhances the clarity and allows the vocal to be heard clearly in a live scenario.

The SM57 meanwhile features an increased low-end response, which is part of what makes it so good at capturing the detail in instruments. This extra low end means that the SM57 isn’t as good at dealing with vocals, although the use of a pop shield and windshield can help cure that. There’s a similar presence boost with the 57 too, and although it’s a slightly smaller range going from around the 3-6 kHz region, it’s actually a slightly higher output around the 5 kHz mark versus the 58.

This means that the SM57 sounds a touch brighter overall, part of its attractiveness for use on instruments as it gives you more detail than the SM58. The bass boost on the 57 adds more weight to the overall sound and the frequency response makes it a bit more versatile than the SM58. 

These characteristics are both a result of the grille design, if you were to remove the ball grille from the SM58 it would react similarly to the SM57 in terms of frequency response. We don't recommend doing this though, as even the pretty much invincible SM58 could suffer potential capsule damage this way.

Winner: We’re going to give it to the SM57 here. In a pinch, you can use the SM57 for vocals so long as you’re careful with your mic handling, and even though the extended frequency response and presence boost are slight, it makes it much more versatile than the SM58.

Shure SM57 vs SM58: Verdict

There’s really not that much separating these two microphones when it comes down to it. Both are fantastic mics to have in your locker and will serve you well for years to come thanks to their excellent build quality.

If you want a live vocal microphone, then it has to be the SM58 thanks to its bass attenuation and round grille with the built-in pop shield. It responds excellently during handheld use and with excellent noise rejection puts up well with being on a stage with other instruments.

If you’re recording instruments, then you’ll need the SM57 with its wider frequency response and slight presence boost delivering excellent detail from instruments. Most studios will have a bunch of these on hand, as it’s such a versatile microphone you can use them on pretty much anything, vocals included.

Ideally, if you’re recording sounds in the studio or live, it’s nice to have both on hand. As relatively inexpensive microphones, a pair isn’t out of reach for most musicians and as is usually the case, you’ll find yourself wanting more once you’ve used them!

Lauten Audio Snare Mic review: What is it?

When the time comes to amplify or record your snare drum, you’re likely going to start looking for a suitable drum microphone. You’ll need a mic that’s capable of handling the high SPLs (sound pressure levels) that are the snare’s stock-in-trade; it’ll need to be rugged enough to do battle on busy stages while dodging erratic stick hits, and above all, you’ll want it to capture your snare drum in its best light. 

For decades, that search has been a short one, starting and ending almost immediately with Shure’s SM57. This rugged workhorse has, for all eternity, been around £100/$100, and when it isn’t being tirelessly punished a couple of inches from your snare head, it can be employed by your bandmates on their amps and vocals. 

So, as the old saying goes, if it ain’t broke, don’t fix it. But Lauten Audio is tearing up The Little Book of Big Cliches by focusing on a dedicated mic, designed specifically for snare drums. In a market dominated by forgettable model names, Lauten has opted to simply call it Snare Mic. Let’s see if it can turn our heads from everyone’s go-to microphone.

First, we should clarify that the application is where the similarities between the Lauten Audio Snare Mic and Shure’s omnipresent instrument mic end. For a start, Snare Mic is a F.E.T.- driven condenser microphone with a 32mm capsule, 20Hz-20,000Hz frequency response, and the ability to withstand SPLs of up to 135dB. For reference, that means you could mic-up a jet engine before it will destroy the mic (spoiler: we didn’t test this claim).

Now, there are countless F.E.T. condenser mics out there, all boasting a similar ‘better than our hearing’ frequency response, and hardy, high-SPL tolerances, so why not just use one of them?

Well, in addition to the spec sheet, the Snare Mic is equipped with some clever filter-switching optimised for snare drums. This, combined with the form factor, end-fire design and a claim of bleed-busting off-axis rejection of 28dB are what set the Snare Mic apart from your common-or-garden, all-purpose large-diaphragm condenser mic.

Lauten Audio Snare Mic review: Performance & verdict

The Snare Mic comes nicely packaged inside its own Cordua carry case, and the first thing you’ll notice is that it’s a chunky little brute, weighing in at just over 400 grams. It comes with its own integrated holder, which attaches the mic to your stand, but also includes its own angle adjustment. 

This is made via a sturdy paddle that’s ideal for making fine adjustments from the playing position - no fiddly thumb bolts to worry about, and if you’ve locked your stand in place then you don’t need to risk creating the dreaded droop in order to make positional changes. You can, of course, attach the snare mic to a clip-on rim mount if floor space is a problem.

Lauten provides some handy info on positioning the Snare Mic with suggested angles for capturing more of your desired sound from your snare. Flatter angles (20-30 degrees) to pick up more crack and snap, medium (30-40 degrees) for additional body, and steeper (40-50 degrees) to maximise the body and low end of the drum. These are rules-of-thumb, and could be applied to other mics on the snare, but it’s great to see a mic brand take this ‘helping hand’ approach if you’ve never tried to capture your snare before. Similarly, there’s a reminder that the Snare mic requires phantom power in order to work - so remember to engage this if you’re met with silence!

Next up is the filtering we mentioned earlier. You’re probably used to seeing a fixed high-pass filter on condenser mics, which are often used to tame low end rumble on vocals, overheads and guitar tracks. Here though, we have a pair of multi-position toggles. One controls a low-pass filter and the other is for a high-pass. Each toggle can be set to one of three positions. For the high-pass there’s flat, 140Hz or 80Hz, and for the low-pass we get flat, 5KHz or 12KHz, so, excluding the ‘flat’ settings, the high-pass will filter out frequencies below the selection, and the low pass will filter out frequencies above its selected position.

That’s a useful feature in itself, but the real fun comes from combining the two filters, and it’s this that sits at the heart of what the Snare Mic is all about. With both filter switches in their ‘flat’ positions, we get the full frequency response of the mic. It’s full, and un-coloured, picking up plenty of detail. 

With the low-pass set to 80Hz and the high-pass set to 12KHz, the Snare Mic emulates the sound of an EQ’d dynamic mic. We placed our SM57 next to the Snare Mic in this mode, and the results are quite uncanny. “But why would I want this to sound like a mic that costs three-times less?”. Well, it turns out that people quite like the sound of a dynamic mic on a snare drum, and this way you (or your engineer) have options without having to change or set up another microphone. Plus, if you intend to use the Snare Mic live, it will help tame potential bleed on stage, but there’s another way of doing that…

With the high-pass set to 140Hz, and the high-pass set to 5KHz, we’re in what Lauten calls ‘Bleed Decimator’ mode. The idea being that these settings, combined with the mic’s cardioid polar pattern will fight bleed from the rest of your kit. This is important for a couple of reasons - it enables more accurate processing, most notably when it comes to surgical EQing and heavy compressing, without nuisance cymbal bleed restricting what you want to do. But, the other benefit is that less bleed means less potential for phase issues, which is particularly prevalent with the number of microphones you’re likely to have set up on your kit, and can rob your drum sound of its low end if not kept in check.

This setting is one of our favourites, and while we were sceptical about the Snare mic’s ability to ‘decimate bleed’, it really does work. It’s not completely autonomous, you’ll still need to take a bit of care when placing the mic - placing its null point towards your hi-hat will help. But get it right, and you’ll definitely notice a good reduction in bleed from your cymbals and other kit parts in your snare mic.

The final setting is designed to optimise the mic for capturing the rattle of your snares. Lauten says that the Snare Mic’s ‘X-Ray sound’ can eliminate the need for a second microphone placed under your snare, which is another handy concept particularly if you’re low on channel-count. 

We tried the Snare mic on a number of snares including a 14”x5” Ludwig Acrolite, a 14”x5” Tama Starclassic Maple, a Mapex Black Panther 12”x7” Cherry/Maple and a Premier 14”x6.5” brass-shelled drum. Each time the results were similar in each mode, and in particular, the Snare Mic captured the rattle of our Acrolite’s slightly loose snares very clearly without the need for an under-snare mic.  

The Snare Mic is a refreshing product, in a world of repurposed and all-rounder mics that carry generic descriptions such as ‘instrument mic’, ‘small/large diaphragm condenser’, it’s great to see a mic aimed specifically at one of the most important sounds in our kits. But it’s more than just friendly naming and marketing bluster. The filtering is the jewel in the crown, and while at first you’ll likely be referring to the paperwork to remember which combination you want, it soon becomes simple, and we think you’ll find your preferred setting and keep it there most of the time. 

Yes, you can buy multiple microphones, or even another snare drum for the price of the Snare Mic, but the same can be said for many microphones. If you’re serious about recording your drums, or want a bulletproof, dual-purpose studio/live mic, it’s well worth the investment.

Lauten Audio Snare Mic review: Hands-on demos

Barry Johns Studio Talk

Jake Reed

Sweetwater

Lauten Audio Snare Mic review: Specifications

• Type: F.E.T. condenser microphone
• Output: XLR (requiring +48v phantom power from pre-amp)
• Frequency response: 20 Hz - 20 kHz 
• Signal to noise ratio: 69 dB 
• Dimensions: 112x71mm (with mount attached)
• Weight: 407g (including mount)
• Contact: Lauten Audio 

Shure has announced the release of a new version of its MV7 microphone, the MV7+. Kitted out with an LED touch panel and new DSP-based features, the MV7+ is aimed at podcasters and content creators.

The MV7+ is a cardioid dynamic microphone that shares design similarities with Shure's popular SM7B microphone, with the addition of a number of handy features that make it more suitable for content creators than musicians and producers. 

These include voice isolation, which removes background noise to enhance speech recordings, a Digital Popper Stopper, which (much like a physical popper stopper) controls plosives, and Auto Level Mode, which automatically adjusts gain levels according to distance, volume and room dynamics. There's also an onboard reverb with three reverb types, Plate, Hall and Studio.

The MV7+ is designed to hook up with Shure's new MOTIV Mix desktop app, which will let you configure the microphone via your computer, and offers multi-track recording of up to five audio tracks.

The newly updated version of the microphone also benefits from a handy LED Live Meter, which visualises sound levels and can be customized with a colour scheme of your choosing; tapping the touch-sensitive Live Meter instantly mutes the microphone.

The MV7+ is equipped with hybrid XLR and USB-C outputs, so will fit nicely into most laptop or phone-based recording set-ups, and doesn't require an audio interface to get started.

In our five-star review of the MV7, we described it as "ideal for streamers and podcasters". With the release of the MV7+, it seems as if Shure has given content creators in need of a new microphone an even more attractive proposition.

The Shure MV7+ is priced at $279/£279/329€. 

Find out more on Shure's website.

NAMM 2024: The microphone market is not exactly short of brands, it has to be said, but there's a new kid on the block in the form of Aim Audio, and it has just introduced two new models at NAMM 2024, called Inspire and Essence.

Aim Audio is the name of a new microphone company announced at NAMM, and there's some expertise behind it, including ex Aston Microphones, Avid, AKG, TC Electronic, and Yamaha employees. Aim has also used "top industrial design teams" in the creation of its mics and the manufacturing takes place in the spiritual home of the microphone, Berlin.

The two microphones Aim Audio has announced at NAMM are the Inspire and Essence, both with distinctive oval designs, but very different characteristics. Essence is a large diaphragm condenser microphone with a cardioid pattern, while Inspire adds five switchable patterns, so is the more flexible recording option. 

"We sought to not reinvent the wheel for the sake of it," Aim Audio says, which is a bit of a relief considering the microphone design concept has been based around the same winning formula for a hundred years or so, "but improve usability and ergonomics for studio and stage and bring mics into the future, all while still having a deep and respectful nod to the past."

That's covering most bases, then, but the new Aim Audio microphones do definitely have a distinctive look and feel about them. They both have an all-metal design, feature an 80Hz low-cut switch, and can be used with Aim's also brand-new Orbit shock-mount. 

They also feature what Aim says are world first features, including a switchable electronic/transformer output stage. This, says Aim, delivers, "a beautifully open and fast response, smooth and intimate sounds with sparkling harmonics and deep lows".

Aim Audio is also 'aiming' (sorry) to bring them in at a competitive price, but you'll be the judges of that. Inspire is $699(plus tax)/€799/£679, while Essence is $499 (plus tax)/€549/£469. The Orbit shock-mount can also be bought separately for $129 (plus tax)/€149/£129.

There's more information at the all-new Aim Audio website.  

Get more amazing NAMM 2024 news at our special NAMM 2024 hub page.  

All microphones work in a similar way. They have a diaphragm (or a ribbon) that moves in response to changes in air pressure due to sound waves impinging on the diaphragm – similarly to how the diaphragm or ‘eardrum’ in the human ear responds to sound. 

The movement of this diaphragm, or ribbon, then produces a changing voltage, with a positive value (or amplitude) when the diaphragm moves one way and a negative value (or amplitude) when the diaphragm moves the opposite way. There are three main types of microphone to choose from – dynamic, ribbon, and condenser. 

Dynamic mics

With a so-called ‘dynamic’ microphone (the word ‘dynamic’ means changing or moving), a small coil of wire, positioned within the magnetic field of a permanent magnet, is attached to the diaphragm. When a sound wave enters the microphone, the diaphragm vibrates back and forth in an analogous way to the movements of the sound wave. 

When a wire moves in a magnetic field, a current is induced in it. So, the pressure of the sound wave vibrates the diaphragm, which in turn moves the coil in the magnetic field, inducing the electrical signal in the wire, which is then passed to the microphone cable (sometimes through a step-up transformer to increase the voltage).

The mass of the diaphragm and coil arrangement means that the moving coil mic suffers from inertia issues. That is, the arrangement is resistant to changes in its state of motion, meaning that it doesn’t fully accurately represent the sound pressure, particularly at high frequencies where the diaphragm and coil arrangement must change speed and direction more frequently.

As something of a side note, you may notice that the construction of a moving coil mic is very similar to that of a loudspeaker driver, which consists of a loosely suspended cone attached to a moving voice coil in close proximity to a fixed magnet. The speaker driver works in the opposite way to the microphone – the flow of a signal through the coil induces a magnetic field which drives the coil away from the magnet, moving the speaker cone. This is the reason that a speaker driver may be wired up to an input and used as a rudimentary mic.

Ribbon mics

Ribbon mics are another form of dynamic mic, although usually billed as a distinct design by manufacturers due to their high-end desirability. 

In the case of a ribbon microphone, the ribbon is made of metal and is suspended in a magnetic field, so when it vibrates, varying electrical signals are produced. The output voltage of the ribbon is low, so most ribbon mics also contain a step-up transformer to boost the voltage to an optimal level. The lighter arrangement of the moving parts helps to overcome some of the inertia problems of the moving coil mic, meaning that ribbon mics are generally more accurate at higher frequencies than moving coil.

Ribbon mics tend to be more delicate than moving coil mics, so are better suited to studio work than live performance. 

Condenser mics

Condenser mics do not operate using the same basic magnetic principles as dynamic mics, instead being based around a smaller, capacitor-based element. 

In a condenser microphone, the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. These changes are translated into varying electrical signals by one of two methods – DC‑biasing or RF biasing. 

Because the front plate of a condenser mic is significantly smaller than the diaphragm and coil/ribbon setup of a dynamic mic, it is lighter and therefore its speed and direction of movement changes more rapidly, allowing it to create a more accurate representation of the sound pressure. 

As such, condenser mics usually have a more accurate frequency response curve than dynamic mics. Electret mics are a form of condenser mic where the capacitor dielectric is permanently charged without the need for phantom power. The electret itself is a small capacitor which functions in a broadly similar way to a traditional condenser mic.

Pickup (polar) patterns

Another typical microphone specification is the pickup pattern, more usually called a polar pattern. This is a circular graph showing how the microphone picks up sound coming from the different directions in a circle around the microphone.

An omni-directional microphone, as its name suggests, picks up sound equally from all directions. This is particularly useful when you want to capture the ambience of the space around the microphone.

A cardioid microphone, again as its name suggests (cardioid means heart-shaped), picks up sounds in a heart-shaped pattern, mainly from the front, while rejecting sounds coming from the sides and the rear. The advantage here is that this microphone mostly just captures sound from the sound source that it is pointing at.

A hyper-cardioid is similar but with a narrower area of sensitivity at the front and a small area of sensitivity at the rear. A variation on this is the hypercardioid, which has an even narrower pickup area at the front and even less pickup from the rear. These pickup patterns can help isolate the instruments that they are intended to pick up more effectively, and also help to minimise feedback in live situations.

The other main type of pickup pattern is the figure-of-eight or bi-directional pattern, in which sound is picked up equally from the front and the rear, while sound from the sides is strongly rejected. Microphones with this type of pickup pattern can be used to record two nearby sound sources, either side of the microphone, while rejecting sounds coming from the other two directions. 

Need-to-know specs

The most basic measurement of a mic’s performance is its frequency response. A frequency response curve shows how the microphone’s response effectively boosts and cuts particular frequencies of the sound it’s attempting to pick up. 

It might seem logical that a mic with a perfectly flat frequency response would be the most desirable. In general, this is a fairly good guideline, but a quick look at the frequency response of the old faithful Shure SM58 quickly demonstrates the fact that a mic with an apparently inaccurate frequency response can still be an industry standard.

In addition to frequency response curves and basic polar patterns, any good manufacturer will also publish various other specifications for their microphones. These can range from the basics like impedance to a mics’ levels of self-noise, maximum sound pressure level and sensitivity, which gives you a clue as to how much gain you’ll need from your preamp.

Sweetwater is getting ahead of the Black Friday game dishing out some amazing deals on studio and recording gear in its early Black Friday sales event. If you're looking to upgrade your monitor speakers or expand your microphone roster, Sweetwater is well worth your attention right now, with up to 70% off.

Naturally, with so many incredible deals to explore, visiting the Sweetwater site is only advisable if you have plenty of time on your hands. So, to save you some valuable time, we've done the hard work for you and gathered some of the stand out deals, including enormous reductions on some very desirable gear indeed.

It’s a difficult job but someone had to do it, right? Lucky for you, I found some decent deals in the Sweetwater early Black Friday sale. There are, as you’d expect, discounts on everything you could need to kit out an entirely new studio, but if you’re looking for the one or two things that could elevate your setup to the next level, you’ve come at the right time.

Among the best offers we found was up to $50 off the entire range of up to $50 off the entire range of Universal Audio Volt audio interfaces. As one of the best-respected names in studio tech, these affordable interfaces deliver superior sound quality and come with a neat software bundle to elevate your home recording game. The pick of the offers is the 4-in/4-out Universal Audio Volt 476, which has been reduced from $369 to $319 - perfect for recording more than one instrument at once.

Beatmakers can take advantage of a 25% reduction on the cost of the Elektron Model:Samples, taking it down from $399 to $299 for a limited period. I’ve got one of these in my home studio, and its bigger brother, the Digitakt, and can tell you it’s an awful lot of fun. Load up your own samples, sculpt your sounds and then take advantage of one of the best sequencers in the business to create some amazing sounds in no time at all. 

If it’s studio microphones you’re after, then the highly rated - by us - Lewitt range has some enticing discounts across the board. Our pick, the Lewitt LCT441 Flex is down from $399 to $349, while the higher-spec Lewitt LCT640 has $200 off, taking it down from $899 to $699.

Sweetwater’s early Black Friday sale ends on November 16, so you’ll want to move quickly to make the most of these deals while they’re still there. Between now and Black Friday itself, we’ll be highlighting all the best deals on our Sweetwater Black Friday deals page.

Explore more Black Friday deals

• Black Friday music deals
• Black Friday guitar deals
• Black Friday plugin deals
• Musicians Friend Black Friday deals 
• Guitar Center Black Friday deals
• Thomann Black Friday deals
• Black Friday Andertons deals

We’ve seen audio interface/microphone combos before, but perhaps none so ‘obvious’ as Austrian Audio’s new MiCreator Studio, which really does look like an audio interface with a microphone stuck on top of it.

Billed as an “ultra-flexible pocket recording system,” this hooks up to your computer or mobile device via USB-C. As well as the built-in condenser mic, there’s also a mini-jack input for connecting a second device that can be recorded simultaneously, such as the optional MiCreator Satellite mic.

Other features include two headphone outputs, two gain settings and a jog wheel that controls the volume. There’s latency-free direct monitoring of the mic and input while you’re recording, and MiCreator comes in a supposedly “rugged metal housing”.

As well as being available on its own priced at $199/£179/€199, MiCreator Studio can also be purchased in the ‘MicCreator System Set’ bundle, which includes the Satellite mic, cables, two faceplates for each mic, the MiniBar stereo bar and a custom case. This costs $299/£269/€299.

Purchased on their own, the MiCreator Satellite and MiCreator Y-Lav lavalier mic cost $99/£89/€99 and $49/£49/€49 respectively.

Find out more on the Austrian Audio website.

We get annoyed with people constantly filming with – or even just using – their mobile phones at live events, so God only knows what we'd do when faced with someone actually throwing an object at a performer. 

It's a depressing trend, but at least Cardi B had a response during a recent such incident. She threw her microphone back at one such idiot, and it's fair to say he wont be spilling his beer around her again any time soon. 

Adele has threatened to kill anyone who throws anything at her, and Pink was recently left bemused when one person delivered some cheese and another, the ashes of their late mother (yes, really) to her while performing . 

It's a very current live trend but actually not that new. Tom Jones was famously pelted with knickers back in the day but other recent incidents like Bebe Rexha getting a black eye after getting hit by a phone (just… why?) and Lil Nas X having a sex toy thrown at him on stage have made this something of 'a thing' in 2023. 

Cardi B, however, is seemingly hoping to bring the trend to a close by throwing something back at the perpetrator. At a recent gig one punter attempted to throw beer at her – which is a waste of beer, as well as being just ridiculous – so she responded by throwing the only thing she had to hand back at the idiot… her microphone. 

Here's a video of the incident.

This should have been the end of it – and the performance – but Cardi's vocal did appear to carry on thanks to, presumably, it all being played on a backing track. 

The incident invited some support for Cardi B, with Twitter comments applauding her response to the liquid attack, while others claimed that she hit the wrong person with the mic in response. Further comments suggested that 'she didn't need the mic anyway' and 'at least the music didn't stop'.

Whatever, the incident has highlighted, yet again, this rather grim trend in live music. Whether it be over raucous (aka drunken) singing at West End or Broadway shows or incidents like these, it does appear audiences are acting more and more entitled at live events.  

As ever, we say don't try any of this at home, or at a gig. It's not big, nor clever, and a waste of beer/sex toys/cheese/your mum's ashes. 

And stop using mobile phones too while you're at it. 

It’s common in any product category for one or two specific models to rise up and become the unspoken go-to. For example, we’d bet there are more podcasts using the Shure SM7B than any other mic around in podcasting. Likewise, we’d wager that the Rode NT1 is among the most popular when it comes to home studio setups, on account of its superior versatility and accessible pricing. Both are excellent recording mics, with clear similarities and differences to each other. 

In this article, we’re going to attempt to identify a winner between them, a desert island mic to rule them all. We’ll look at both products’ features and functionality, along with their build quality, and examine how to get the best out of them across a variety of situations. 

Shure SM7B vs Rode NT1: At a glance

The Shure SM7B will be instantly recognisable, both in its appearance and in its sound, for lovers of podcasts, vlogs and streams. Essentially, it’s a robust, pro-grade dynamic podcasting mic with a focus on capturing the voice in its many forms. It has a relatively narrow frequency response, compared to similarly priced alternatives, although it balances that out with a smoother mid-range which enables it to deliver exceptional results in a broadcast environment. It is, as you’d expect from Shure, extremely well-made and built to last, although it’s rare you’ll see one outside of a studio.

The Rode NT1, on the other hand, is a veteran studio condenser mic which has evolved into something with a great deal more versatility. Where the Shure is an XLR-only mic, the NT1 allows users to connect using either XLR or - in keeping with the current trends - via USB C. Add audio interface capabilities and a wider frequency response and you’ve got something with a great deal more in the way of potential use cases than the Shure. But is it that easy to crown a winner? Of course not. Read on to find out how each mic fares head-to-head.

Shure SM7B vs Rode NT1: Hardware & features

If we’re looking purely at numbers and a spec sheet, it’s hard to see if these two mics are even in competition with each other. The Shure is more expensive, but then has a narrower frequency response and is seemingly geared towards one specific application. The Rode seems keen to impress you with its multiple methods of connectivity and its built-in electronic smarts, but I’ve seen plenty of examples of products that miss out on excellence by trying to do too much. 

I like the way the SM7B has some degree of on-mic control, with a basic frequency attenuation to help sculpt your sound before it reaches the interface. It fits in with the mic’s inherent vibe of simplicity; you plug it in, and it sounds great. Simple. The NT1, on the other hand, practically throws the possibilities at you and invites you to shape them to your needs. There’s accompanying software through which you can apply EQ and effects, which is a nice touch, and a general feeling of it being a Swiss Army Knife of a mic, capable across a range of applications although possibly without achieving greatness at any particular one of them. 

Winner: On purely features and capabilities, the Rode NT1 is a clear winner. It provides versatility in the way you connect it, and from there offers a wealth of possibilities over how you shape the sound you’re recording. 

Shure SM7B vs Rode NT1: Build quality & design

Judging the build quality and design of the Shure SM7B and Rode NT1 is easy because they’re both high-quality, expertly-designed tools which would find use in any studio around the world. The NT1 is now in its fifth iteration, which - if you follow the logic of most consumer technology - means Rode has had time to fine-tune and finesse the design into what we have today, which is a sleek, nicely hefty microphone which balances robustness with an attractive visual aesthetic. 

The SM7B, on the other hand, is an example of the opposite theory of industrial design. Rather than gradual iteration, Shure focused on getting it right the first time around, in the same way it has done with its famous SM57 and SM58 mics, which are largely unchanged since they launched in the 1960s. So the SM7B is a weighty - twice the weight of the NT1, in fact - matt black beast of a mic which will probably outlive all of us. There’s even room for a quirk - in the microphone world, anyway - in the way the XLR connection doesn’t actually sit on the mic itself, but rather a separate (but connected) port. 

Winner: It’s hard to look beyond the Shure here, on account of its solid build and the fact it basically looks way, way cooler on a boom arm than the Rode. 

Shure SM7B vs Rode NT1: Usability

For all that I’ve sung the praises of the Shure and its simplicity, it’s important to say that the Rode, in comparison, is hardly a difficult mic to understand. If you want to use the NT1 in an old-fashioned way, via XLR, then you simply plug it into an audio interface or mixer and away you go. 

Being a condenser, the NT1 does require phantom power - the SM7B does not, being a dynamic mic - but that shouldn’t be an issue. And if you then decide you want to access more in the way of the NT1’s digital capabilities, then you can bypass all the external equipment and plug directly into your PC or laptop. From there, if you’ve used recording software before then you’ll have no problems tailoring the NT1 to your specific needs. And even if you aren’t familiar with recording software, I found the app simple and quick to dial in some great-sounding results. 

Winner: Both mics are a lesson in simplicity, although for us we’re still drawn to the way the SM7B gets such great results with the absolute minimum of fuss, making it a model of user-friendliness. 

Shure SM7B vs Rode NT1: Sounds

It would be unfair to say the Shure SM7B is, tonally, a one-trick pony. Although that one trick - voice capture - is so far in front of pretty much any other mic on the market, so it’s not a bad trick to have. It achieves those velvety, rich broadcast-quality results thanks to a combination of things, namely the way it manages its frequency response and then its ability to reject external noise. 

Put simply, there isn’t a mic I’d choose over it when it comes to podcasting, broadcasting or vlogs. Where it potentially falls down is in the fact that, outside of speech, it possibly wouldn’t be anyone’s first choice for recording instruments. While you could, hypothetically, record a raging tube amp thanks to being a dynamic mic and therefore right at home in front of a loud sound source, we doubt anyone ever would. Or even ever has. 

The NT1, however, is undeniably more versatile in the tones it offers. Everything from acoustic guitars to vocals to pianos can all take full advantage of that added sensitivity and wider frequency response to collect some sensational results. Even without the added digital trickery, this is a superb studio mic which covers a lot of ground tonally.  

Winner: It might seem like a cop-out but I’m calling this one a draw. The greatness of the Shure’s speech capabilities puts it way out in front on one hand, but the sheer versatility of the NT1 means it’s hard to mark it down. 

Shure SM7B vs Rode NT1: Verdict

The more time I spent with the Rode NT1 and the Shure SM7B, the more I thought an article pitting them against each other is doing them both a disservice. Any studio in the world, whether that’s a music studio, a podcast studio, or even a basic home studio, would find a world of uses with both of these wonderful mics. It doesn’t have to be one at the expense of the other. 

The Shure SM7B, for example, does one fairly broad thing really, really, really well. Put simply, there’s a reason why so many of the best podcasters use it despite it not having USB connectivity or any form of built-in digital signal processing. The sound that you track into your recording software will require less post-production, meaning fewer plosives and background hums, making life easier and the results better than if you used nearly any other speech mic. But, and it is a big but, you’re not going to use the Shure in front of a 4x12 cab with a stage-volume JCM800 flowing through it. I mean, you could, but Shure already has mics which excel at that, and they cost around a quarter of the SM7B. 

The Rode NT1, however, delivers a broader degree of functions and capabilities than the SM7B, and it does so with aplomb. It is, demonstrably, the better studio workhorse. Essentially, if you can afford it, you won’t regret owning both of these mics. If you have to pick one? Ask yourself what you’ll use it for. If it’s to do one thing - capture vocals - outstandingly well, get the Shure. If it’s variety you need, then the NT1 might just be the perfect mic for you.