Rode M2

Of course, the M2 needs phantom power to operate, being a capacitor mic, but it can run on anything from 24V to 48V, so it isn't too fussy. However, if you're not familiar with phantom power, be aware that your mixer must be able to provide phantom power to the microphone for it to work. Without it you might as well sing into a mic stand leg — the output will be about the same! Where the phantom power is global, it won't be a problem for other dynamic microphones as long as they are connected up using balanced cables. The mic comes with a stand clip and vinyl storage pouch.

The equivalent noise of the M2 is 23dB SPL A-weighted, which wouldn't make it a first choice in the studio to record harp at 20 metres, but for close-miked vocals it is way more than adequate. A dynamic range of 118dB is quoted with a maximum SPL handling of 141dB, so loud singers aren't going to intimidate it either. While many vocal mics have quite an aggressive presence peak, the M2 exhibits a modest boost at around 10kHz to add a bit of air to the sound, but is otherwise surprisingly flat and honest.

Constructionally, the mic looks not unlike a dynamic model on the outside, with a heavy cast-alloy body and tough mesh grille. The back-electret capsule is suspended in a very resilient shockmount inside the protective steel basket, which is foam-lined and can be unscrewed for cleaning. An on/off switch is located on the microphone's body, but this can be locked in the 'on' position if you don't trust the singer! The output from the mic is on a balanced XLR connector with gold-plated pins, and the overall size and weight of the mic is very similar to a typical stage dynamic model at 187mm long and weighing 308g. A satin-grey finish and dark-grey basket give the mic a very business-like appearance, and each mic is serial-numbered on the data band just above the XLR output.

Used in its main context as a live vocal mic, the M2 comes across as less coloured and more honest than most dynamic vocal mics, as the industry standard dynamic models tend to have a fairly strong presence peak to help them cut through. The high end is more open and there's plenty of detail, so unless you really need a heavy presence boost it should get most voices across nicely, and, as with all cardioid mics, you get a bass lift when you lean into them. Its 10kHz bump is quite subtle, where it helps with overall clarity, but doesn't make the vocals sound honky or aggressive. By the same token, the tight supercardioid pattern combined with the flatter-than-typical frequency response allows a little more level before feedback becomes a problem, and you can work right up to the mic without any significant popping problems. Handling noise is reassuringly low, and as long as your mixer can supply phantom power, the M2 will give great results in most live sound environments.