I've been teaching online courses and, thus, 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 RFI and the poor audio of lavalier and camera mounted mics, I experimented with mics optimized for voice. I wanted the flexibility of USB for computer connectivity and XLR for audio interfaces. Soon a Rode PodMic USB landed on my doorstep and I tossed it into my workflow.
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. I also own the Rode V-Mic Go II (camera shotgun mic), Lavalier Go and Streamer X, so not a stranger to Rode products.
Build Quality and Features
The PodMic USB is an end-address dynamic mic design. End-address means you speak or sing into the end of the mic rather than the side.
At 12cm in length, this is a compact mic—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 lack of resonance. Smack the mic and you hear only a dull thud. However, at 900g ( 2 LB), it requires a strong boom arm to hold it. My InnoGear Mic Boom Arm was up to the task, but not my KMD floor boom.
Styling is handsome in an industrial sort of way. It looks like a precision tool: no RGB lights or New Age finishes. The precision tool look is endearing as the PodMic series are beloved by YouTubers and podcasters. Of course, popularity engenders imitation. There are many PodMic lookalikes on the market.
Rode PodMic USB on Set
Mount
The cradle style yoke has both 3/8" and 1/2" female sockets and, thus, fits most mic stands and booms. It threaded smoothly into my booms and shock mounts.
The big knobs on the cradle 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 a unique external pop filter, the WS14. When installed, plosives and mouth noises are really well controlled. Unfortunately, the WS14 does little for sibilance so you need to learn to control your S and T syllables or speak off-axis to the capsule.
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
Compared to the Blue Yeti X and Deity VO-7U, PodMic USB physical controls are spartan. 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. The LED is only visible to the user via a mirror.
Rode Central | Simple or novice adjustment screen.
Software
Rode's software and hardware mixers may be used to configure settings such as compression, high pass filter, noise gate, etc. Rode provides a podcast app, Connect, and a streaming app, Unify, for those starting from scratch or wishing to stay within the company ecosystem.
Mic settings made in Rode Connect, Central, Unify and hardware interfaces are retained in PodMic USB memory and implemented with an internal DSP. Thus, if you stream on a friend's computer without Rode software, previous settings such as compression, high pass, etc., remain active.
I normally add adjustments with nondestructive editing in my DAW. However, since many users of Rode products are streaming live, not editing in a DAW, Rode's DSP and baked-in system is smart. When recording to a DAW, I disable DSP settings and add adjustments during post production.
Rode Connect | Advanced processing features screen.
Beyond desired settings and firmware updates, you don't have to touch Rode software. Once selected as the audio input source, the PodMic USB tracked perfectly in Logic Pro, Adobe Audition, TwistedWave, OBS, QuickTime and Final Cut Pro (and I suspect most DAW software). Worked fine in Zoom as well.
Shock Mount
Rode says the PodMic USB has an internal shock mount. However, it does little to nothing, unlike the internal shock mounts of common hand held vocal mics like the Shure SM58. When mounted on a boom attached to my desk, it picks up vibration and hum from my backup hard drives and computer fans.
I attached the PodMic USB to my YOUSHARES Shure SM7B shock mount and it reduced hard drive, fan and desk vibrations. The mount screw was slightly long for the Rode cradle socket—rotated too easily. Installation of a small rubber washer (o-ring) tightened it perfectly while allowing dampened rotation. Since the PodMic USB has a cradle yoke, it will fit shock mounts for most cradle or yoke-style hanging mics like the Shure MV7+ or Blue Yeti.
Connectivity
The PodMic USB has XLR, USB-C and 3.5mm output ports for connectivity with computers, tablets, mixers and audio recorders. While it works with smartphones, a 900g mic isn't exactly portable.
A three meter USB-C to USB-C cable is included for computer and tablet connections. An XLR cable is not included. If you have an iPad or iPhone with Lightning ports, you'll need the Apple Lightning to USB Camera Adapter.
Headphone Output
I use a Tascam 208i or Rode Streamer X audio interface for monitoring but tried the PodMic headphone output. I plugged in a Sennheiser HD 580, HD 650 and a cheap Koss. It sounded okay, but is a little noisy (hiss), especially with the Koss. The headphone output is usable but I'll stick to dedicated headphone amps. Plus, it's not ideal to have a headphone cable flapping against the mic and your face during voiceovers or video sessions.
Computers
The PodMic USB was plug and play on my iMac and MacBook Pro under Sonoma 14.5. It works plugged into a USB-C hub or straight into my Macs. No restarting or messing with drivers: it immediately appears in the system sound panel and/or recording app. Select the PodMic USB in the recording app and/or system and it works. I've used it successfully with Logic Pro, TwistedWave, OBS, Final Cut Pro and Adobe Audition. Oddly, it works in Shure's Motive Mix (beta).
Rode indicates the PodMic USB is compatible with Windows, Android and iOS devices (don't own any of those devices to confirm).
The PodMic USB is powered by the USB bus on Macs and PCs: no batteries or charging required.
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 at 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 famous 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 a crisp 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 rolls 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 studio use.
Optimal vocal tone for me is from 2 to 5 inches straight on or offset 25 or 30 degrees. Offset speaking rolls off highs slightly. Moving away rolls off bass and lower mids while speaking closer increases bass and lower mids.
Without processing, this mic sounds balanced and natural for my speaking voice. Of course, not everybody wants to sound balanced and natural. Nevertheless, this sound is by design: with Rode's software it can become all things to all people.
Processing Adjustments
Much of the appeal of this mic comes from the processing software, making its sonic signature endlessly malleable.
The default VoxLab settings in Rode Central give the PodMic a radio announcer vibe. Yuck. Luckily, you can tweak the three parameters, Depth, Sparkle and Punch, to taste. Depth influences bass and low mids, Sparkle bumps up highs and Punch is a heavy dose of compression and noise gate. Dial them down, especially punch, unless you're working on car clearance voiceovers. I avoid the high pass filter as it tends to eat the already rolled off bass of the PodMic USB.
If you have audio background, you may prefer using the advanced processing panel. It has proper names for settings—noise gate, compressor, high-pass filter—plus two EQ related effects called Aural Exciter (highs) and Big Bottom (bass). Settings are retained inside the mic and don't need to be set again if you're happy with them.
I used the VoxLab default 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 slight bite.
Environmental Isolation
The cardioid pattern of the PodMic USB is focused on sound near the front of the mic, rejecting off-axis sound. In other words, room reflections, outside traffic and AC rumble are reduced compared to wider pattern mics.
Dynamic mics have low sensitivity compared to condenser mics. We've all seen singers French kissing a Shure SM58 to squeeze fat tone and decent levels out of it. That low sensitivity means you must place your mouth close to the capsule to get decent levels, typically 4 to 10 cm. Close mouth placement also enhances reduction of background sounds and reverberation. The disadvantage of low sensitivity dynamic mics is the required high preamp gain levels.
USB Gain
Inside the PodMic USB is Rode's Revolution Preamp, advertised to be ultra-low-noise and high-gain. Thus, PodMic USM signal strength is significantly higher than a SM7B or SM57, but still gain hungry compared to condenser mics.
For my gentle spoken style, the PodMic USB in USB mode needs mic gain maxed out at 63 dB in Rode Central for somewhat decent levels (-16 to 12 dB). I prefer a little higher levels. A loud talker could get away with the default 50 dB setting. 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 is a bit on the low side, it is extremely clean and may be normalized without the noise floor rearing up. With that said, I prefer XLR output of this mic over USB.
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. Output was clean.
I also tried the PodMic USB through the XLR input of my Rode Streamer X (see Sound Comparisons below). The sound of the unprocessed mic was excellent and squeaky clean. The Streamer X is capable of 76 dB of XLR gain, 13 dB more than software based gain in Rode Connect and Central.
RFI Resistance
Here in RFI prone downtown Honolulu, I encountered no static or rogue radio stations while using the PodMic USB on my Macs. Ditto for XLR output to my Tascam audio recorders and audio interfaces.
I use the PodMic USB for voiceovers and talking head in production of instructional videos. Below is my first video made with the PodMic USB. Modified default Rode Central processing were employed (dialed down). The video at the top of this article has no audio processing, my eventual sound preference. Talking head sections were shot on a Canon EOS R6 MK II with audio recorded using XLR output routed to a Tascam DR-60 MK II audio recorder. Voiceover sections were recorded in Logic Pro and TwistedWave using USB output. Musical scores were created in Finale and Photoshop. Musical examples were excerpts from prior performances or recorded for this video in Logic Pro. The video was assembled in Final Cut Pro.
Note Duration and Meter Signatures | Professor Frary (6:09)
I had to back off the mic several inches in the talking head segments because I didn't want to obscure my face. Thus, vocal tone is thinner—less bass and low mids—than voiceover sections.
Sound Comparisons
Below are short audio samples of the PodMic USB and mics I've used for spoken word. All were mounted on a boom arm clamped to my desk, the room was partially treated, and recorded into TwistedWave at 48 kHz and 24-bits. I staged gain to hit around -12 dB. No processing, filters or normalization used unless otherwise noted. Save for the Shure Beta 27, all mics were fitted with a pop filter or foam wind protector.
In USB mode, I set gain in Rode Central to the maximum—63 dB—and matched the preamps on the mics as close as I could. Rode USB gain is adequate but the Streamer X interface has gain to spare.
Rode PodMic USB
The unadorned bareback sound of the PodMic USB.
Rode PodMic USB | Default Processing
Most people will use this mic with Rode Central processing defaults, so this is what it sounds like. I recommend using processing sparingly so you don't sound like a radio announcer. Well, unless that's what you want. At least dial down defaults if you use them. Rode's compression is aggressive and tricky to fine tune compared to compressor plugins I use in Logic Pro. Ultimately, I prefer the natural and unprocessed sound of this mic.
Rode X Streamer | Mounted on a Manfrotto arm for easy port access.
Rode PodMic USB with XLR
I plugged the XLR output into the Rode Streamer X and set gain to 63 dB (no processing). Oddly, volume was slightly higher than the 63 dB gain setting used for USB output. I kept the same 8 to 10 cm speaking distance. XLR and USB output are similar in character, but the XLR has slightly more bass and mids compared to USB output. When default Rode Central processing is applied, XLR volume drops off.
I don't know why XLR and USB output differ. Perhaps the Streamer X preamp and AD converter are different than the preamp and AD converter in the PodMic USB? Indeed, differences are minor but I prefer the slightly fuller XLR sound.
Incidentally, this mic doesn't have simultaneous XLR and USB output. You can track one or the other but not both at once.
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. Legibility of individual words is impressive, even with minor mumbling. With the drop-in 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. Just the mic runs about a Benjamin. The shock mount and pop filter kit clock in at $159.
Deity VO-7U
The Deity VO-7U is a dynamic USB mic with a slight EQ bump in the lower highs. That boost in the lower highs gives it a tonal character somewhat reminiscent of Shure dynamic microphones such as the SM58, but with bass frequencies rolled off more. Rejection of off-axis sound is very good. For my voice, I found the VO-7U to be okay but underwhelming.
While there is no controlling software, the VO-7U has a limiter and powerful built-in preamp. The VO-7U is priced the same as the PodMic USB but comes with a cheap boom arm. It's also a looker if you care about mic fashion.
Rode VideoMic GO II
The Rode VideoMic Go II is a small shotgun mic designed 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 settings but here recorded without processing.
The Rode has a tight polar pattern, rendering excellent background sound rejection. 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 -12 dB. 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.
Deity V-Mic D4
Deity's V-Mic D4 is a camera shotgun microphone similar to the Rode VideoMic Go II: shotgun mic optimized for close use such as video blogging. Like the Rode mic, it has analog and USB-C output for connectivity with cameras, audio recorders, mobile devices and computers. USB-C output was used for this audio sample. The V-Mic D4 has adjustable gain from -5 to +10 dB. When set to +10 dB, output is 6 dB lower than the Rode VideoMic Go II (no external adjustable gain), so not a terribly useful feature.
Compared to the Rode VideoMic Go II, the Deity is more bass heavy. It's also more sensitive to off-axis coloration: at 30 degrees off-axis the Deity has considerably less high frequencies than speaking straight into the capsule. Finally, the included foam wind filter dulls mic tone so much I chucked it and used a pop filter to nix plosives. I don't think I'd ever use this mic for voiceovers but it's an okay outdoor video blogging mic.
This mic retails for $100 USD.
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 decent mic for the spoken word, exhibiting good clarity albeit a little too bright and boxy in character for my taste.
The C3000B was recorded through the XLR input of the Rode Streamer X with gain set at 46 dB.
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 (no filters used). It differs from other 27 series due to its supercardioid polar pattern, rather than cardioid, and a nearly flat frequency response instead of a typical low treble EQ bump.
That flat frequency contour makes it ideal for instruments. Indeed, it sounds natural and smooth for guitar and ukulele. I found it pleasantly natural, smooth and balanced for spoken word. 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.
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 a little by using the built-in 80 Hz high pass filter:
The Beta 27 was recorded through the Rode Streamer X with preamp gain set to 44 dB. I spoke directly into the capsule from about 12 cm. The mic’s 3-layer mesh grille did a great job of nixing plosives and mouth and breath noise. I didn't need or use an external pop filter. Sibilance was also well controlled.
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.
While mounted on a desk boom arm, no vibrations or hum from the hard drives were leaked on to the tracks. Indeed, the internal shock mount effectively controlled vibrations. With the PodMic USB and the Neumann TLM 102 on the same boom, I had to unplug my backup drives to get a clean track.
The Beta 27 is a wonderfully designed, great sounding, extremely flexible and easy to use mic. This mic retails for about $400.
Shure 849
For this recording, I plugged the 849 into the XLR port of the Rode Streamer X interface. Gain was set to 46 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 is a little known "sleeper" mic and 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 rejection is excellent. Among the mics I tested, the 849, SM137 and the Beta 57A were the only mics that picked up no vibrations or hum from my hard drives and nearby AC units. These mics were designed for hand held use and, thus, have internal pneumatic shock mounts. These internal shock mounts seem to benefit use in any high vibration situation.
Shure SM137
For this recording, I plugged the Shure SM137 into the XLR port of the Rode Streamer X and set gain to 47dB. 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, nixing hard drive rumble and making hand held use practical. And, yes, it sounds similar and looks like the Shure 849. The SM137 retails for $190 USD.
Shure Beta 57A
This is the sound of the Shure Beta 57A plugged into the XLR input of the Rode Streamer X.
Isolation from background and handling noise and resistance to plosives are excellent—better than the Rode PodMic USB, Neumann TLM 102 and AKG C3000B. Like the SM137, this mic features Shure's internal pneumatic shock mount to smooth away minor vibrations. It ties the Shure 849 and SM137 in terms of background noise rejection, maybe even slightly better. It sounds great for spoken word, singing and miking guitar cabs! The sound is smooth and clear, needs little post processing and has more bass than the SM57 and SM58. It is small and unassuming on camera but what a studio workhorse. If I could own only one mic to do everything, this could be the one. The Beta 57A retails for $150 USD.
Neumann TLM 102
The Neumann TLM 102 is a large diaphragm side-address condenser mic recorded through the XLR input of the Rode Streamer X. Gain was set at 46 dB.
The TLM 102 is one of my favorite mics for recording classical guitar and ukulele. Pointed at the bridge, it renders a beautifully 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 borrowed a foam filter from the Deity VO-7U to help control plosives. It's 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.
The TLM 102 is at its best in an acoustically treated room. Currently, it retails for $750 USD.
Neumann KM 184
Since I was testing all my mics with spoken word, I gave the KM 184 a try too. Obviously, it 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 and/or foam windscreen is mandatory.
The KM 184 is an extremely sensitive and dynamic mic—why I like it for instruments—but with only a foam windscreen, I was unable to control plosives when I spoke straight into the capsule. 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. Indeed, the KM 184 proved to 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 pops, plosives and dynamics under control. Somebody with better voice technique may find it doable but the KM 184 cramped my style too much. With that said, the KM 184 is my pick for best spoken word sound among all 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 my other condenser mics.
Comparison Thoughts
I'm surprised these mics sound as different as they do. Indeed, although different, most of them sound good to me.
The PodMic USB doesn't sound better than most of the mics here. It is less sensitive to dynamic changes, has no air frequencies whatsoever and bass is more rolled off than most of the comparison mics. Heck, the PodMic USB is not even half as versatile as a Shure Beta 57A. 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 and post processing. Supplement that ease of use with XLR and USB output, industry leading software and aggressive marketing, and the PodMic USB comes close to being all things to all people.
Final Blurb
The Rode Pod Mic USB performs beautifully for speaking voice: unprocessed tone is warm, smooth, and natural. Off-axis sound rejection is excellent. It works well for what it was designed for: talking in less than ideal spaces. It's not designed for music. Moreover, it's attractive in videos, sturdy enough to pound nails with and Rode processing software is easy to use. Finally, XLR and USB output gives users flexibility for a spoken word future that may include computers, audio interfaces, mixing boards and PA use.
I enjoyed working with the Pod Mic USB and recommend it for anybody looking for an easy to use dynamic mic for voiceovers, video, podcasting and streaming. And, yeah, it needs a shock mount if used on a desk with a computer.
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Build Quality and Features
Controls
Connectivity
Headphone Output
Sound Quality
RFI Resistance 
Final Blurb
Features & Specs
Physical
