Most mic manufacturers offer podium models, so I took a look around at what’s available and here’s what caught my eye.
Audio-Technica offers a deep bench of gooseneck options, including the ATND8677 mic desk stand base, outfitted with a Dante output, that was introduced a few years ago.
Any mic with an XLR connector can be inserted into the rugged base and join an audio network.
The ATND8677 also has a mute/unmute switch, and it can be configured to trigger functions on compatible Dante-enabled devices such as a video camera’s pan/tilt or a room’s lighting preset.
Part of the Microflex series, the Shure MX412 and MX418 differ only in length and are a “go-to” choice. Several mounting options are offered, including versions with built-in desk bases.
Interchangeable cartridges provide the optimum polar pattern for every application, while a locking flange-mount version is the right direction in permanent situations.
The DPA d:screet Series is comprised of miniature supercardioid models that can be mounted to booms ranging from 6 inches to 48 inches long, including common podium gooseneck lengths of 12 and 18 inches.
There’s also a wide variety of placement options. Accessories include shock-mount bases and the ability to terminate cable either to an XLR or Microdot that, when used with an adapter, allows the mics to work with all leading wireless system options.
The company also recently debuted Microphone Base, a new stand for the d:screet SC4098 that’s designed to be placed on a table or podium, or attached to a ceiling or wall.
It’s available in black and white, and comes with either a MicroDot connector, an XLR connector, or un-terminated leads.
Countryman podium mics have long been a favorite with many of the audio folks I work with. ISOMAX 4RF’s active vibration isolation technology detects and subtracts vibration from the signal, while a tightly-controlled pickup pattern reduces feedback.
Building upon ISOMAX, the company recently introduced the A3 Series that’s available in omni, cardioid and hypercardioid fixed patterns as well as selectable pattern versions, and they’re offered in lengths of 12, 18 or 24 inches.
The Earthworks FlexMic Series has proven popular for good reason. All models are available with cardioid or hypercardioid patterns, and in 13-, 19-, 23- or 27-inch lengths.
The standard series offers up a flat frequency response to 20 kHz and is specified to handle input of up to 139 dB SPL.
The Light Ring models add a red or green LED ring indicator near the business end, while the HD Series extends frequency response up to 40 kHz.
One other nifty aspect is that they’re available with a fully flexible gooseneck or a rigid center with flex at both ends.
The Sennheiser MEG 14-40 is outfitted with a KE 10 cardioid capsule with a flexible, streamlined gooseneck. Models MEG 14-40-L and MEG 14-40-L-II have a red or green integrated light ring which indicates that a presenter is allowed to take the floor. All versions come with XLR connector – an XLR 3M for the standard version and an XLR 5M for the other two that also delivers power for the light ring.
The PolarChoice Series from Electro-Voice were among the first podium models to allow the user to select the polar pattern. There’s a choice of omni, cardioid, supercardioid and hypercardioid. Mounting options include XLR, flange mount and built-in base units.
In addition to a line of gooseneck mics, CAD Audio offers some innovative shock mounts for XLR. Also useful is the MB-1 Mini Boom, designed for use with the 1600VP variable pattern microphone system. It’s a carbon fiber boom with a 56-inch maximum length that mounts to any standard 5/8” x 27 threaded mic post or stand.
The Audix MicroBoom is a handy problem solver, a carbon fiber rod available in 24-, 50- and 84-inch lengths that attaches to any mic stand. The stand adapter provides control over angle, rotation and positioning. It’s compatible with all of the company’s Micro mics for a selection of pick-up patterns, output levels and frequency responses.