512 Audio Tempest Review

The 512 Audio Tempest ($159.99), a newcomer to the USB microphone scene, sits comfortably between budget and high-end offerings. It takes a relatively strict approach to audio recording with no digital signal processing (DSP) and a single, cardioid recording pattern. This is the norm for pro-level XLR entries but less common for USB mics, which tend to offer more features and effects to help novices get a quality signal quickly. As such, it should appeal more to users who are already familiar with the recording and mixing process, or those who are willing to spend time learning how to work with audio effectively. If you want a bit more recording flexibility (and don’t mind a bit of DSP), the MSI Immerse GV60 ($129.99) is a slightly more affordable alternative. And if podcasts are your main use case, check out the Joby Wavo POD ($99.99).

The black, semi-matte Tempest is a side-address cardioid condenser microphone with a 34mm diaphragm gold-plated capsule that captures a frequency range of 20Hz to 20KHz. It delivers 24-bit/48KHz audio, with a maximum gain of 45dB.

When you connect it via USB, an internal blue LED lights up the capsule's black grille. It’s a cool look, but we would like the option to turn that lighting off for certain applications. There’s no onboard button or companion app for this, however. The mic’s control panel has a mute button up top (it lights up red when it's on), a gain knob, and a headphone volume knob. A 3.5mm headphone jack for zero-latency monitoring sits below those controls. The bottom includes a USB-C port for the included six-foot USB-C-to-USB-A cable. The base screws into the included desktop tripod stand.

It's simple to change the gain during a recording without causing an audible interruption, but it's a bit too easy to accidentally move the tripod base because it weighs less than the mic. And if you want to use the shock mount, you're better off leaving the tripod out of the equation. Everything technically fits together, but the shock mount makes the setup even more top-heavy. A proper mic stand would be a much better match for the shock mount, which has a standard five-eighth-inch threaded mount.

Aside from a heavier tripod stand, we would have also liked 512 Audio to include a pop filter in the box. Plenty of mics in this price range and below manage to bundle both a higher-quality desktop stand and a foam filter to fit over the grille. It’s not a deal breaker, but it's an accessory you might find necessary. For reference, the company sells a pop filter for $39.99.

The Tempest is compatible with machines that run at least Windows 10 or macOS Mojave.

We tested the Tempest with GarageBand on an iMac. First, we tried a gain sweep, both to see if the knob adjustment picked up on mic and if moderate peaking from between roughly 5 and 6 inches away distorted at top gain levels. The knob was quiet, but as mentioned, you need to be careful not to accidentally move the mic when you touch it. That's not something you would need to worry about with a heavier base.

The vocals didn’t distort at the top gain level, regardless of whether I spoke at moderate volumes or got close to yelling. For conversational audio, we found the best gain position is a bit beyond the halfway point at roughly 2 o’clock. At this level, everything sounds crisp and clear; lower-range vocals and acoustic instruments even get a pleasant low-mid richness. The knob lacks number markings and doesn't rotate a full 360 degrees, so, as a reference, zero gain is roughly around the 7 o’clock position and max gain is around 5 o’clock.

You can get some nice growl out of the capsule on gravelly vocals if you move closer, but this is where a pop filter would be handy. At a distance of between 5 and 6 inches, a vocalist with good mic technique might be able to avoid plosives that overload the capsule, but that's far more difficult at any closer position. This is true of nearly all mics, but the DSP-free signal makes it a particular concern here. Yes, there are completely acceptable DIY pop filters available, but they rarely look good on camera, which could be a concern for video streams.

We highly recommend using the shock mount to get the best sound and performance out of the Tempest, but again, this worsens the imbalance issue we mentioned earlier. As such, you likely need to buy a sturdier base.

Between the stand (even a relatively affordable one) and a non-DIY pop filter, you can easily add between $60 and $80 to the price here. We wish that 512 Audio included a heavy base stand in the package instead of the tripod stand because it would have made the shock mount more usable and improve the Tempest's value, even if the list price went up a bit as a result.

The 512 Audio Tempest is a straightforward recording tool capable of getting a relatively pure signal. Its accessories present some usability issues, however, which means you likely need to invest in additional add-ons. We already mentioned the multi-pattern MSI Immerse GV60 as an alternative and remain fans of its much sturdier desktop stand. And podcast creators are better off with the Joby Wavo POD, which comes with both a sturdy stand and a pop filter. If a DSP-free signal is what you want most, you can likely save a bit of money with the Blue Yeti X ($169.99) once you factor in the cost of accessories for the Tempest, though the Tempest costs less by itself.

The 512 Audio Tempest USB microphone captures a pure signal and looks quite cool, though we would have liked a pop filter or a sturdier stand in the box.

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