Also I noticed in the link you posted there is a sound sample.
I didn’t review the entire review. I scanned through it and it specifically (and correctly) addressed many if not all of the concerns I have about using this microphone.
Microphone “quality” usually isn’t as much of a concern as quality of the room or environment. You can, and I have, done very good work with a crappy microphone in a good, echo-free, quiet room. There are several postings from people doing audiobook quality work with a Blue Snowball — but in good environments.
USB microphones have the mic-pre, the line-level booster, the processing, the encoding and the transmission all inside the microphone. I think Windows allows you to change volume to a USB bitstream, but Macs don’t. Many if not all the characteristics of the microphone are inside it and unchangeable.
Straight dynamic (moving coil) microphones do nothing but convert your voice into a tiny electrical signal. Everything else is handled in the mixer or sound desk. USB microphones are convenient and handy, but fixed and aggressively non-expandable.
Simple microphones are a lot less “handy” but you can change anything in the process to make it work the way you like. Even my simple sound mixer has three different ways to change the volume, and if I like, I can easily mix three other microphones at the same time and control them, too.’
However, nobody is going to stuff my small mixer and four different microphones and my computer into my run bag for a trip. I can hear you trying to cram one microphone into many different jobs and that can be messy. Also, yes, given everything else works OK, microphones do have a personality or sound and you have to like that before you commit.
Also note that very few people present a “naked” microphone as a finished performance. There’s usually a pile of effects and filtering before any performance is called finished. Too many people expect their microphone to sound the same as a finished Warner Brothers Records album.