So if I wrote a book on ways you can melt your brain right out your ears, I think microphone comparisons might be at the top.
Token image of one who could care less. Jealous much?
I have ordered the Zoom H1n and I am happy with that purchase. Universally respected and incredibly versatile, this is a good recommendation for any sound recordist in any field. At a pinch it can be any mic I need, but one feature that is begging to be used more, is that it can make another mic even better.
I have also, mistakenly, ordered the Rode Video Mic Micro, as it seems specifically googling the Movo VXR 10 pro, does not exclude a local retailer’s paid commercial for the Rode coming up in the first couple of entries. Looking identical and possibly fatigued from looking at too many reviews, I pushed go, paypal shot the order directly through and only when I got my email confirmation did I see my mistake.
Annoyed?
Yes.
End of the world?
Probably not.
After another day of listening to comparisons has led me to this conclusion (bared out by many good reviewers), that this field, much like imaging comparisons, has far too many variables, post production controls and listener subjectivity to make internet comparisons matter past a realistic point.
Just like image comparisons, comparing sound devices, without addressing every variable applicable to you and your circumstances specifically, is usually only a rough guide at best. Most cameras can produce nearly identical images with enough processing applied. Total pixels, lens quality, processing, handling and the subject all contribute as much to image quality as the camera and the same is the case for sound and mics.
If the mic is not totally crap, then something usable will come of it, especially if used well and appropriately.
Tammy Sypniewski points this out clearly in her excellent review comparisons, but another clue was the lack of commitment from most reviewers. They are keen to let you make up your own mind, not as keen to be too overtly opinionated, because they know it to. I appreciate this, but it took a while for me to get it.
If the retailer cancels my order (they did not), then I will get some of the options on my wish list below. The H1n will likely improve their already excellent sound and noise floor and give me long range control.
If the order is not cancelled, I will likely stick with the Rode, as the mount, dead cat and cable are very good and the mic is an industry standard, with plenty of people using it and the H1n together successfully. No harm, no foul and I can still stretch to the Takstar and probably the Neewer anyway, just out of curiosity (another thing taken from above is that all decent mics have their relative strengths and weaknesses).
Got the mic and it’s fine for the job it has to do.
Is the mic deep and resonant enough?
That can be added in and all reasonable mics sound great if used close to the subject and equally all tend to sound poor at a distance, but some are a little better (like with image noise, some cameras are better, but avoiding it is best). I tend to like deeper sounding mics, which it turns out is more about subject to mic distance, environment and processing. Excessive depth at the mic end may hide other problems.
Is the mic crisp and clear enough?
That is a tougher one to fix if lacking, but improving the pre amp (H1n) or “boosting” the mic to turn down often mediocre camera pre amp noise can help (this last needs a powered mic). Rode’s tend to sound deep and rich, but this can also hide an excessive noise floor under that depth, which is harder to clean up than just adding bass. Sennheissers on the other hand can sound higher pitched or thinner/crisper. Extra bass can be added easily enough and their base noise floor is lower, which is better.
The H1n fixes many feature deficiencies in cheaper mics, such as low noise filtering, improving pre amp quality, which reduces the noise floor (especially when compared to in camera amps) and other features like effects, so the base mic is all that is important. From that perspective, the best of the cheap ones seem to be the ones to go with for now.
The only things that actually matter it turns out are the practical things like price, accessories and fittings. Is the mic properly stabilised (for example the otherwise excellent Deity D4 has a poor shock mount, the Neewer CM14 and Takstar effectively lack a real one), is it powered or not, effecting features onboard or, is it sold without the needed extras like a dead cat (the Takstar does not even have one available).
Something that also became evident is the pricing. Most super cheap mics in the U.S. are actually not that cheap here. The Movo is meant to be 20-30% cheaper than the Rode, but in Australia it is comparable ($79 au Amazon), which is part of the reason I thought the cheaper Rode was a Movo. Most mics that are 30-70% cheaper that the Rode in the U.S. and Canada end up being only 10-30% cheaper or the same price here, making the Rode less odious to get (the one I ordered was actually $1.95 cheaper than the only Movo I came across). The exchange rate looks about right for all except Rode, who are comparatively cheaper here.
Short list;
Neewer CM14 mini shotgun ($25au). Excellent sound, poor accessories. If I end up with the Rode, then I will have two ways of tackling the same situations, with the accessories from the Rode used with both.
Takstar SGC 600 is very good ($50au), compared, in several accredited blind tests, favourably with the seven times more expensive Rode NGT in sound (not build or features), but like the Neewer it lacks needed accessories like a true dead cat option and real shock proofing. It is a powered mic with good range, so a good camera mount option. I am also struggling to find a legit one for a decent price.
Neewer CM15 which looks excellent ($?), but is hard to get at the moment. This mic fixes most of the accessory issues I have with both the above.
Some type of cheap LAV mic, but I have not tackled that monster yet.
Less likely;
Sennheisser MKE 200 ($150au), which is as dear as all of the above together, but has excellent form factor and the best wind proofing and handling.
Sennheisser MKE 400 ($300au) is probably the premium mic I would go for, offering better form factor than equivalent competitors.
Rode NT5 pencil mics ($500+/pair). These would be ideal for studio and music/event work, if that becomes a thing. Not realistic, but hey, a bloke can dream.
Another H1n maybe?
The Rode VM Micro ($75au) which I may be getting, has build, sound, mount, dead cat and cable quality on it’s side with good support, so it will be perfectly fine. If this comes, the MKE’s will not, but I will likely pick up the top two. The Movo VXR 10 pro was my preferred option here, but steep pricing in Australia and mixed feelings about the real sound benefits (subjectivity at play) compared to the Rode have pushed it back. My only real issue with the Rode is price compared to other options. It will not be a bad mic, just dearer than needed.