At $149.99, the Samson G-Track Pro falls between some of the higher-end USB microphones we've tested from manufacturers like Blue and Sennheiser, and some of the more budget-friendly models from Blue and Shure.
If you're looking for a multi-pattern mic that is more about in-studio quality than portability, you'll be pleased.
In addition to offering multiple mic patterns, the G-Track Pro has a quarter-inch input for recording instruments—and you can use the mic and instrument input at the same time, which is unique.
None of this would matter if the mic's overall quality was weak, but the G-Track Pro delivers a clean, clear signal free of any DSP (digital signal processing), which will surely appeal to purists.
Honest, Objective Reviews
Daxdi.com is a leading authority on technology, delivering Labs-based, independent reviews of the latest products and services.
Our expert industry analysis and practical solutions help you make better buying decisions and get more from technology.
Design
The all-black 3.5-pound, 4.5-by-10.5-inch (HW) G-Track Pro ships connected to its desktop swivel-mount stand, which is weighted for more stability.
The mic can be angled upward, making it easy to get the ideal distance from speaker or sound source to capsule.
Behind its sturdy grille, there's a layer of windscreen foam protecting the dual 1-inch capsules that combine for the various mic patterns.
The front face of the mic has several switches and knobs.
You can switch between Figure Eight, Cardioid, and Omni patterns, and intriguingly, there's a switch for Mono or 2-Track mode, which I'll get to in a bit.
There are three knobs below these switches—one controls mic gain, one controls the instrument input level, and there's a volume knob for the headphone jack, which is a zero-latency monitoring jack.
A status LED tells you when the mic is powered up, when the signal is clipping, and when you're muted.
Above these knobs is a mute button.
Out of the box, our mute button cap was completely separated from the microphone.
It was easy to place back onto the button socket and afterward it worked just fine, but it doesn't exactly inspire confidence in the overall quality control process when pieces are falling off of a product out of the gate.
On the back panel, the quarter-inch instrument input is situated below a 3.5mm headphone jack, and above these, there's a single switch for turning the monitor on or off (when off, the headphone jack is disabled).
Word to the wise: Make sure the mic gain is set very low or even to zero when turning on the monitor switch.
At the mic's base, it screws into the desktop mount—this is where the included USB cable connects.
While the mic can be removed, there's no included adapter so that it can be screwed into a traditional stand for non-desktop use.
Back to the Mono and 2-Track switches.
These are not to be confused with a stereo recording option—this is not a stereo microphone.
2-Track mode simply allows you to record the mic's signal and send it to your computer on one track, along with the instrument input's signal on another track, so you get two tracks of mono audio.
In Mono mode, both the instrument and the mic record to the same mono track.
Since both modes are technically outputting mono signals, it would make more sense if the modes were simply called 1 track or 2 tracks, but we're splitting hairs.
Very few of the mics we've seen offer a direct input in addition to the mic's, which is a very useful extra feature.
The instrument jack can handle both direct signal from an electric guitar or bass and line level signal from a keyboard or electronic instrument.
One thing to be mindful of is that you can be recording a signal from the instrument input without realizing it—if something's plugged in, the only way to ensure it won't creep into what's meant to be a vocal-only recording is to kill its gain level completely, or simply unplug it.
It seems like common sense, but the point is that both inputs are live, always, and need to managed and monitored if your intention is to record only one or the other.
This also means when recording an instrument and a voice that you'll want to balance out their volumes relative to each other, or using the built-in monitor can be difficult.
However, if your vocalist is quiet and your instrument is loud, this can also be tricky—adjusting the instrument's output volume before you even fiddle with the instrument gain on the mic is probably the easiest way to eventually get a solid balance between the two signals.
Obviously, this is more crucial if both signals are going to the same track, as in Mono mode.
But even if they are recorded to separate tracks, you'll need some sense of balance between them if you plan on using the headphone jack on the mic.
Again, this may seem like common sense, but here we are talking about basic principles of studio monitoring and mixing, and most mics don't require you to think about those things since they can only record one signal to begin with.
The G-Track Pro can record up to 96kHz and 24bits, and has a frequency range of 50Hz to 20kHz.
It's compatible with Macs and PCs, though specific specs are not listed.
We had no issue using it with GarageBand.
If you're looking to use it with ProTools, you might have to rethink your plan.
USB mics aren't natively accepted by ProTools, though you can do an online search for the relatively common workaround that can be used to circumvent this.
Performance
We did most of our testing in Cardioid mode, but it's worth exploring the Figure 8 and Omnidirectional modes depending on your needs.
Figure 8 can be ideal for recording two speakers facing each other, with the mic placed directly between them.
Omni can be great for picking up all, or most, of the sounds in a room, which is ideal for roundtable discussions, or when you want to record the atmosphere of a location, like a restaurant or office space.
That said, we found that both Figure 8 and Omni modes sound wildly different from Cardioid, as well as from each other.
This is more or less a good thing, as it gives you some variety when choosing signals for various applications, but it's not always true that a multi-pattern mic will sound so different pattern to pattern.
In Cardioid mode, you get the best sound for recording a single speaker, as audio hitting the rear of the mic is rejected in favor of audio addressing the capsule directly.
With the gain set to reasonable levels, and the mic roughly 6 to 8 inches away, the G-Track Pro provides a solid, clear signal.
Closer distances can capture a more low-frequency boosted sound for either vocals or instruments, but the crispest sound seems to come from the distances at which we tested.
At times, we noted a hint of resonance that wasn't ideal, as if the capsule was picking up reflections from either inside the mic itself or from the desktop surface.
Both are possible, and the best bet is to fiddle with mic angle, gain level, and perhaps even to place a non-reflective covering over your desktop surface, like a wool blanket.
Experimenting with various angles is part of the process, necessary with even the best mics, and we were eventually able to get a clean, crisp, resonance-free signal on vocals.
Compared with the more expensive Blue Raspberry—an Editors' Choice—the G-Track Pro sounds a little less crisp in the high-mids, and a little more present in the low-mids and mids.
Both mics are ideal choices for podcasters or singers.
The G-Track Pro doesn't utilize DSP.
This is ideal for those seeking the purest signal possible, and not for those who care less about purity and are hoping the mic will do some of the mixing work for them.
There's no shame if you fall into the latter camp—if you do, consider a mic like the Shure MV5, which offers both DSP and the ability to disable it.
Because there's no DSP, the mic can distort, especially with the gain turned higher and at closer distances.
Plosives also become an issue when closer than 6 inches or so.
This isn't a knock on the mic, however, it's just how mics work.
But plenty of competing mics ship with pop filters as an accessory, and that's not the case here—you'll want to pick one up, make one yourself, or record close vocals off-axis in order to defuse plosives.
Conclusions
For $150, the Samson G-Track Pro delivers a unique two-input setup and a helpful multi-pattern array to choose from.
It's versatile, and the audio quality is quite good for the price.
If you don't need the extra input, our favorite-sounding USB mics are probably the aforementioned Blue Raspberry and the Sennheiser MK 4 Digital, both of which cost a bit more.
If the G-Track Pro is already too expensive for your needs, consider the multi-pattern Blue Yeti Nano or the aforementioned Shure MV5, both of which offer DSP-free audio.
For the money, however, the G-Track Pro is a solid, versatile choice for anyone seeking a clean signal and the flexibility of multiple patterns.
Pros
Clean, mids-focused signal.
Dedicated instrument input can be used at the same time as mic.
Three selectable patterns.
Gain knobs for both mic and instrument input.
Weighted desktop stand included.
View More
The Bottom Line
The Samson G-Track Pro microphone delivers a clean, DSP-free signal and offers great extras, like multiple patterns and a line input.
At $149.99, the Samson G-Track Pro falls between some of the higher-end USB microphones we've tested from manufacturers like Blue and Sennheiser, and some of the more budget-friendly models from Blue and Shure.
If you're looking for a multi-pattern mic that is more about in-studio quality than portability, you'll be pleased.
In addition to offering multiple mic patterns, the G-Track Pro has a quarter-inch input for recording instruments—and you can use the mic and instrument input at the same time, which is unique.
None of this would matter if the mic's overall quality was weak, but the G-Track Pro delivers a clean, clear signal free of any DSP (digital signal processing), which will surely appeal to purists.
Honest, Objective Reviews
Daxdi.com is a leading authority on technology, delivering Labs-based, independent reviews of the latest products and services.
Our expert industry analysis and practical solutions help you make better buying decisions and get more from technology.
Design
The all-black 3.5-pound, 4.5-by-10.5-inch (HW) G-Track Pro ships connected to its desktop swivel-mount stand, which is weighted for more stability.
The mic can be angled upward, making it easy to get the ideal distance from speaker or sound source to capsule.
Behind its sturdy grille, there's a layer of windscreen foam protecting the dual 1-inch capsules that combine for the various mic patterns.
The front face of the mic has several switches and knobs.
You can switch between Figure Eight, Cardioid, and Omni patterns, and intriguingly, there's a switch for Mono or 2-Track mode, which I'll get to in a bit.
There are three knobs below these switches—one controls mic gain, one controls the instrument input level, and there's a volume knob for the headphone jack, which is a zero-latency monitoring jack.
A status LED tells you when the mic is powered up, when the signal is clipping, and when you're muted.
Above these knobs is a mute button.
Out of the box, our mute button cap was completely separated from the microphone.
It was easy to place back onto the button socket and afterward it worked just fine, but it doesn't exactly inspire confidence in the overall quality control process when pieces are falling off of a product out of the gate.
On the back panel, the quarter-inch instrument input is situated below a 3.5mm headphone jack, and above these, there's a single switch for turning the monitor on or off (when off, the headphone jack is disabled).
Word to the wise: Make sure the mic gain is set very low or even to zero when turning on the monitor switch.
At the mic's base, it screws into the desktop mount—this is where the included USB cable connects.
While the mic can be removed, there's no included adapter so that it can be screwed into a traditional stand for non-desktop use.
Back to the Mono and 2-Track switches.
These are not to be confused with a stereo recording option—this is not a stereo microphone.
2-Track mode simply allows you to record the mic's signal and send it to your computer on one track, along with the instrument input's signal on another track, so you get two tracks of mono audio.
In Mono mode, both the instrument and the mic record to the same mono track.
Since both modes are technically outputting mono signals, it would make more sense if the modes were simply called 1 track or 2 tracks, but we're splitting hairs.
Very few of the mics we've seen offer a direct input in addition to the mic's, which is a very useful extra feature.
The instrument jack can handle both direct signal from an electric guitar or bass and line level signal from a keyboard or electronic instrument.
One thing to be mindful of is that you can be recording a signal from the instrument input without realizing it—if something's plugged in, the only way to ensure it won't creep into what's meant to be a vocal-only recording is to kill its gain level completely, or simply unplug it.
It seems like common sense, but the point is that both inputs are live, always, and need to managed and monitored if your intention is to record only one or the other.
This also means when recording an instrument and a voice that you'll want to balance out their volumes relative to each other, or using the built-in monitor can be difficult.
However, if your vocalist is quiet and your instrument is loud, this can also be tricky—adjusting the instrument's output volume before you even fiddle with the instrument gain on the mic is probably the easiest way to eventually get a solid balance between the two signals.
Obviously, this is more crucial if both signals are going to the same track, as in Mono mode.
But even if they are recorded to separate tracks, you'll need some sense of balance between them if you plan on using the headphone jack on the mic.
Again, this may seem like common sense, but here we are talking about basic principles of studio monitoring and mixing, and most mics don't require you to think about those things since they can only record one signal to begin with.
The G-Track Pro can record up to 96kHz and 24bits, and has a frequency range of 50Hz to 20kHz.
It's compatible with Macs and PCs, though specific specs are not listed.
We had no issue using it with GarageBand.
If you're looking to use it with ProTools, you might have to rethink your plan.
USB mics aren't natively accepted by ProTools, though you can do an online search for the relatively common workaround that can be used to circumvent this.
Performance
We did most of our testing in Cardioid mode, but it's worth exploring the Figure 8 and Omnidirectional modes depending on your needs.
Figure 8 can be ideal for recording two speakers facing each other, with the mic placed directly between them.
Omni can be great for picking up all, or most, of the sounds in a room, which is ideal for roundtable discussions, or when you want to record the atmosphere of a location, like a restaurant or office space.
That said, we found that both Figure 8 and Omni modes sound wildly different from Cardioid, as well as from each other.
This is more or less a good thing, as it gives you some variety when choosing signals for various applications, but it's not always true that a multi-pattern mic will sound so different pattern to pattern.
In Cardioid mode, you get the best sound for recording a single speaker, as audio hitting the rear of the mic is rejected in favor of audio addressing the capsule directly.
With the gain set to reasonable levels, and the mic roughly 6 to 8 inches away, the G-Track Pro provides a solid, clear signal.
Closer distances can capture a more low-frequency boosted sound for either vocals or instruments, but the crispest sound seems to come from the distances at which we tested.
At times, we noted a hint of resonance that wasn't ideal, as if the capsule was picking up reflections from either inside the mic itself or from the desktop surface.
Both are possible, and the best bet is to fiddle with mic angle, gain level, and perhaps even to place a non-reflective covering over your desktop surface, like a wool blanket.
Experimenting with various angles is part of the process, necessary with even the best mics, and we were eventually able to get a clean, crisp, resonance-free signal on vocals.
Compared with the more expensive Blue Raspberry—an Editors' Choice—the G-Track Pro sounds a little less crisp in the high-mids, and a little more present in the low-mids and mids.
Both mics are ideal choices for podcasters or singers.
The G-Track Pro doesn't utilize DSP.
This is ideal for those seeking the purest signal possible, and not for those who care less about purity and are hoping the mic will do some of the mixing work for them.
There's no shame if you fall into the latter camp—if you do, consider a mic like the Shure MV5, which offers both DSP and the ability to disable it.
Because there's no DSP, the mic can distort, especially with the gain turned higher and at closer distances.
Plosives also become an issue when closer than 6 inches or so.
This isn't a knock on the mic, however, it's just how mics work.
But plenty of competing mics ship with pop filters as an accessory, and that's not the case here—you'll want to pick one up, make one yourself, or record close vocals off-axis in order to defuse plosives.
Conclusions
For $150, the Samson G-Track Pro delivers a unique two-input setup and a helpful multi-pattern array to choose from.
It's versatile, and the audio quality is quite good for the price.
If you don't need the extra input, our favorite-sounding USB mics are probably the aforementioned Blue Raspberry and the Sennheiser MK 4 Digital, both of which cost a bit more.
If the G-Track Pro is already too expensive for your needs, consider the multi-pattern Blue Yeti Nano or the aforementioned Shure MV5, both of which offer DSP-free audio.
For the money, however, the G-Track Pro is a solid, versatile choice for anyone seeking a clean signal and the flexibility of multiple patterns.
Pros
Clean, mids-focused signal.
Dedicated instrument input can be used at the same time as mic.
Three selectable patterns.
Gain knobs for both mic and instrument input.
Weighted desktop stand included.
View More
The Bottom Line
The Samson G-Track Pro microphone delivers a clean, DSP-free signal and offers great extras, like multiple patterns and a line input.
