The Rode M3 microphone ships in a heavy-duty plastic case, with a pop shield and Rode’s RM3 clip accompanying the microphone itself. The microphone echoes this rugged design, with a strong metal outer casing supporting a tough, heat treated mesh head, under which an internal shock mount system supports and protects the microphone capsule. It is immediately clear that this is a microphone built to last and that it is ready for the toughest assignments both in the studio and on stage. As with all of the microphones in their range, Rode offer commitment and peace of mind to the user in the form of a 10-year warranty with each M3 sold.
Watch a video overview of the Rode M3 by clicking on the moving reel on the product page.
Patterns and response
The Rode M3 is a fixed cardioid pattern condenser microphone, featuring a ¾” capsule which offers an even response across its 40Hz-20kHz frequency range. Within this range, the overall frequency response is pleasingly flat, with a slow tail-off below 100Hz, and a slight boost between 6 and 7kHz. The rugged construction of the body means that the M3 displays impressively low unit noise and up to 142dB of SPL, all of which adds up to a microphone that will suit a range of applications, from vocal capture to instrument and power amplifier recording.
Power
The microphone can be powered in two ways. It will either accept 48V phantom power from an XLR cable via a mixing desk or dedicated mic preamp, or it can draw power from a 9V PP3 battery, which can be fitted into the M3 by unscrewing the microphone halfway along its main body. The M3 intelligently recognises incoming phantom power and will only use the power from an attached battery if phantom power isn’t available. A status LED, fitted towards the top of the microphone, keeps you in touch with power reserves in the battery. A single flash to indicate good reserves of battery power when the mic is switched on, becomes replaced by a constant LED when battery power is beginning to fail.
Switch and Filter
Underneath the LED indicator, a rocker switch gives access to three ‘modes’ of operation. With the switch in its lowest position, the microphone, and any attached battery, are switched off. In the central position, the Rode M3 is switched on, whilst the upper-most position activates a high pass filter with a threshold at 80Hz, cutting volume below this point at 12dB per octave. This greatly helps when recording sound sources with unwanted low-frequency content and, as auditioning sources with the filter switched both in and out is so straightforward, it represents a creative opportunity for recording engineers for a range of applications.
Pad
Inside the microphone, just above the battery cavity, the M3 features a pad switch, which allows for an optional 10dB or 20dB of signal reduction. The inclusion of filter and Pad switches for a microphone at this price is rare indeed, and they significantly widen the range of recording possibilities available. Clearly, the M3 won’t struggle with louder sound sources, whilst the fairly directional nature of the capsule and design mean that this microphone will perform well for amp and instrument mic’ing alike.
Vocal recording
Despite the fact that this microphone represents a ‘design first’ for Rode, the trademark sound is still present in recording. Rode’s microphones are popular for delivering a rich, full sound and whilst such quality is more commonly associated with larger diaphragm mics such as their NT1-A and NT2-A models, the sound from Rode’s NT5 and NT55 pencil condenser ranges have been showing for some time that Rode also have a track record when it comes to producing high quality from smaller capsules. This tradition continues with the M3, which features a surprisingly silky sound for such a rugged-looking microphone. When recording vocals, the sound is warm without being thin, with the slight boost between 6-7kHz offering a little extra ‘air’ in the sound. The included pop shield does a decent job of keeping unwanted plosive sounds to a minimum and will be of use both in the studio and onstage. The quality of high-frequency capture is of particular note on vocal recordings. Whilst the results produced by other microphones of this type can require significant high frequency boosts via EQ, the M3 offers more generous amounts of treble, negating the need for ‘fix it in the mix’ EQ settings later on.
Instruments
The Rode M3 also shines as an instrument microphone, producing a particularly pleasing result on acoustic guitar. The microphone design is sufficiently directional for careful engineers to focus on a specific area of any instrument, which also means that M3s will work well in tandem, for applications where multiple microphones are required. When recording guitar, it’s the warm mid-range area which excels. The microphone’s natural warmth here is remarkably free from colouration for such a low-cost microphone, so string twang, note bend and fret noise is caught accurately alongside strummed and picked parts. When tested on shriller, naturally harsher instruments, the M3 also delivers pleasing results. Whilst recording violin, close microphone technique accurately captured the harsher nature of the instrument, with bow ‘grit’ coming across surprisingly well. When moved a little further away, the microphone captured a sweeter, more melodious tone, with the mid-range warmth again immediately apparent.
Drums
The high SPL and inclusion of a Pad switch also means that the M3 comes into its own as a drum overhead, or dedicated snare drum microphone. The microphone responds well to loud sources up to a few feet in distance away, so a pair of M3s as overheads could well become a popular solution for many engineers recording drums. As a snare microphone, the mid-range response produces pleasing punch and the hardy construction of the microphone itself means that the Rode M3 will comfortably survive the odd stray stick hit.
Overall
In summary, the M3 is a hugely flexible microphone that will produce a good result almost irrespective of the application for which you intend to use it. The inclusion of a pad switch and high-pass filter on a microphone of this type and cost is almost unprecedented, and means that the M3 is as happy in front of a drum kit as it is in front of a studio or on-stage lead vocal, in addition to a whole range of instruments in between. It is a perfect first microphone for burgeoning engineers and producers, as its ease of use and low cost virtually guarantees good results and value for money. Beyond this, however, the M3 is destined to become an inclusion in the microphone bag of many a pro engineer, with its smooth, unfussy sound capable of yielding a great result in so many recording situations. If you’re looking for a low-cost microphone which will, more or less, ‘do it all’, be sure to put an Rode M3 through its paces.