Electro-Voice ND96

Supercardioid Dynamic Microphone with Large-diaphragm Capsule, Internal Shockmount, Memraflex Grille, and Presence Switch
Electro-Voice ND96 image 1
Electro-Voice ND96 image 1
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Electro-Voice ND96
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More "You" for the Loudest Venues

For a vocalist, there's just no competing with a guitar stack or a drum kit on a loud stage. So when you need maximum gain before feedback, trust your sound to the Electro-Voice ND96. This striking flat-top dynamic mic puts more "you" in your stage monitor so you can perform better and gives your sound engineer a hotter signal to push your vocals to the back row. The ND96 includes a Presence switch to cut out mud when you're singing low, and then lets you bring it back in when you're belting. This simple feature puts you in the pilot seat of your own sound. And like other ND-series vocal mics, the ND96 has a modern EQ curve with vivid high-end detail to help you sound your best from any stage. Sweetwater is sure that performers and sound professionals alike will be pleased with the ND96's drop-weathering Memraflex grille and noise-rejecting internal shockmount.

The Electro-Voice ND series picks up where N/DYM left off

For years, EV's N/DYM series of live and studio dynamic microphones have been a beacon of hope to us low-enders and live-sounders. And now Electro-Voice promises to deliver even better performance with its EV ND collection. This line includes eight new vocal, drum, amp, and instrument mics to cover a wide range of stage and studio needs. Beneath the dent-resistant Memraflex grilles are redesigned large-diaphragm capsules with humbucking coils and internal shockmounts to capture a rich, musical sound with low noise - all on a budget. When you need dependable performance on a workingman's income, Sweetwater sound professionals encourage you to check out Electro-Voice ND microphones.

Electro-Voice ND96 Vocal Dynamic Microphone Features:
  • Designed for the loudest stages
  • Gives you maximum gain before feedback for better mixing and monitoring
  • Presence switch cuts mud and boosts treble to combat frequency-fighting passages
  • Supercardioid polar pattern rejects room noise and gives your voice laser focus
  • Large-diaphragm element is rich, lively, and detailed
  • Good for both male and female vocalists
  • Modern EQ curve demands less shaping at the board
  • High gain before feedback puts more of you in your ears
  • Humbucking coil resists EMF noise
  • Internal shockmount keeps stage rumble to a minimum
  • Memraflex grille keeps its shape
Get clearer vocals for the loudest stages with the feedback-fighting Electro-Voice ND96!

Additional Media

Studio Microphone Buying Guide

Tech Specs

Microphone Type Dynamic
Polar Pattern Supercardioid
Frequency Response 140Hz-15kHz
Output Impedance 350 ohms
Color Black
Connector XLR
Weight 0.71 lbs.
Included Accessories 1 x Gig bag, 1 x stand clip, 1 x Euro thread adapter
Manufacturer Part Number F.01U.314.724

Customer Reviews

Based on 3 reviews
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Almost No Feedback

I was using a Beyerdynamic M201 to reduce feedback when playing in a jam room. Feedback was lower, but not great. I really had to push my voice to sing over the drums and level matched guitar, and my throat was toast by the end of the jam time. Then I bought a feedback reduction box. It helped a little, but I started to wonder if there was a mic built to reduce feedback. After searching online for feedback resistant mics, I found the electrovoice N/D967 get a lot of positive mentions. However, it wasn't available, and the ND96 had very few reviews. I couldn't find a single Youtube video showing it resist feedback. I decided to take a chance on the ND96, based on a really good experience with the RE16 (also by EV). When I got the ND96, I brought it with me to the jam space. They bumped us up to the medium room from the usual small room, so the following comparison isn't exact (smaller rooms get faster echos, causing more feedback). After we got to the space, I first plugged in my guitar. My drummer was still replace the cymbals with her own ones, when I was putting up the mic. I left the gain low, reduced the highs and lows, and bumped up the mids. I angled the mic at 120 degrees to the speakers based off of the polar pattern. I didn't even get a little feedback so I turned the master volume up, but left the gain low. I had no feedback for the next several hours. My mic volume could have been a bit higher, but I also could have turned the guitar down slightly. Even so, I could hear myself and did not have to push my voice to the point of going hoarse at all. Towards the end of the session, I tried tweaking the volumes a bit. I cranked the gain, and lo and behold, got some feedback, but not much. After lowering the gain to normal levels the feedback was nonexistent. I also tried cupping the mic (which you don't want to do anyway) to see what would happen and of course got feedback again. I never got a chance to try my feedback reduction box. I found I just didn't need it. I will bring it next time so I can experiment in the small space we usually book. However, if I find I don't need the box there either, then I will save myself from having to remember it. It you've read thus far, then I highly suggest this mic for feedback prone rooms like jam spaces. It was either this mic or the $700 Neumann KMS 105. That one sounded great, but required phantom power, had more problems with Ps and Bs, and wasn't necessarily any better at handling feedback. I have not tried the previous version of the same mic, but I can tell you this one is great. You may not be able to point the mic directly at the speaker or turn the gain all the way up, but if you can get lower feedback from another mic, I would be surprised.

The new ND967

I've had 3 different bands choose their vocal microphones by lining up about 5 or 6 of the main brands (starting with a Sure 58 of course). Each time 100% of the vocalists choose the ND967 in each band. Even non-musicians (like our pastor) could hear the difference and preferred the ND967. The new ND96 is the newest and presumably best version of this great microphone. The sound person loves the high output signal level and lack of feedback. I have a very loud voice (rock & roll and blues screamer guy) and some of our female vocalists have very soft voices, but this mic handles it all (it never breaks up or distorts even with my loudest yells but can pick up the soft sweet voices of the girls at the same time) and gives the sound board a strong signal. I know it's supposed to be for vocals, but it also works great for picking up acoustic instruments (tried it with mandolin, violin, banjo, sax, flute and bells so far). I think it sounds much better than a Sure 57 instrument mic for example. Yes it costs more than a Sure 58, but you get a LOT better microphone in every respect. It's worth every penny and a great value.
Music background: singer, electric and acoustic guitar and bass pro and semi-pro for 60 years

Its the best

Will not use any other microphone at any price, I have been gigging with this mike for years. This is well worth the cost, it is the quality of your vocals at any volume that counts, and being feedback resistant is great
See also: Dynamic Mics, Electro-Voice, Electro-Voice Dynamic Microphones, Electro-Voice Dynamic Microphones