This is a terrific dynamic microphone that sounds beautiful with nice articulation throughout the vocal range. It is well built and the package includes a sturdy stirrup mount that mates up nicely with the typical mic boom hardware. No issues at all with this product and I would highly recommend it without hesitation.

I love these MXL BCD-1 mics! I bought one a couple of years ago and have used it daily on my home setup. I just upgraded my work environment with a Shure MV7 but it lacks the gain and presence that I have at home with my BCD-1. So I came back and was delighted to see these mics even cheaper now. This price is silly for a mic of this quality. It's also so substantial, so nice to look at. This is a real studio mic that no one knows about, so it's sold at an amazing price.

Great mic for the home Broadcaster and Dynamic it looks and sounds best compared to EV and Shure mics at a fraction of the price. This my 2nd in the studio I love these too. My first mic in 4 years of shoot outs for performance on Ham Radio.

We did a "5 microphone showdown" of this little Dynamic microphone against 4 condenser microphones. (TLDR: We kept this one + the Sennheiser)We tested 2 different people, both trained actors/singers (one a young female alto, one an older bass male voice), we tested:- MXL BD1 (Dynamic Mic)- Rode NT1 (cardioid condenser, about $170)- MXL 2006 (cardioid condenser, about $90)- Sennheiser MKH 416 (the legendary ultimate shotgun mic for film & voiceover work, about $1000)- Synco Mic-D2 (a cheap knockoff of the Sennheiser, about $130)We recorded both us reading text into each mike, and singing as well.RESULTS:OVERALL WINNER: Sennheiser MK 416. For spoken voiceover/solo podcast scenarios, the Sennheiser was incredible. Clear, quiet, highly directional, and accurate. We both sounded amazing. We now understand why even the biggest voiceover stars drool over this mic. It's true: you do get what you pay for.WORST: The Synco Mic-d2 (Sennheiser knockoff) was SO, SO bad compared to the Sennheiser. There was no contest. We sounded flat, dead, devoid of feeling and emotion, like we were detached. it was by FAR the worst mic in the test. It's the "fool's gold" to the real thing. Makes me believe the rumors that Synco sent better mics to the original youtube reviewers than what they're shipping to the rest of us. It's the only way to explain the side by side video reviewers who claimed it was almost as good as the Sennheiser. These Syncos sell for $130 and they are NOWHERE CLOSE to the real $1,000 Sennheiser. Garbage.EXCELLENT, and ABOUT THE SAME: Rode NT1 and MXL 2006. Both these mics are great. Quiet, pro-level voiceover mics for a darn good price. It was really hard to tell the recordings apart. The NT1 is especially accurate and doesn't "color the voice" at all. The younger person preferred the NT1, the older person liked the MXL for being a bit more warm and "alive" sounding. Hard to explain but it made his voice just sound friendlier. But in the end we decided to send them both back because we loved the Sennheiser so much and we couldn't justify keeping these.BEST FOR SINGING, BEST AT CAPTURING EMOTION AND ENHANCING A DEEP VOICE: MXL BD-1We could really hear the difference during the singing test. Now we understand why pro singers all use dynamic mics, rather than condensers. I don't know the science behind it, but this little dynamic mic was SO much better at capturing the emotion and feeling in singing. The difference between the condensers (even the Sennheiser) and the BD-1 was like night and day. BUT, we had to get much closer to the BD-1 for spoken/voiceover work, unless we deliberately projected. I guess that's the downside of a dynamic voice. Works best with loud voices. We were also impressed by how good it made the bass voice sound. We'll use this for singing and the Sennhieser for Voiceover/Podcasting/Video where a shotgun mic is helpful.CONCLUSION: This BD1 is an amzing value in a dynamic mic. Highly recommended.

Tiene un leve resalte en las frecuencias medio altas y bajas, que hace el efecto de voz de locutor, buen rango de frecuencias incluso se siente mas amplio que otros microfonos que reporta mas amplitud, la única contra es la P, es decir las explosiones por las P, es obligado el anti pop o su esponja y jugar con la posición, tiene mucho mas gain que el sm7b, no necesitas un pre a diferencia del sm7b, grabas bien voces de rock, por la relación calidad/precio que es muy buena y su estuche le doy 5 puntos

I really like the sound, and I'm running it from a Behringer UMC404HD, which seems to have plenty of gain and little noise.The internal shock mount consists of silicone grommets isolating two captive screws which then pass through the U-shaped hanger. It doesn't work well at all, and I found even gentle taps on my desk surface to ring through the microphone. Adding an inexpensive camera hotshoe shockmount between the U-hanger and boom arm helped a lot. I tried the cheap Movo SMM5-R successfully.For close work, the provided small windshield helps manage plosives well.

Nice and sturdy, but not too heavy. It was a great sound and is the best mic I’ve used to date.One small thing is it would be handy to have another articulation joint on the mount but that’s a minor thing.

It's not quite the RE20 (and it's about half the size) but, if you're on a budget and want a quality, great sounding broadcast mic you can't go wrong here! I bought two for my professional on air studio and use them for our podcast production. If I see them on sale again I'll likely grab two more.

Bought this for Amateur radio use and it has not disappointed the audio is superb for transmission although a little more bass than usual the 16 channel EQ smoothes it out beautify

I'll have to update this review after I've spent more time with the mic - it only arrived today (Amazon Sunday delivery - woohoo). I bought this mic in the hopes that it would be a cheaper alternative to the Shure SM7 or the EV RE-20. In particular, I have tall ceilings and hardwood floors so my rooms have a lot of echo and reverb - so I wanted a mic that would reject a lot of the ambient noise and room reflections ... and that is exactly what the Shure SM7 does really well (it is a life saver when you don't have a treated, soundproof room to record in).I made some comparison recordings in my large, untreated room using the Shure SM7 and the MXL BCD-1 to compare. First thing I noticed - the MXL has a lot more output so you don't need so much gain on your preamp. This is a good thing - the Shure SM7 is notorious for needing A LOT of preamp gain and in fact many preamps don't have enough gain for the Shure. The MXL has plenty of output so I had to back the preamp down quite a bit with the MXL to match the level of the Shure.The MXL picks up more of the room than the Shure does - I experimented by recording my voice while standing back away from the mic (something you would not normally do with this mic - these are made to be right up on the mic) and you can hear a lot more of the room reflections in the MXL recordings compared to the Shure. Then I gradually moved closer to the mic listening to the proximity effect (the voice getting more bassy as you get closer to the mic) and both mics behaved about the same as I got closer. Then I recorded my voice while right up on the mic and the two mics sounded very similar when working close as these mics are intended.The Shure sounded more deep and wool-y (is that a word? I mean almost muffled but in a soft pleasing way) while the MXL was clearer and brighter ... possibly harsher, it didn't have that "intimate" warmth that the Shure has. It may be more "accurate" than the Shure - it's a good sound but the Shure has its own character.The hardware isn't nearly as professional as the Shure (neither was the price). The mount to the stand doesn't spin free so you have to either spin the stand or spin the entire mic while threading the mic clip onto the stand (the Shure mount spins the sleeve so you can tighten it to the stand easily). The Yoke that holds the mic doesn't tighten or grip to hold the angle of the mic - so you have to use the cord to try and get the mic to hold the angle you set it to. There are thumb screws on either side and they do give "a little bit" of friction when fully tightened, but they don't grab and hold the mic no matter how tight you twist them.