Video audio mostly revolves around speech. Getting heard clearly usually means using a lavalier or shotgun mic—mics designed to focus on frontal speakers and exclude off-axis sounds. For music we want to take in a wide field of sound and preserve directional aspects of sound such as placement of instruments and sound of the hall. For such purposes a stereo microphone is ideal.
Tascam TM-2X on Canon EOS R7 | Stereo microphone for cameras.
I've owned the Tascam TM-2X since 2014, and a decade later, still use it regularly to record solo and ensemble performances. The fact that it's still in production attests to the unique need it fills for amateur videographers and musicians. Herein are my thoughts and experiences with this wee mic.
Build Quality and Features
The TM-2X consists of two condenser capsules in a stereo X-Y configuration. The capsules are mounted in a plastic housing with integral shock mount and hot shoe. The X-Y spread is fixed, but can tilt 180 degrees in the vertical plane. Tilt allows mic aiming without shifting camera composition. I often shoot from a high tripod—to "see" over music stands—and this feature is ideal for aiming downwards at sitting musicians and reducing hiss from ceiling AC and heating vents.
Design and materials were obviously transplanted from a Tascam DR series audio recorder. The matte black housing and fake chrome trim capsules are handsome and unobtrusive on cameras. Unlike typical shotgun mics, the petite TM-2X doesn’t overwhelm small cameras. Build is light duty but fit and finish appear excellent. If you're rough on gear, the TM-2X is not for you.
Tascam TM-2X | Image courtesy Teac
No Batteries Required
Batteries are not needed but the host device must supply plug-in power according to JEITA standard CP-1203A. Your device may need plug-in power enabled in the menu. Once power is enabled, the TM-2X is always on.
TM-2X Cold Shoe Shock Mount | Image courtesy Teac
Shock Mount
A floating support structure—shock mount—is integrated into the cold shoe along with guides for tidy cable management. If careful not to bump it with my forehead, I can use the EVF with the cable locked in the guides along the front of the mic. The shock mount works well when I pan or ninja walk.
Mount and dismount the mic by holding it at the base of the cold shoe. Grabbing it by the mic housing stresses the delicate floating component of the shock mount.
A noise isolation arm—extension arm—is included. Tascam claims it "reduces recording of camera motor noise from autofocus, automatic image stabilization and other operations." With my R cameras and Nano USM lenses, AF and IS sounds are not recorded when the mic is in the shoe. However, the arm brings the mic closer to the subject and the more forward position makes EVF use easier.
Low Cut Filter and Gain
There are two physical controls: low cut filter and low/high sensitivity (SENS in Tascam speak) adjustment. Tascam provides no specs for the low cut filter but I found it bad for music since it eats much of the bass range. It's better to apply a carefully tuned high pass filter during editing.
TM-2X Shock Mount and Noise Isolation Arm | Image courtesy Teac
Cable
The 33 cm long TRS cable is permanently attached and silly long on my Canon cameras. The extra length was provided for noise isolation arm use. A detachable cable for ease of replacement and customization would be preferable.
The plastic jacket on the right angle plug is on the thick side and may not seat fully on some small cameras. No problems with my Canon 70D, 80D, 90D, SL1, 77D, R, R6 MK II and R7. However, the plug jacket hits the camera body due to a recessed 3.5mm mic terminal on the EOS M3 and M6. Use of a 3.5mm TRS extension cable with slim plug jacket is the only workaround I've found.
There is no USB for connection for computers or smartphones.
RFI Resistance
I live in the inner city where RFI is a problem with unshielded gear, but noticed no static or radio station interference using the TM-2X on an EOS 80D, 90D, R, R7, R6 MK II and Tascam DR-05.
Sound Quality
The wide cardioid polar pattern reception area, although directional, is vast compared to shotgun mics. It's optimized for capturing ambiance and large ensembles like brass bands. Not a good choice for video blogging where isolation from ambient sound is desired.
Sound quality is on par to the mics on Tascam's DR-40 or similar audio recorders. Sound is fairly neutral and uncolored. I hear a slight presence boost in the lower highs and a roll-off in the bass.
Stereo Separation
The X-Y configuration renders a small but distinct sound stage: I hear the room and instrument placement. However, X-Y configurations aren't as spacious or directional as A-B (spaced pairs).
Noise
I've read complaints about TM-2X hiss and noise. However, the noise is not from the mic. Noise is due to crappy camera preamps and recording technique.
When plugged into decent preamps, e.g., the Tascam DR 60 MK II audio recorder, the TM-2X is clean. Indeed, even the humble Tascam DR-05 sounds cleaner than any camera I've owned, and I've owned many. Noise complaints are due to using automatic level algorithms with cheap camera preamps. Auto levels surge input gain up and down and cause poor quality camera preamps to exhibit extreme amounts of noise. There are workarounds (see Improving Camera Sound below).
Another noise issue revolves around the wide cardioid polar pattern of the TM-2X—almost omnidirectional in reception. This mic is designed to record ambience, not isolate. It takes it all in, including distant animal cries, AC, traffic, sirens, etc. The wide cardioid polar pattern is designed for recording music ensembles in a quiet environment, revealing instrument placement and acoustics. If you need isolation, this is the wrong microphone.
Audio Recorders
I often use the TM-2X on a mic handle plugged into a Tascam DR-05 audio recorder. It's a great portable kit for capturing nature sounds and concerts. Even modest recorders like Tascam DR-05 have cleaner preamps and higher sample rates than cameras, usually 24-bit 48/96 kHz versus 16-bit 48 kHz for cameras.
Sound Byte Kit | Tascam DR-05, TM-2X with dead kitten and mic grip.
External mic use allows precise aiming at sound sources. Plus, gain on the recorder may be adjusted without sounds from handling spoiling the track.
Here's an excerpt of John Williams' The Cowboys recorded with the Tascam DR-05 and TM-2X above the stage:
The Cowboys | Royal Hawaiian Band recorded in a performance at the Ala Moana Shopping Center. | Tascam DR-05 and TM-2X ( 24-bits, 48 kHz)
I am pleased with this recording. The wide cardioid polar pattern took in the entire Royal Hawaiian Band and the better preamps and higher bit rate of the DR-05 (compared to cameras) delivered a squeaky clean rendering of the performance. And herein is the reason you often see a Tascam or Zoom audio recorder atop cameras. Another sample from the same show, but with a vocal soloist:
Royal Hawaiian Band & Starr Kalahiki | Performance at the Ala Moana Shopping Center. | Tascam DR-05 and TM-2X ( 24-bits, 48 kHz)
Recording outdoors is never ideal and works best with loud ensembles. Some of my tracks were runined by loud birds and people talking nearby!
Camera Use
I found the TM-2X at its best on audio recorders like the Tascam DR-05 and DR-60 MK II: better preamps and higher resolution than cameras. However, the TM-2X also works fine for video audio. Just realize camera preamps won't deliver all the audio quality the TM-2X is capable of.
In the video below, the TM-2X is plugged into an EOS 90D. I'm about 1.2 meters (4 feet) from the camera. My neighbor's AC is heard rumbling in the background. During editing, I applied a high pass filter at 80 Hz, otherwise rumble would have been unbearably loud.
Lecture-Demo | TM-2X and Canon EOS 90D (16-bits, 48 kHz and manual gain)
While sound isolation is poor, the TM-2X delivered a reasonably clear voice and guitar tone. A shotgun mic with a supercardioid pattern would have been a better on-camera choice, excluding more of the background noise. The TM-2X was my only camera mic at the time, so I used what I had. In later videos, I used an audio recorder and synced audio and video in post production. It's more work but allows closer mic placement, lower noise and better audio fidelity.
Improving Camera Sound
As heard in my video, the TM-2X readily picks up background sounds like AC and traffic. Plus, automatic audio gain/levels on cameras make noisy preamps hiss even louder by surging gain during soft passages. Here are things I do to minimize noise:
Disable camera compression and automatic audio gain.
Set camera audio levels manually.
Set the high gain setting,"H," on the TM-2X's SENS switch and use the lowest reasonable camera gain setting (peak levels hitting about -10 dB)
Get as close as possible to the performers.
Outdoors use a furry windscreen (dead kitten) to nix wind noise.
If you use the automatic gain level feature on cameras, you'll lose most of the benefits of the TM-2X or any other external mic.
Speaking Sound Comparisons
Below are short audio samples of the Tascam TM-2X and other mics I've used for camera audio. I recorded at 24-bits and 48 kHz in TwistedWave running on my iMac Pro. No processing was used on any of the mics. I spoke into each mic at a distance of about 10 cm (4 inches). Save for the Sennheiser MKE 400 and 440, all mics wore some type of protection, either a foam windscreen or dead-cat.
Tascam TM-2X
The Tascam TW-2X is designed for music and ambient sounds, not close vocal use. There is no protection other than a thin and flat screen. As expected, plosives were crazy loud without protection. With the included dead-cat installed, the TM-2X worked well for speaking voice. Quiet sections between words are squeaky clean and noise free:
TM-2X Waveform | Waveform from the beginning of the above audio. Quiet areas between words show how clean and hiss free this track is.
Mic tone is pleasant and leans towards the clear and crisp side with rolled off bass below 100 Hz. I prefer its smoother rendering of my voice over the Deity V-Mic D4 and V-Mic D4 Mini.
For the test, I mounted the TM-2X on a handle and experienced no handling noise. I suspect it could be used for reportage in a pinch. You could also mount it backwards in the hot shoe and narrate videos while shooting.
The TM-2X retails for $100 USD albeit is often discounted.
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 D-Mic D4 Mini
Deity's V-Mic D4 Mini is a tiny camera shotgun microphone. The similar name to the Deity V-Mic D4 is confusing. The Mini appears to a near clone of the Rode VideoMic Mini. Like the Rode, it is a battery-less shotgun mic optimized for close pickup and has TRS output only.
The Mini has no built-in protection from wind and plosives. For a usable track, installation of the included huge dead-cat is essential. With dead-cat installed, it looks like a gray squirrel sitting on the camera.
The sound is bright, aggressive and bass deficient. Not good sounding but better than most built-in camera mics. I prefer the warmer tone of the Sennheiser MKE 400 and Tascam TM-2X for my voice.
This mic retails for $50 USD.
Rode VideoMic GO II
The Rode VideoMic Go II is a small shotgun mic designed primarily for camera hot shoe use. 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 basic settings but I recorded without processing.
The Rode has a tight polar pattern and, along with the Shure 849, has the best background sound rejection of the group. It also has wonderful clarity, besting the slightly murky sound of the Deity V-Mic D4. It also has little off-axis coloration, so you can speak 25 or 30 degrees off-axis for plosive control when needed.
The USB output of this wee condenser mic is hot—gain was about 25% for -12 dB. It's also tiny—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 400
Sennheiser MKE 400
That was the unprocessed sound of the Sennheiser MKE 400 recorded into my iMac Pro. The unprotected MKE 400 has excellent control of plosives and sibilance, especially considering I was only 10 cm from the mic. The integral blimp-like housing—designed for wind protection—also reduces plosives and mouth noise.
I spoke directly into the MKE 400—no offset. Off-axis speaking—25 to 45 degrees—at close distances suffers severe loss of high frequencies. I'm guessing the super-cardioid polar pattern is the reason for highs dropping off. With that said, the MKE 400 sounds good—full and natural—but is darker and more recessed in tone than the MKE 440.
The MKE 400 retails for $200 USD albeit often discounted.
Sennheiser MKE 440
This is an unprocessed track of the Sennheiser MKE 440 made on a Tascam DR-05 at 48 kHz and 24-bits. The MKE 440 only has analog TRS output and I didn't have a long enough cable to record directly to my iMac.
The MKE 440 is a stereo shotgun mic, a rarity in the video mic world. The two capsules are in a near coincident arrangement, but tighter than the 90 degree spread of a DIN configuration. I bought the MKE 440 for videoing acoustic music ensembles but it also works well as a general purpose shotgun video mic.
The unprotected MKE 440 has excellent control of plosives and sibilance. In fact, the outer housing even does well in light wind. I have a deadcat but only use it when winds really kick up.
For this audio sample, I spoke directly into the MKE 440 from about 15 cm (6 inches) away. The MKE 440 sounds great: crisp, clear and full bodied. Because it is a stereo mic, I was careful to keep centered so both channels were equal in volume. Off-axis isolation is good but not as effective as the monophonic MKE 400. Like the MKE 400, spoken word on the MKE 440 sounds best at 30 cm (12") or nearer.
I prefer the sound of the MKE 440 over the MKE 400 and Tascam TM-2X.
The MKE 440 retails for $330 USD albeit often discounted.
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 if speaking at close distances. With windscreen installed, the MKE 600 demonstrates excellent control of plosives and sibilance.
The MKE 600 retails for about $330 USD but is often discounted.
Anything Else Out there?
Are there better stereo camera mics than the TM-2X? Yes, but you can count them on one hand and they are larger and more expensive. The best stereo camera mic for music I've found is the Sennheiser MKE 440 stereo shotgun mic: sounds a level better than the TM-2X, but requires batteries, is three times larger and is three and one half times more expensive than the TM-2X. It has a +20 dB gain boost so levels on noisy camera preamps can be lowered for enhanced sound quality. Although smaller than the giganormous RODE Stereo VideoMic Pro, it's a still bit bulky to casually carry in my bag while wandering around town.
Final Blurb
For music, the advantage of the TM-2X over monophonic shotgun mics is the stereo image and wide cardioid polar pattern that takes everything in. The tiny size and weight are important for me. With care—especially with an audio recorder in a quiet room—it sounds very good. Plus, you never have to mess with batteries.
If you need to isolate speakers or performers in a noisy environment, this is the wrong mic. There is no rejection of off-axis or background sounds. For that, you need a monophonic shotgun mic with a tight cardioid (or hyper-cardioid). However, sometimes you can only use the mic you have. At close range—8 to 10 cm—the TM-2X renders a decent talking head voice so long as you use the dead cat.
The TM-2X is hard to beat for under a Benjamin. I plan continue keeping it in my camera bag, at ready for impromptu music sessions and nature sounds.
Finally, please help support this website by purchasing this item at Amazon.
Features
Two condenser capsules arranged in stereo X-Y configuration
Cardioid polar pattern
Pre-polarized condenser
50Hz to 20kHz response
SPL of 120dB
Low-cut filter (mystery specs)
2-step sensitivity switch: -37 dB and -52dB
Integrated suspension on cold shoe mount with 1/4" tripod socket
Signal-to-noise ratio: 74dB (at 1kHz, 1Pa, A weighted)
Permanently attached 3.5 mm TRS cable
Power: plug-in power from camera or audio recorder (JEITA standard CP-1203A)
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Build Quality and Features
Low Cut Filter
RFI Resistance
Sound Quality
Audio Recorders 
Camera Use
Improving Camera Sound
Final Blurb
Features
Reference