NAMM 2024: IK Multimedia’s iRig Stream Mic USB is a more affordable version of its compact mic/audio interface
Here are the key differences between the USB and Pro models
NAMM 2024: IK Multimedia has released iRig Stream Mic USB, a streamlined version of the iRig Stream Mic Pro, which landed in 2023. As with the Pro version, the new model is a mic and audio interface in one, but there are a few key differences.
First up, the USB edition contains a cardioid USB mic and stereo audio interface. The Pro, on the other hand, gives you a multi-pattern mic and 4-channel interface. The device connection on the USB model is USB-C - as opposed to mini-Din on the Pro - and audio quality is restricted to 16-bit/44.1kHz and 48kHz. On the Pro, it’s 24-bit/44.1kHz, 48kHz, 88.2kHz and 96kHz.
Those differences aside, it’s a very similar story. The iRig Stream Mic USB is designed for anyone who wants all their recording needs met in a single, portable box, and is suitable for podcasting, video production, streaming and music making.
The mic’s unidirectional cardioid pattern means that it should do a decent job of eliminating background noise - a built-in high-pass filter will also help with this - and you can adjust the gain with a dedicated control. Other gear can be plugged in via a 3.5mm stereo input, and the monitor mix control enables you to blend the direct and recorded audio in your headphones.
There’s also a loopback feature, so you can blend in audio that’s coming from your Mac or PC. This is mixed with the other inputs to create a stereo output that can be sent to your streaming app of choice. iRig Stream Mic USB comes with a tabletop stand and can also be connected to a mic stand or boom arm.
Of course, the other advantage the USB model has over the Pro version of the iRig Stream Mic is that it’s cheaper - €100 as opposed to €170. That’s a pretty significant difference, and could seal the deal for the USB variant if you don’t really need its Pro sibling’s additional features.
Find out more on the IK Multimedia website.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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