Video audio mostly revolves around speech, and getting heard clearly outside a studio means using either a lavalier or shotgun mic—mics designed to focus on speech and exclude background sounds. For live 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, basically a two microphone array, 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 guitar and ukulele demonstrations and student 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
Two condenser capsules in a stereo X-Y configuration are mounted in a plastic housing. 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 Canon cameras. Unlike typical shotgun mics, the petite TM-2X doesn’t overwhelm small cameras. Build is light duty but fit and finish appears excellent. However, 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 says 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 much better than built-in mics on Canon cameras and fairly neutral and uncolored. I hear a 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 many 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 good 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 to any camera I've owned, and I've owned many. Noise complaints are mainly due to using automatic level algorithms with cheap camera preamps. Auto levels surge input gain up and down thereby 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 cameras won't be able to 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, 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.
Sennheiser MKE 400
Here's bareback sound of the Sennheiser MKE 400 plugged into my iMac Pro. Considering how close I was, the unprotected MKE 400 has excellent control of plosives and sibilance. The integral blimp-like housing—designed for wind protection outdoors—also controls plosives and mouth noise.
Due to off-axis coloration, I spoke straight into the MKE 400 from about 10 cm away. Off-axis coloration becomes progressively less pronounced the further away you are while speaking.
The MKE 400 retails for $200 USD albeit often discounted.
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.
Deity D-Mic D4 Mini
Deity's V-Mic D4 Mini is a tiny camera shotgun microphone. It has a similar name as the V-Mic D4 below, but sans Mini, leading to consumer confusion. The Mini has similar features and appearance to the Rode VideoMic Mini: battery-less shotgun mic optimized for close use such as video blogging. Like the Rode VideoMic Mini, it is has analog output only.
Like most shotgun mics, the D4 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 top of the camera.
The sound is bright and aggressive but with strongly rolled off bass. Not a great sounding mic 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.
Deity V-Mic D4
Deity's V-Mic D4 is a camera shotgun microphone with similar features to the Rode VideoMic Go II and VideoMic NTG: shotgun mics optimized for close use such as desktop, interview and video blogging. Like the Rode mics, it has both analog and USB-C output for connectivity with cameras, audio recorders, mobile devices and computers. I used USB-C output for this audio sample. The D4 features a preamp with adjustable gain from -5 to +10 dB. For usable output, I needed to keep it cranked all the way to +10 dB, albeit gain was still on the low side.
Compared to the Rode VideoMic Go II, the Deity is more bass heavy, but also more rolled off in the highs. It's sensitive to off-axis coloration: at 30 degrees off-axis the Deity has considerably less high frequencies than speaking straight into the capsule. The same angle with the Rode VideoMic Go II made only a tiny difference. With that said, it sounds better than the V-Mic D4 Mini. Not a good choice for my voice but many YouTubers love it, albeit probably because they got it free.
Finally, the included foam windscreen dulls mic tone too much so I used a pop filter to nix plosives.
This mic retails for $100 USD.
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 and has a wider stereo image, 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. I love that mic but only use it indoors. Although smaller than the giganormous RODE Stereo VideoMic Pro, it's a bit bulky to casually carry in my bag while wandering around town.
Final Musings
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 Musings
Features
Reference