I teach online courses and, thus, have been compelled to produce dozens of instructional videos. Being both a novice talking head and perfectionist made for frustration with lighting, video and audio. Audio was especially troublesome due to the less than ideal conditions I work in.
Rode PodMic USB | Also available in "Apple" white. | Image courtesy Rode
After struggling with the poor audio of lavalier and camera mounted mics, I experimented with mics optimized for close vocal use. I wanted the flexibility of USB for computer connectivity and XLR for audio interfaces. Soon a Rode PodMic USB landed on my doorstep.
What is Melody? | Talking head and voiceover using the PodMic USB. Musical selections recorded with Neumann KM 184 mics (7:05).
On the Rode Again
Based in Australia, Rode is a manufacturer of shotgun, studio and podcasting mics. Rode builds most of their products in their Sydney, Australia factory.
Build Quality and Features
The PodMic USB is an end-address dynamic microphone design. End-address means you speak or sing into the end of the mic rather than the side. Dynamic refers to use of a moving-coil and magnet to produce an electric current.
Dynamic microphones don't require phantom power. Sound pressure moves a diaphragm attached to a coil suspended over a magnet. Movement of the coil creates electrical current. The resulting current is routed to a mixing board or audio interface for amplification and processing.
Dynamic Microphone | Moving-coil of dynamic mics | Wikimedia Commons
At 12cm in length, the PodMic USB is half the length of the Shure SM7B. Albeit short, it is stout and heavy. The black finished metal barrel and yoke mount are military grade. Fit and finish are exemplary.
A benefit of all that mass is reduced resonance. Smack the mic and you merely hear a dull thud. However, at 900g ( 2 LB), it requires a strong boom arm. My InnoGear Mic Boom Arm was up to the task, but my KMD stand needed a counterbalance weight on the boom.
Styling is handsome and reminiscent of vintage mics of bygone eras. And it looks like a precision tool: no RGB lights, chrome or New Age finishes.
Rode PodMic USB | It is a fat mic so be careful to not cover your face.
Mount
The cradle style yoke has both 3/8" and 1/2" sockets and fits standard mic stands and booms. It threaded smoothly onto my booms.
The cradle knobs are the only components made of plastic rather than metal. It's beefy plastic and probably a handle for an underlying steel bolt. Turn the knob to dampen or loosen mic rotation in the cradle.
Plosive Protection
Beneath the metal grill lies an interior pop filter and damping material. They do a mediocre job of controlling plosives. However, Rode provides an external pop filter, the WS14. Once installed, plosives and mouth noises are well controlled. The WS14 does little for sibilance so you need to control S and T syllables.
Rode PodMic USB | With WS14 pop filter | Image courtesy Rode
The WS14 features a plastic rib-like structure resembling the PodMic exterior. Beneath the ribs lie a layer of high-density foam. Besides being more attractive than generic foam filters, it is rigid and snugly fitted to the mic.
Sound with the WS14 is warmer—highs are slightly rolled off. The filter is helpful if you are prone to plosives or have a bright voice. Rode sells the WS14 ($20) as an accessory in assorted colors, including red and pink.
Rode PodMic USB | Rear view with XLR, 3.5mm TRS output, USB-C and headphone gain | Image courtesy Rode
Controls
On the rear is a LED and thumb-wheel for headphone gain. That's it. Press the wheel to toggle between normal and zero-latency monitoring. The rear LED turns green when zero-latency monitoring is on, and red when off.
Rode Central | Simple or novice adjustment screen.
Software
Rode software and hardware mixers are used to configure settings such as compression, high noise gate, etc. A podcast app, Connect, and streaming app, Unify, are provided for those wishing to live within the Rode ecosystem.
Beyond DSP settings and firmware updates, Rode software isn't needed. The PodMic USB worked well in Logic Pro, Adobe Audition, TwistedWave, OBS, QuickTime, Final Cut Pro (and likely most DAW software) and Zoom.
Mic settings made in Rode Connect, Central and Unify are retained in PodMic USB memory and implemented with an internal DSP. Thus, if you stream on a computer without Rode software, previous settings remain active.
Rode Connect | Advanced processing features screen.
For streaming live, an internal DSP with baked-in settings is great. For DAW use, I disable DSP settings and add adjustments during post production.
Shock Mount
Rode says the PodMic USB has an internal shock mount. It doesn't do much. When mounted on a boom attached to my desk, vibration and hum from external hard drives and computer fans are heard on audio tracks to a much greater extent than my other dynamic mics such as the Shure SM57.
To reduce hum and vibration, I mounted the PodMic USB on a YOUSHARES Shure SM7B shock mount. The mount screw was slightly long for the Rode cradle socket—rotated too easily. Use of a rubber washer (o-ring) tightened it perfectly while allowing dampened rotation. The PodMic USB should fit shock mounts for yoke-style hanging mics like the Shure MV7+ and Blue Yeti.
Connectivity
The PodMic USB has XLR, USB-C and 3.5mm ports for connectivity with mixers, computers, mobile devices and audio recorders. Simultaneous XLR and USB output is not possible. You can use one or the other but not both at once.
If you have an iPad or iPhone with Lightning ports, you'll need the Apple Lightning to USB Camera Adapter.
Headphone Output
I auditioned the PodMic headphone output with Sennheiser HD 650 headphones. It sounded okay, but is a little noisy (hiss). I prefer using my audio interfaces for monitoring. Having a headphone cable flapping against the mic and my face isn't ideal during sessions.
Computers
In USB mode, the PodMic USB was plug and play on my iMac under Sonoma. Powered by the USB bus, it worked with a USB-C hub or straight into my Mac. No restarting or messing with drivers: select the PodMic USB in the recording app and/or system and it works. I've used it successfully with Logic Pro, OBS, Final Cut Pro, TwistedWave, Adobe Audition and Shure Motive Mix.
Rode indicates the PodMic USB is also compatible with Windows, Android and iOS devices. I don't own those devices to confirm operation.
Misty Olympic Mountains | EOS 80D and EF-s 18-135 3.5-5.6 IS USM
Sound Quality
The PodMic USB is optimized for the human speaking voice and that's it. It is not blessed with full frequency range like mics designed for instrument pickup.
Rode PodMic USB | Frequency response | Image courtesy Rode
It rolls off progressively below 100 Hz and falls off a cliff above 12,000 Hz. Rode's specification of a 20 Hz to 20,000 Hz frequency range is marketing spin. The range between 100 Hz and 12,000 Hz is fairly flat, with mild contouring for vocal clarity. Indeed, PodMic USB frequency response is similar, albeit with less pronounced EQ contouring, to the Shure SM58 vocal mic:
Shure SM58 | Frequency response | Image courtesy Shure
There's a gentle EQ boost between 3,000 to 9000 Hz, which imparts presence to voices but also brings out sibilance if not careful with S and T syllables. To counter the proximity effect when speaking close to the capsule, the bass is rolled off below 100 Hz. The extreme roll off after 12,000 Hz (- 50 dB) means there are no "air" frequencies, so not a mic for music use.
Optimal vocal tone for me is from 5 to 12 cm (2 to 5 inches) straight on or offset 25 or 30 degrees. Offset speaking reduces highs. Moving further away reduces bass and lower mids while speaking closer increases bass and lower mids.
Without processing, this mic sounds balanced and natural for my speaking voice.
Processing Adjustments
Not everybody wants to sound natural. Indeed, much of the appeal of this mic lies with the processing software, making the sonic character malleable.
The default VoxLab settings in Rode Central create a radio announcer sound. Indeed, the resulting waveform looks like a sausage: heavy compression flattens dynamic peaks and lifts lows, making everything almost the same volume. I find heavy compression unnatural and fatiguing to listen to.
Three parameters—Depth, Sparkle and Punch—may be tweaked to taste. Depth changes bass and low mids, Sparkle bumps up highs and Punch is a combination of compression and noise gate. Dial them down, especially Punch, unless working on car clearance voiceovers. Settings are retained and processed inside the mic and don't need to be set again if you're happy with them.
The advanced processing panel has a noise gate, compressor and high-pass filter. PodMic USB bass is already strongly rolled off, so I avoid the high pass filter. There are also two EQ related effects: Aural Exciter (highs) and Big Bottom (bass).
The VoxLab default was used in my Note Duration and Meter Signatures video example below, but dialed down. I found it pleasant for my baritone speaking voice. Fairly natural but with a little bite.
Environmental Isolation
The PodMic USB, like all dynamic mics, has low sensitivity and needs high preamp gain and close sound source placement, typically 4 to 10 cm from the capsule. Close placement reduces pickup of off-axis sounds, but increases the proximity effect. However, PodMic USB bass is rolled off after 100 Hz, so the proximity effect is minimal and you can almost shallow the mic if you're not plosive prone.
Finally, the cardioid pattern of the PodMic USB focuses on sound near the front of the mic. In other words, off-axis sounds like room reflections and outside traffic are reduced compared to sounds directly in front of the mic. I can record clean tracks with the PodMic USB in places my condenser mics dare not tread.
USB Gain
Inside the PodMic USB is Rode's Revolution Preamp, advertised as low noise and high gain. Up to 63 dB of gain is available for USB output.
I'm soft spoken so the PodMic USB needs gain maxed out at 63 dB in Rode Central, albeit the resulting -16 to 12 dB average is on the low side. USB output is about 6 dB softer than the Deity VO-7U USB mic and considerably weaker than the Blue Yeti X. While USB output gain is low, it is clean and may be normalized without the noise floor rearing up.
XLR Gain
With a Tascam DR-60 MK II audio recorder, PodMic USB XLR output can be staged considerably higher than USB output, easily hitting my ideal of -12 to -6 dB. Preamps were at 70 to 75%—so gain to spare.
Through the XLR input of a Rode Streamer X, sound is clean and strong. The Streamer X is capable of 76 dB of XLR gain, 13 dB more than software gain in Rode Central. Streamer X preamps run hotter than USB output: 63 dB on the Streamer X is louder than 63 dB in USB mode. I prefer the hotter gain and slightly fuller sound of XLR output over USB.
RFI Resistance
In RFI prone downtown Honolulu, I encountered no RFI while using the PodMic USB on Macs, audio recorders and audio interfaces.
I use the PodMic USB for voiceovers and talking head in instructional videos. Below is my first video made with the PodMic USB. Default Rode Central processing was used but dialed down. The video near the beginning of this article (What is Melody?) has no audio processing other than normalization.
Talking head sections were shot on a Canon EOS R6 MK II with XLR audio routed to a Tascam DR-60 MK II audio recorder. Voiceovers were recorded in Logic Pro and TwistedWave using USB output. Finale was used for musical score creation. Music examples were recorded using Neumann KM 184 mics. Finally, all these components were assembled in Final Cut Pro.
Note Duration and Meter Signatures | Professor Frary (6:09)
I backed off the mic several inches in talking head segments because I didn't want to obscure my face. Thus, vocal tone has less bass than voiceover sections.
Sound Comparisons
Below are audio samples of mics I've used for spoken word. Mics were mounted on a boom clamped to a computer desk in a partially treated room. Samples were recorded into TwistedWave at 48 kHz and 24-bits. Gain was set to average about -12 dB. No processing, filters or normalization used unless otherwise noted. Save for the Shure Beta 27, mics used a pop filter or foam wind protector.
Rode PodMic USB
This PodMic USB sample was recorded through its built-in USB-C port. Gain was maxed out at 63 dB in Rode Central. Some might consider the unprocessed sound bland, but I find it balanced, unfatiguing and easy to listen to. It doesn't cut through a loud musical sound track well but, of course, all it takes is a couple clicks in Rode Central to increase presence.
Rode PodMic USB | Default Processing
Many will use this mic with Rode Central processing defaults, so this is what it sounds like. I recommend dialing down defaults unless you're making mattress clearance voiceovers.
Rode X Streamer | Mounted on a Manfrotto arm for easy port access.
Rode PodMic USB with XLR
XLR output was plugged into the Rode Streamer X and gain set to 63 dB. No processing was used. Volume was slightly higher than the 63 dB gain used for USB output, even with the same 8 to 10 cm speaking distance. XLR and USB output are similar in character, but XLR has a little more bass and mids than USB output.
Why does XLR and USB output differ? Maybe the Streamer X preamp and AD converter are different than the preamp and AD converter in the PodMic USB? Differences are minor, but I prefer the slightly fuller XLR sound.
AKG C3000B
The AKG C3000B, circa 2009, is a large diaphragm side-address condenser mic. It remains in production as the AKG C3000 and sells for $350 USD. The lower treble frequency bump makes it too bright for classical guitar. On the other hand, that bump makes it a good mic for spoken word, exhibiting clarity, detail and a bit more treble bite than the PodMic USB. The C3000B was plugged into the XLR input of the Rode Streamer X with gain at 46 dB.
Comica VM30
The Comica VM30 is a condenser shotgun mic designed for hot shoe or boom use. It supports TRS output for cameras, USB-C for computers and mobile devices and wireless via a built-in transmitter. A shoe mount receiver is included. It also features stepless gain control from 0 to 10 via a rear mounted dial.
For this example, I routed USB-C output to TwistedWave on my iMac. USB gain output is ample. With onboard mic gain at 9, levels averaged -10dB to -6 dB.
I spoke straight into the mic from 12 cm (5") away, resulting in smooth, clear and natural sound. A pleasant bass increase from 8 to 10 cm. The proximity effect becomes overwhelming if I draw much closer. About 25 cm (10") is the maximum speaking distance for really good vocal tone, albeit it is still usable at 50 cm. Beyond 50 cm, tone quickly becomes thin and farty. This mic is optimized for video blogging at arm's length.
Clarity is good and beats the mildly murky sound of the Deity V-Mic D4. Tone is a notch brighter than the MKE 400 and Rode VideoMic Go II but a pleasant and very usable sound.
The VM30 has a tight polar pattern, resulting in excellent off-axis sound rejection. Amazing, the Rycote style shock mount nixed external hard drive vibrations and I didn't have to turn off external hard drives.
With all of the above said, the real talent of the VM30 is its built-in wireless ability. Quickly go straight to camera, computer or audio recorder with no wires.
The Deity V-Mic D4 is a shotgun microphone optimized for close use such as video blogging. It has TRS and USB-C output for connectivity with cameras, audio recorders, mobile devices and computers. In TRS mode, the D4 suffers from high levels of RFI. USB-C was used for this test sample and is RFI resistant. The V-Mic D4 has adjustable gain from -5 to +10 dB. With gain at +10 dB, USB output is low, about 6 dB lower than the Rode VideoMic Go II.
My voice sounds slightly nasal, murky and compressed with the D4. The D4 has strong off-axis coloration. When recording at 25 to 45 degrees off-axis, high frequencies are severely rolled off compared to speaking straight into the capsule. For this test, I spoke straight into the mic.
Finally, the included foam filter reduces highs severely so used a clip-on pop filter instead. I prefer the sound of the Comica VM30 and Rode VideoMic Go II over the D4. The V-Mic D4 retails for $100 USD.
Deity VO-7U
The Deity VO-7U is a dynamic USB mic aimed at YouTubers and gamers. It has a small EQ bump in the lower highs, somewhat reminiscent of Shure dynamic microphones, but with more strongly rolled off bass. Rejection of off-axis sound is good. The sonic character is okay but not as pleasing as similarly priced mics such as the Shure SM137, Shure Beta 57A, Lewitt LCT 249 Pro and PodMic USM.
While there is no controlling software, the VO-7U has a limiter and powerful built-in preamp. It is a looker and sports RGB lights for mic fashionistas.
Lewitt LCT 240 Pro
The Lewitt LCT 240 Pro was plugged into the XLR input of the Rode Streamer X. Gain was set to 47 dB. This is a small diaphragm side-address condenser mic designed for home studios. It's an attractive and compact design, especially the effective yet space saving magnetic drop-in pop filter.
The 240 Pro flatters my voice with a pleasing but somewhat bright timbre and above average clarity and legibility of words. With the pop filter, plosives and sibilance were well controlled. Without the pop filter, the 240 Pro sounds like a wind storm. Wear protection!
While the bright character makes for clear and understandable words, it also makes the 240 Pro more prone to picking up background sounds than many of the mics here, save for the Neumann TLM 102.
Without accessories, the 240 Pro is priced at $100 USD. The shock mount and pop filter kit clock in at $159.
Neumann TLM 102
One of my favorite mics for recording classical guitar is the Neumann TLM 102, a large diaphragm side-address condenser mic. Pointed at the bridge, it renders a beautiful and sweet plucked string tone. For guitar, it needs little or no EQ.
While great sounding for voice—smooth and natural in character and flattering to my voice—it is extremely sensitive to mouth sounds and puffs of air. I used a foam filter from the Deity VO-7U to help control plosives. That wasn't enough so I added a clamp-on pop filter but still had to be careful while speaking.
The TLM 102 is also more sensitive than average to vibrations from the floor, computer fans and off-axis sounds! I used a clone of Neumann's shock mount to help nix vibrations. It is unusable without a shock mount.
I recorded the Neumann TLM 102 through the XLR input of the Rode Streamer X. Gain was set at 46 dB. The TLM 102 is at its best in an acoustically treated and soundproof room.
Currently, the 102 retails for $750 USD.
Neumann KM 184
Obviously, the KM 184 is not designed for close miking of spoken word: no protection from plosives and moving air. That doesn't mean the KM 184 won't sound good for spoken word, but use of a pop filter is mandatory.
The KM 184 is a sensitive and dynamic mic—why I like it for instruments—but with only a foam windscreen, plosives were out of control. I nixed plosives by speaking offset about 30 degrees but didn't like the duller sound. Finally, I added an external pop filter and that worked well enough to squeeze out a test track. The KM 184 is flattering for my voice: smooth, clear and very clean. As I experienced with guitar, off-axis rejection of sound is excellent.
Would I use this mic for voiceovers? Probably not. It is extremely sensitive and requires good vocal technique to keep plosives and dynamics under control. Somebody with better voice technique may find it doable but the KM 184 cramped my style. With that said, the KM 184 is my pick for best spoken word sound among my mics. My favorite for solo guitar tracks as well.
For this recording, the KM 184 was plugged into the XLR port of the Rode Streamer X. Output from the KM 184 is robust: gain was set to only 36 dB, lower than all my other condenser mics.
Music track recorded with two KM 184 in a X-Y stereo configuration aimed at the bridge. "Through the Eyes of Love" played on a Romero Creations 'ukulele by yours truly:
Rode VideoMic GO II
The Rode VideoMic Go II is a small shotgun mic designed for hot shoe use—smaller than the Comica V30 and Deity D-Mic D4. Besides TRS analog output for cameras, it supports USB-C for computer and mobile devices. Unlike TRS output, USB-C is resistant to RFI. It is compatible with Rode Central for settings but I recorded without processing.
The Rode has a tight polar pattern, reducing background sound considerably. Clarity is good and bests the slightly murky sound of the Deity V-Mic D4. Off-axis coloration is well controlled, so you can speak 25 or 30 degrees off-axis for plosive control if needed.
The USB output of this wee condenser mic is hot—gain was about 25% for -12dB. It's also a tiny mic—size of a partially smoked cigar—and is at its best boomed just out of sight. The VideoMic Go II retails for $100 USD.
Sennheiser MKE 600
That was the unprocessed sound of the Sennheiser MKE 600 recorded into an iMac Pro using the XLR input of the Rode Streamer X. I spoke directly into the MKE 600—no offset—from 10 cm (4 inches) away. At that distance the proximity effect is apparent but still sounds good, similar in character to the MKE 400 but with more bass. Offset speaking of 25 to 45 degrees at close distance rolls off highs a little but not as severely as the MKE 400.
Spoken word on the MKE 600 sounds best at 30 cm (12") or closer. For me, the sweet spot is from 10 to 15 cm. At about 12 cm (5 inches) it yields a noticeably clearer, brighter and less bassy sound. For this sample, I used a high pass filter at 80 Hz to reduce the rumble of an AC unit and spoke from 12 cm away:
While the MKE 600 has excellent off-axis rejection, it is extremely sensitive and picks up distant sounds directly in front of the capsule more readily than the MKE 400 and other mics I own. Careful mic placement is critical. The MKE 600 behaves like a traditional shotgun mic rather than an arm's length video blogger mic, and sounds good boomed 25 or 30 cm above a talking head.
The MKE 600 lacks the integral blimp-like housing used on the MKE 400 and 440. It needs a foam windscreen when speaking at close distances. With windscreen installed, the MKE 600 demonstrates excellent control of plosives and sibilance.
This mic retails for about $330 USD but is often discounted.
Shure 849
For this recording, I plugged the Shure 849 into the XLR port of the Rode Streamer X interface. Gain was set to 54 dB.
I bought a pair of Shure 849 condenser mics in the late 1990s to record classical guitar. This is an instrument mic—looks and sounds similar to the current SM137—with small diaphragm and minimal windscreen protection. It was too bright in the lower highs for classical guitar and is better suited for miking guitar amps and percussion.
The Shure 849 was surprisingly flattering for my voice: smooth, warm, clear and very clean. With a foam windscreen or pop filter, it is extremely forgiving of plosives and small puffs of air. Because it was designed for isolating and miking stage instruments, off-axis sound rejection is excellent.
Among the mics I tested, the 849, SM137 and the Beta 57A were the only mics that picked up no vibrations from my hard drives and nearby AC units. These mics were designed for hand held use and, thus, have internal pneumatic shock mounts.
Shure Beta 27
That was the sound of the Shure Beta 27, a large diaphragm side-address FET condenser mic with multiple high pass filters and pad. It differs from other 27 series due to a supercardioid polar pattern, rather than cardioid, and a nearly flat frequency response instead of the typical Shure treble EQ bump.
That flat frequency contour makes it ideal for instruments. I found it natural and balanced for spoken word as well. The Beta 27 has more going on in the deep bass than most mics. Indeed, it picks up bass guitar, low brass and kick drums extremely well.
While mounted on a desk boom arm, vibrations and hum from my six external hard drives leaked on to the tracks. Shure claims that the Beta 27 has an internal shock mount but it is not effective at nixing computer desk vibrations. Like the PodMic USB and the Neumann TLM 102, I had to unplug my backup drives to get a clean track. The Beta 27 needs a shock mount for desktop use.
Shure Beta 27 with High Pass Filter
For my speaking voice, not much is going on below 80 Hz and, set flat, the Beta 27 has a bit of the "big bottom" sound. Clarity of my voice increased slightly by using the built-in 80 Hz high pass filter:
The Beta 27 was recorded through the Rode Streamer X with preamp gain at 50 dB. I spoke straight into the capsule from about 15 cm (6 inches). The mic’s 3-layer mesh grille did a good job of nixing plosives and mouth noise. An external pop filter was not used. Sibilance was well controlled.
For this sample, I used the Shure A27SM - ShureLock Rubber Isolated Suspension Shock Mount. And it made a major improvement in isolating the Beta 27 from my six external hard drives. Shure should have included the A27SM with the Beta 27 (they do with its near twin, the SM27).
The tight supercardioid polar pattern made for above average off-axis rejection of sound, besting most of my mics. Unlike the similar SM27, the Beta 27 is ideal for recording on stages and untreated rooms.
Shure Beta 27 with Guitar
Here's a guitar solo I played on a 1990 Jose Ramirez 1A. The Beta 27 is positioned about 20 cm from the treble side of the bridge and does a great job. However, I prefer the sound of small condenser mics—well, the Neumann KM 184—for classical guitar. Plus, I'd need two Beta 27 for stereo recordings! Here's my "Thoughts for Monday" (improvisation):
This mic retails for about $400.
Shure Beta 57A
You just heard the sound of the Shure Beta 57A plugged into the XLR input of the Rode Streamer X.
Beta 57A isolation from off-axis sound is excellent: better than the Rode PodMic USB, Neumann TLM 102 and AKG C3000B, and on par with the Shure 849 and SM137. Like the 849 and SM137, the Beta 57A features Shure's internal pneumatic shock mount to smooth away handling noise and minor vibrations.
With the Shure A57AWS - Locking Foam Windscreen installed, resistance to plosives is highly effective, easily besting the Rode PodMic USB and Neumann TLM 102 in this regard. Without the A57AWS, it is plosives galore albeit a little better than a bare SM57.
The sound is smooth, clear and surprisingly sensitive for a dynamic mic—dare I say almost condenser like? Clarity and legibility of words is above average—can cut through a busy sound track without cranking gain much. The Beta 57A has a brighter character and more extended frequency range compared to the darker voiced SM57. Although they share two digits in their names, the SM57 and Beta 57A have little in common in terms of tonal character.
Although the Beta 57A is small and traditional in appearance, the faded matte blue finish and matte silver grill are more upscale in appearance compared to the industrial look of the SM57.
The Beta 57A retails for $150 USD.
Shure KSM8
The KSM8 was recorded through the XLR port of the Rode Streamer X with gain at 57dB. For this track, I spoke straight into the mic from 10 cm (4 inches) away.
Although designed as a vocal mic, the KSM has a significantly flatter frequency profile than the SM58. Shure claims the dual diaphragm design reduces the proximity effect and enlarges the sweet spot. I found that claim to be true and loved the ease of working with this mic: didn't need to worry about small changes in positioning changing the sound. Of course, this design is not for everybody, especially those into strong proximity effects and radio DJ timbre, but I love its more natural rendering compared to typical vocal and broadcast dynamic mics.
I don't own a shock mount for the KSM8, so I expected plenty of noise when testing it on a boom arm clamped to my computer desk. Amazingly, unlike most of my other mics, the KSM proved to be immune to hard drive and fan vibrations. Shure's user guide claims that an "advanced internal pneumatic shock mount and the Diaphragm Stabilization System (DSS™) work together to prevent handling noise." Apparently it nixes vibration much better than my other internal pneumatic shock mount equipped Shore mics.
This tough but beautiful mic sounds great: warm, smooth and easy on plosives and sibilance. Off-axis sound rejection is excellent. Among all my dynamic mics, I found the KSM8 the most flattering for my voice. It is also easy to work with, not too gain hungry, has a big sweet spot and tolerates close sound sources with only slight but a pleasing proximity effect.
The KSM8 is pricey, retailing for $399 USD, albeit I snagged one on sale for $319.
Shure SM57
The iconic Shure SM57 was recorded through the XLR port of the Rode Streamer X with gain at 67dB. It requires more gain than most mics, albeit not as gain hungry as the SM7B. Like the SM58, the SM57 sports an internal pneumatic shock mount to smooth away minor vibrations. It has excellent rejection of off-axis sound.
Designed as an instrument mic, the SM57 is legendary in the rock world for miking guitar amps and drums. It lacks a pop grill, so I installed the Shure A2WS Popper Stopper Locking Windscreen. The A2WS nixes plosives and improves appearance and, coupled with the Shure A55M Shock Mount Clip, the SM57 might be cute enough to sneak onto YouTube productions.
For this track, I spoke straight into the mic from 10 cm away. If you prefer less brightness, speak offset to the capsule. This nearly indestructible mic sounds great: warm, smooth and easy on plosives. The sonic character evokes a radio announcer vibe. The SM57 is more flattering for my voice than the PodMic USB.
Despite great sound and rock and presidential legacies, the SM57 is unlikely to replace the large status symbol mics popular in YouTube productions.
The SM57 retails for $99 USD.
Shure SM137
For this recording, I plugged the Shure SM137 into the XLR socket of the Rode Streamer X and set gain to 47dB. The Shure A3WS Foam Windscreen was installed. Like the Beta 57A and 849, the SM137 has excellent rejection of background and handling noise. Indeed, Shure's pneumatic shock mount system smooths away minor vibrations and makes hand held use practical. Albeit slightly brighter, it sounds similar and looks like the Shure 849. The SM137 retails for $190 USD.
Comparison Thoughts
I'm surprised these mics sound as different as they do. Although different, most of them sound good to me, albeit not necessarily with my voice.
The PodMic USB doesn't sound better than most mics here. It is less sensitive to dynamics, lacks air frequencies and bass is heavily rolled off. Indeed, the PodMic USB is not even one-tenth as versatile as a Shure SM57.
Why bother with a PodMic USB? It's easy to use and frequencies emphasized are the ones needed for spoken word. A novice can make spoken word sound good in an untreated room with little struggle. Combined with Rode's software and audio interfaces, the PodMic USB can almost be all things to all people. Of course, if you're like most musicians and already own an audio interface and common mics like the Shure SM57 and SM58, your talking head and podcasts will sound better with what you already own.
Red Barn Neon | Canon EOS 7D and EF-s 15-85 3.5-5.6 IS USM
Final Blurb
The Rode Pod Mic USB performs well for speaking voice: unprocessed tone is warm, smooth, and natural. Off-axis sound rejection is excellent. It performs wonderfully for what it was designed for: spoken word in less than ideal spaces. It's not the right mic for recording music or ambient sounds.
For aspiring podcasters and YouTubers, the most important attributes of the PodMic USB are:
Looks comely and distinctive in videos.
The DSP and support software sound good and are easy to use.
XLR and USB output makes the PodMic USB compatible with computers, mobile devices, audio interfaces and mixing boards.
Relatively affordable (half the price of the Shure SM7B).
I enjoyed working with the Pod Mic USB and recommend it for anybody looking for an easy to use mic for voiceovers, video, podcasting and streaming. And, yeah, it desperately needs a shock mount if used on a desk with a computer.
Please support this website by purchasing the Rode PodMic USB at Amazon.
Pigeon Roost | EOS 6D MK II and EF 24-105 3.5-5.6 IS STM
Features & Specs
Cardioid polar pattern
Large diaphragm end address neodymium dynamic capsule
20 Hz to 20,000 Hz response (well, not really)
Output impedance: 460Ω (XLR)
24-Bit / 48 kHz with USB-C interface
SPL: 148dB
Equivalent Noise (A-Weighted): 26 dBA, analog | 19 dBA, digital
Sensitivity: -57 dB re 1 Volt/Pascal (1.4 mV @ 94 dB SPL) +/- 3 dB
USB power: 5V @ 100mA
APHEX digital signal processing (DSP)
Physical
Cradle yoke with 3/8" and 5/8" female sockets
Output Connectors: XLR and USB-C
3.5mm Headphone output with volume control for monitoring
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Build Quality and Features
Controls
Connectivity
Headphone Output
Sound Quality
RFI Resistance 
Final Blurb
Features & Specs
Physical
