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Audio / Buying Guide

On-Camera Shotgun Microphones, A to Z

         

No matter what you're using to shoot video these days—a mirrorless hybrid, a DSLR, or a more traditional palm- or shoulder-mount camera—you are capturing both moving images and sound. Although more emphasis is placed on the visuals, the importance of sound should never be overlooked. There are a great number of things you can do to improve the audio quality of your video productions, and using a good on-camera shotgun microphone is one of them.

In this article, we'll take a look at several shotgun microphones that can be mounted on your camera and connected to its 1/8" (3.5mm) mic jack, or its XLR input (depending on which one is available on your camera of choice). Along the way, you'll learn some important tips about using shotguns properly, such as how to avoid unwanted wind and handling noise.

It needs to be noted that shotguns aren't the best choice for every situation. For example, if you're shooting a musical performance with a stationary camera, you can usually get better-sounding results using a non-directional stereo microphone, like the Senal SCS-98. More often than not, though, shotgun microphones prove to be one of the most effective on-camera tools for sound capture, which is due to their ability to reject sound to the sides and rear, and to prioritize the sound in front of the mic.


The Senal SCS-98 DSLR/Video Stereo Microphone is a non-directional, non-shotgun mic, but is best used for recording live music.

A key thing to understand about upgrading your on-camera microphone is that it isn't a complete, all-in-one solution for better audio. Getting great sound in video productions usually involves the use of lavalier microphones, wireless systems, external audio recorders, boompoles, and scores of other tools and techniques. However, a better on-camera mic will improve the overall sonic performance of your camera, which is why most experienced production people use them.

Compact Shotgun Mics

If your main camera is compact, it's a good idea to pair it with a proportionally sized on-camera microphone. One of the most basic yet effective shotguns that fit this bill is the RØDE VideoMic GO. What's great about this microphone is that it doesn't have any controls, knobs, or buttons. There isn't even an On/Off switch. One caveat is that it needs to be supplied with "Plug-in Power" from your camera's mic input in order to operate, and not all cameras provide this (but the vast majority do). The GO has an integrated Rycote shockmount (a good shockmount is essential—it reduces unwanted vibration and handling noise), and a shoe mount to affix it to your camera. A short, coiled mini-plug output cable is included, as well as a foam windscreen but, as with any shotgun, it’s strongly advisable to purchase additional wind protection, such as the RØDE DeadCat GO or an Auray WSW-VMG Windbuster, both of which were specifically designed to fit this mic. Without the additional wind protection, any footage you shoot outdoors will likely be plagued by the winds of distraction blowing through your audio.


RØDE VideoMic GO Lightweight On-Camera Microphone

Another compact microphone that's just the right size for use with smaller cameras is the RØDE VideoMic Pro. Like the majority of mics covered in this article, the VideoMic Pro requires a battery for operation. Battery-powered shotgun microphones typically provide greater sonic performance and extended sensitivity. The VideoMic Pro has an interesting feature that enables you to boost its output level by +20dB. Why would you do this? The audio signal from this mic is likely cleaner sounding than the preamps built into your camera, so, by lowering your camera's input level and boosting the mic's output level, you can achieve better-quality audio.


RØDE VideoMic Pro Compact Directional On-Camera Microphone

The VideoMic Pro also features a High Pass Filter that you can turn on or off. What this does is cut out low, bass-frequency sounds below 80Hz. This is such a low frequency that you typically won’t hear any difference in the sound of dialog with it turned on or off. However, when you turn it on, it will avoid picking up super-low sounds that a subwoofer on a home entertainment system will reproduce. If these sounds originate from footsteps, bumps, or handling the camera, you won’t want to hear them in your finished product. This switch enables you to eliminate recording these sounds in the first place (which is why many shotgun mics have this feature). As always, don’t forget additional wind protection. A good option is to get the RØDE Deadcat VMP, or you can buy the mic and a Windbuster windscreen together in a kit.


RØDE VideoMic Pro Shotgun Microphone and Windbuster Kit

There are several more good choices available, in regard to compact mics for smaller cameras. The Sennheiser MKE 400 is ultra compact, ultra lightweight, and it delivers an impressively large sound, considering its small footprint. The shockmount and shoe mount are both integrated into the mic, and it runs for 300 hours on a single AAA battery. A foam windscreen is included, but you really need to invest in the MZW400 Wind Muff accessory from Sennheiser. This is a kit that includes a mini-plug-to-XLR adapter, and a critically important fluffy windscreen.


Sennheiser MKE 400 Compact Video Camera Shotgun Microphone 

Another option that offers similar ultra-compact size and performance, yet features a more budget-friendly price, is the Polsen VM-150. Like the MKE 400, the VM-150 runs on a single AAA battery, and like the VideoMic Pro, it features a Low Cut switch that filters out sounds below 80Hz. The VM-150 also has a switch that activates a -10dB pad. This lowers the sensitivity of the mic, so when you’re shooting in a loud environment, such as in a factory or on a construction site, it will help to keep the loud noises from overloading the mic. The recommended additional windscreen for the Polsen VM-150 is the Auray WSW-CMS.


Polsen VM-150 DSLR/Video Microphone

Recorders

As mentioned earlier, portable digital recorders are often used to improve the audio quality of video productions, because they give you the ability to make recordings at higher resolutions and bit-rates than your camera is capable of doing. This brings us to a unique option in the market: the Shure VP83F LensHopper—a compact on-camera shotgun microphone that features an integrated audio recorder. An included mini-plug output cable can be detached, so you can use the VP83F on your camera, but you can also record with it independently. Files are saved to MicroSDHC, and it’s compatible with cards up to 32GB. It runs on two AA batteries for up to 10 hours. A headphone output is integrated into its base, as is a Rycote Lyre shockmount. For the all-important wind protection, you need to pick up the Shure Fur Windjammer.  


Shure VP83F LensHopper Shotgun Microphone with Integrated Flash Recorder


Full-Sized Professional Shotgun Mics

If you've ever looked at a full-sized professional shotgun microphone and wondered if anyone ever took its basic design and shrunk it down to so it could be used on a camera, this is the idea behind the Senal MS-77 and MS-66. Their miniature shockmounts, output connectors, tiny windscreens and pen-sized bodies offer impressive performance and sound quality. Both microphones get 100 hours of use from small, button-style SR626SW batteries (they’re included with the MS-66, but need to be purchased separately with the MS-77). Two output cables are included with the MS-77, one is short for on-camera work, and the other is 10 feet long, for boompole work. Both mics feature the ability to boost their output level by 10 or 20 dB, so you don’t have to taint your sound with the noisy preamps in your camera, as you would with the VideoMic Pro.


Senal MS-77 DSLR/Video Mini Shotgun Microphone Kit

Stereo Shotgun Mics

As was stated earlier, some applications are better suited for stereo microphones as opposed to shotguns. But what if you were shooting footage of a bird singing in a tree, and you wanted to partially isolate the sound of the bird, while maintaining the essence of the natural left/right soundscape of the scene? This scenario calls for a stereo shotgun microphone. Audio-Technica offers just such a mic: the AT8024. It features the ability to switch between stereo and mono operation, depending on your needs. Another nice plus is that a fuzzy windscreen is included.


Audio-Technica AT8024 Stereo/Mono Camera-Mount Microphone


Proportionally Larger Shotgun Mics

If you shoot with a camera that's slightly larger than an average DSLR, it may make sense to go with a proportionally larger on-camera microphone. A useful option for cameras that feature mini-plug microphone inputs is the RØDE VideoMic with Rycote Lyre Suspension System. This mic gets up to 100 hours of life from a single 9-volt battery. The integrated Rycote Lyre shockmount may seem like a minor aside, but any mic that features this suspension system boasts a substantial benefit. These shockmounts are durable and offer excellent isolation from vibration. A recommended windscreen for this mic is the WSW-007MKII Custom Windbuster.


RØDE VideoMic with Rycote Lyre Suspension System

A similarly-sized microphone with a more attractive price is the Senal CS-88. It runs on a single AA battery, and offers a -10dB pad for shooting in loud environments, and a +10dB boost—giving you the ability to avoid the noisy preamps inside of your camera. A switchable High Pass filter enables you to avoid unwanted low-frequency sounds, and a built-in coiled mini-plug cable takes care of the connection to the camera. Protect your audio from distracting wind noise with the separately available Auray WSW-CS88.


Senal CS-88 DSLR-Video Shotgun Microphone


Embrace the Boompole

All of the mics we've covered thus far have featured 1/8" (3.5mm) outputs that are compatible with the mic inputs found on DSLRs, mirrorless, and smaller prosumer video cameras. Next, we'll check out shotguns that feature 3-pin XLR outputs. But, no matter what kind of gear you're using, we encourage you to get your mic off of the camera and closer to the sound source whenever possible. One of the best ways to accomplish this is to use a boompole and a longer mic cable.

Using an on-camera microphone will greatly improve the sound your camera captures but, the thing is, your camera is usually somewhat far away from the sounds it needs to record. If your camera is 10 feet away from the sound you’re recording, it’s going to sound like it’s that far away—even with a good on-camera shotgun mic. This is why it’s almost always worth it to position microphones as close as possible to the sound source, whether they’re wireless lavalier mics, a shotgun on a boompole, or some other solution.


Just like fishing for sound!

All of the microphones covered so far feature shockmounts that include a female 3/8" thread at their base. This thread enables you to connect the microphone to the top of a boompole. With the use of a simple mini-plug extension cable, such as the RØDE VC1, you can easily adapt your on-camera mic to be used on a boompole. It's also worth noting that the majority of these mini-plug shotgun microphones can be used with cameras that feature XLR inputs. You just need to outfit them with an adapter, such as the Kopul XLR to Mini Adapter.

XLR Mics, Connectors, and Adapters

If your camera has XLR inputs, there are advantages to using microphones with XLR outputs, as opposed to mini-plugs. An XLR connection uses a balanced signal, which lends itself to lower noise for longer cable runs. Another perk is that XLR connectors often feature locks, which reduce the likelihood that your mic will become disconnected when you're rolling.

Some XLR microphones aren't more expensive than their mini-plug counterparts. The Audio-Technica AT875R, for example, offers excellent sound quality in a compact body that’s only seven inches long. Phantom power is required for operation. While the AT875 maintains a budget-friendly price, you are going to need to purchase a shockmount and an output cable to use it on a camera. And, once again, don’t forget about wind protection. A good shockmount to go with is the Auray DUSM-1, which features a shoe mount for your camera and a 3/8-inch thread for a boompole. To connect the mic’s output to your camera’s input, a good option is this 1.5 foot Kopul cable, which features a right-angled XLR connector that attaches to the back of the mic. For additional wind protection, go with an Auray WSS-2012, which is a step above just a fuzzy covering, with its open-cell foam matrix and tapered-rubber base.


Audio-Technica AT875R Line and Gradient Condenser Microphone

If you’re interested in XLR-based microphones like the AT875R, but you’re using a DSLR or a mirrorless camera that doesn’t feature XLR inputs or phantom power, you’re not out of luck. You can adapt any of the professional shotguns covered in this article to your mini-plug-based camera by using a product called a “Camcorder XLR Adapter.” These are compact boxes that attach to the base of your camera (or elsewhere on your camera rig). Their basic function is to connect to your camera’s mini-plug mic input via a short cable, enabling you to attach multiple XLR-based microphones to their integrated XLR inputs. Some of the more advanced Camcorder XLR Adapters, such as the Beachtek DXA-SLR ULTRA and the juicedLink RM222 Riggy-Micro, are powered by batteries, and can supply phantom power to mics that need it.   


juicedLink RM222 Riggy-Micro Dual-XLR Preamplifier with Phantom Power

Of course, there are some XLR-based shotgun microphones that can be used on a camera without phantom power. The RØDE NTG-2 features the ability to be powered by either an internal AA battery or by phantom power. It features a selectable 80Hz High Pass filter and durable metal construction. Its pleasing sound quality, versatility, and affordable price tag help to make the NTG-2 a popular choice for video production. Again, you’re going to need a shockmount and a short output cable, and the same Auray DUSM-1 and 1.5 foot Kopul cable are a good way to go. Additional wind protection can be provided by the RØDE WS6, or you can pull the Auray WSW-007MKII Custom Windbuster over the included foam windscreen.


RØDE NTG2 Battery or Phantom Powered Condenser Shotgun Microphone

The next step up from there, as far as sound quality is concerned, is the Sennheiser MKE 600. Like the NTG-2, the MKE 600 can be powered by an internal AA battery or by phantom power. A useful touch is that the MKE 600 features a low-battery warning light. Another handy feature is the shockmount, with an integrated camera-shoe mount, which is included. This microphone also features a switchable low-cut filter and all-metal construction. Wind protection can be provided by the separately available Sennheiser MZH 600 or the Auray WSS-2014.


Sennheiser MKE 600 Shotgun Microphone

If you’re the type of person who goes to great lengths to get the best-looking images you can, it’s probably a good idea to go the extra mile for your sound quality, as well. A popular choice for those who want the next plateau of sonic performance is the RØDE NTG-3 shotgun. There is no battery option for this mic; it requires phantom power for operation. This microphone was designed to reject radio-frequency interference and can withstand exposure to the elements, but the thing to get excited about is how good your video is going to sound. Once again, the Auray DUSM-1 and 1.5 foot Kopul cable cover your mounting and cable needs, and the Auray WSS-2018 will provide ample wind protection.


RØDE NTG3 Precision RF-Biased Shotgun Microphone 

If you’re looking for professional quality but can’t shell out the dough for the NTG-3, take a look at the RØDE NTG4 and the NTG4+. These newer, more affordable options from RØDE build upon the success of the company's NTG1 and NTG2 microphones, but feature an updated capsule to deliver broadcast-quality sound and digital switching options for versatile field operation. Designed to be mounted on a boom, a handheld pistol grip, or atop a compact camera, these microphones feature a directional super-cardioid pickup pattern, ideal for run-and-gun-style ENG. Both mics can be phantom powered, but the NTG4+ also comes with an internal battery that can be recharged via USB.


RØDE NTG4+ Shotgun Microphone with Digital Switches and Built-In Rechargeable Battery

Of all of the microphones covered in this article, none of them has as legendary a reputation as the Sennhesier MKH 416. Known for its highly directive pick-up pattern and its tank-like rugged construction, the MKH 416 has been a “go-to” shotgun microphone for industry professionals for decades, and it continues to be a favorite today. This microphone also needs phantom power to operate, as there is no battery option. Mounting, output cable, and wind protection needs are covered by the Auray DUSM-11.5 foot Kopul cable and Auray WSS-2018.


Sennheiser MKH-416 Short Shotgun Interference Tube Microphone

Hopefully, this article has given you a pretty good idea of some of the options available for improving your on-camera audio. If you have any questions about the products or techniques we covered, you can always reach out to a helpful B&H sales professional by calling 1-800-831-2434, having a Live Chat, or stopping by the SuperStore, in New York City.

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I have a Sony HDRPJ-540 video camera that I use to shoot marching band video from the top of a high school stadium (about 60 feet from the band).  What shotgun microphone or other application do you recommend for about $200 to improve the audio shot by the camera? 

Hi Bob -

One of my favorites under $200 is the Shure VP83 LensHopper Shotgun Microphone, a compact camera-mount condenser that provides detailed, high-definition audio with DSLR cameras and camcorders. An integrated Rycote Lyre shock mounting system provides isolation from vibration and mechanical noise.

The VP83 LensHopper features an easily accessible three-position gain adjustment and low-cut filter, allowing it to adapt for different recording environments. Its lightweight, yet durable, metal construction provides dependability and long-life. The VP83 easily mounts to a standard-size camera shoe or a 1/4" threaded stand. The convenient, attached 3.5mm cable connects to your camera's audio input. Its efficient operation boasts 130 hours of battery life on just one AA alkaline battery. A foam windscreen is included to guard against wind and environmental noise.

Capture Detailed, Accurate Audio

  • Full low-end response
  • High sensitivity
  • Low self-noise
  • Wide frequency range
  • Highly directional polar pattern
  • Effective RF immunity

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi Mark,

Thanks for the answer.  Since the camera has stereo sound, do you think the Audio-Technica AT8024 would be a worthwhile upgrade for a bit more money?

Hi Bob -

Nice pick, Bob!  This new mic from Audio-Technica is a great choice for just a few bucks more. 

For capturing audio, the AT8024 Stereo/Mono Camera-Mount Microphone by Audio Technica can be used in several environments, on DSLR and video cameras, for applications such as weddings, conferences, sports events, and more. It features a selectable line-cardioid mono, and internally matrixed mid-side stereo mode and provides the flexibility to focus the recording on a single sound source, or to widen the field for more sonic realism. The AT8024 can deliver much improved audio than the supplied camera's internal microphone.

The AT8024 is built with a three-position adjustable input pad (-20 dB, -10 dB, 0 dB) to capture soft and very loud sound passages without distortion. A switchable low-frequency roll-off reduces pickup of undesired ambient noise, room reverberation, and mechanically coupled vibrations. The microphone is powered by a single AA battery for optimal performance with high max SPL, and features an integral camera shoe mount that attaches to DSLRs and shoe-equipped camcorders. A 39" coiled cable with a 1/8" mini-jack, AA battery, windshield, fuzzy windscreen are included.

Designed for use with DSLR and other video cameras, delivering better sound quality than the camera's internal microphone
Selectable line-cardioid mono or mid-side stereo modes provide the flexibility to capture high-resolution audio in any environment
Three-position adjustable input pad and switchable low-frequency roll-off
Integral rubber shock mounts isolate the microphone from vibration and mechanical camera noise
Compact, lightweight design with integral shoe mount
Red/green LED power indicator
Includes windscreen, fuzzy windscreen and AA battery

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

 Can any of these work with any of the canon DSLR, for example, EOS Rebel T6i EF-S 18-55mm IS STM Lens Kit. I'm new to all of this so I'm not sure what I should be looking for in terms of getting a shotgun microphone. I also wouldn't have anyone physically being able to hold the shotgun mic, so can any of these attach to the camera or is there a boom pole stand so it can stand by itself without anyone? Any suggestions on which shotgun mic is best and any accessories needed? thank you!

Most of Canon Prosumer to Professional Line of DSLR's will offer a mic imput allowing for use with the shotgun mic mentioned, including the T6i. The very entry level may not so its would be wise to check. Most of the mic will either come with or offer an additonal hot shoe mount accessory to allow the mic to mounted to the camera itself. The Rode VideoMic Pro Compact Directional On-Camera Microphone would be recommend for use with your camera, the microphone has a broadcast-quality condenser capsule with a supercardioid pickup pattern to capture audio from the front, while minimizing pickup from the sides and rear. An integrated shockmount and foam windscreen minimize handling and wind noise to keep your recordings crystal clear. 

This article has got too much info to the point it's unhelpful. Bottom line for me as a vlogger? What is the best mic for indoors for a DSLR camera? I have tried many and can't find one with a decent result.

Hi Jeff -

If you are working close to the camera,one of my favorites under $200 is the Shure VP83 LensHopper Shotgun Microphone, a compact camera-mount condenser that provides detailed, high-definition audio with DSLR cameras and camcorders. An integrated Rycote Lyre shock mounting system provides isolation from vibration and mechanical noise.

The VP83 LensHopper features an easily accessible three-position gain adjustment and low-cut filter, allowing it to adapt for different recording environments. Its lightweight, yet durable, metal construction provides dependability and long-life. The VP83 easily mounts to a standard-size camera shoe or a 1/4" threaded stand. The convenient, attached 3.5mm cable connects to your camera's audio input. Its efficient operation boasts 130 hours of battery life on just one AA alkaline battery. A foam windscreen is included to guard against wind and environmental noise.

Capture Detailed, Accurate Audio

  • Full low-end response
  • High sensitivity
  • Low self-noise
  • Wide frequency range
  • Highly directional polar pattern
  • Effective RF immunity

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi folks,

Great article - certainly got me thinking

I will be using my Nikon D800 to film an amatuer theatre production from the back of the room (small room probably about 10-15M) - what's the best mic for this application? I was looking at the RODE videomic pro or even the Nikon ME-1, not sure if I need stereo or not - what's your advice?

thanks

Mark.

Hi Mark -

The best performer overall is the Rode VideoMic Pro.  Two key features, the 3-Position Level Control and the 2-Step High Pass Filter help make it so. It also includes a 10 year RODE warranty. That said, an on-camera shotgun mic is not an ideal solution at this distance, but it is far better than the in-camera mic at any rate.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi there!

I'd love to get some advice on which mic to use for my full frame DSLR?

I will be using it for a range of sounds. Primarily for interviews and music performances, all in medium to close proximity.

Having come across this page looking at the 'RØDE VideoMic Pro Compact Directional', I am also looking at the aforementioned Senal MS-77 and MS-66. It says that the latter are for professional DSLR's, so I would think that they are better quality than the 'RØDE VideoMic Pro Compact'?... But as the price suggests, the Rode mic should be better, sitting at $214 instead of $99?...

Which would be the more appropriate mic for my needs and my body?

Thanks in advance for your help!

Dave

Hi Dave -

The best performer overall is the Rode VideoMic Pro.  Two key features, the 3-Position Level Control and the 2-Step High Pass Filter help make it so. 

It also includes a 10 year RODE warranty.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Thank you for the clarification!

I guess it was the larger size that got me questioning... Usually it is the bigger the better, but being the cheaper one, I thought that it may not be the best.

I will order the Pro then!

Thanks again.

Dave

Hi Dave -

With professional shotgun mics - the longer tubes typically offer a narrower pick-up pattern.  With these compact on-camera mics , it is the overall design, engineering, and quality of the components and construction that really counts.

I have a Canon 5d Mark III that I will use for interviews.  I'm considering the Senal CS-88 and the Rode Videomic with rycote lyre suspension system. I like the suspension of the Rode, but I also like the +10dB of the Senal, allowing me to turn down the gain on the camera's preamp.

Any suggestions? 

Between those mics, I would lean towards the Senal CS-88 DSLR-Video Shotgun Microphone as it has more control over the mic's gain which will help in real world recording scenarios.  The suspension system is nice but you can use a shock mount to keep the mic from picking up any movement audio.  The Rode SM3 - On-Camera Shock Mount for Shotgun Microphones would be a good option for a shock mount. 

I have cameras that have a shotgun mic holder built in, like the Sony EX3, but the shotgun microphone is too small for the holder. I've seen them held in place with a rubber sleeve. Is this something I can buy?

Hi Jon -

Create a more snug fit and vibration isolation for a shotgun mic when it is mounted in the camcorder's mic clip. Sanken ROCS Rubber O-Rings for CS-1 (10) ROCS B&H Photo Video B&H # SAROCS.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi! I would like to use my canon vixia camcorder (with external mic plug in) to record individual vocal video auditions for musical theatre students in an indoor studio setting. Students will be singing either with a piano accompanist or a karaoke music track. I would like to have higher quality sound than the camera itself can provide.  Which external mic would be appropriate and what set-up (boom pole vs. on camera)? Also can a boom pole be mounted on a stand? If so, what type of stand?  

Hi Linda -

Respond via the e-mail listed below with your Canon camcorder model number and your approximate budget range and we will be happy to offer you recommendations for a microphone, boom pole and stand, along with any accessories you may require to make it all work. together.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

very usefull thanks alot i want to ask you about TM-X2 is it ok? does it work with canon 600d

Hi Anas -

The Tascam TM-X is a compatible with the Canon 600D and does a great job recording ambient and musical performances.

The TM-2X Stereo XY Condenser DSLR Microphone from Tascam is designed to record stereo audio directly to your DSLR camera's microphone input. It can be mounted directly on your camera's hot shoe mount and is capable of being swiveled 180-degrees. The TM-2X has two switchable sensitivities, allowing it to work with a range of cameras. As it is powered by plug-in power from your camera, it requires no external batteries for operation.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

+1 Great article, thank you.

I'm looking for better audio for videos shot with my Canon 60D. I make videos indoors and outdoors, both of people sitting 6-10 feet away talking directly to the camera, and of wildlife 100's of feet away in windy open places.

What one microphone (and windscreen) would you suggest for such a mixed workload for around $500?

What two solutions would you suggest if I spent twice as much for a lavalier microphone for the former and a hotshoe microphone for the latter?

Thanks!

Hi Sylvia -

Just like in carpentry or plumbing there is no ideal, single tool suitable for all projects.

The VP83F LensHopper Shotgun Microphone with Integrated Flash Recorder from Shure is a compact camera-mount condenser that provides detailed, high-definition audio with DSLR cameras and camcorders. It records 24-bit/48kHz WAV audio files to MicroSDHC cards, supporting capacities up to 32GB. The VP83F also features one-button recording and an intuitive operating menu, making it easy to use. Additionally, an integrated Rycote Lyre shock mounting system provides isolation from vibration and mechanical noise.
The VP83F LensHopper features a 60dB gain range, adjustable in 1dB increments, as well as a low-cut filter for adapting to different recording environments. Its lightweight, yet durable, metal construction provides dependability and long-life. The VP83F easily mounts to a standard-size camera shoe or a 1/4" threaded stand. The detachable 3.5mm cable connects to your camera's audio input, while the stereo headphone output allows you to monitor incoming audio. Despite its extensive functionality, the VP83F offers 10 hours of battery life on two AA alkaline batteries. A foam windscreen is included to guard against wind and environmental noise.

Pair this with the the Shure Fur Windjammer for VP83 and VP83F LensHopper Microphones.

It is designed to fit snugly over the foam windscreen of the VP83 or VP83F LensHopper shotgun mics. It is made of synthetic fur and provides up to 25dB of additional wind noise reduction. The Fur Windjammer was developed by Shure with Rycote.

For work from hundreds of feet away, much would depend upon the intensity of the sounds you want to record and the ambient environmental sound levels.

The Audio-Technica AT8015 (AT815B) is a wide-range condenser microphone with a line + gradient polar pattern specifically designed to provide the narrow acceptance angle desirable for long distance sound pickup. It was created for use in professional recording, broadcasting, film/ TV/video production, high-quality sound reinforcement and other demanding applications requiring excellent sound rejection from the sides and rear. This microphone would require a shock mount and adapters and a cable to

The Audio Technica AT899 is a sub-miniature condenser lavalier microphone designed to deliver high sonic performance in a low-profile, easily concealable package. Intended for interviews, documentary, film, theater, and stage applications, the AT899's omnidirectional pick-up pattern captures evenly around the perimeter of the capsule as well as directly in-line. The microphones 5mm size is ideal in applications requiring minimal visibility. The microphones 9.8' (3 meter) cable is terminated with a 3-pin TA3F output connector, suitable for use with the AT-8537 power module (included). The capsule features a smooth flat 20Hz to 20,000Hz frequency response, capturing a wide range of frequencies and making the microphone versatile.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Mark S, thank you for your prompt reply! I'll review these products.

Hi, this is really awsome and helping tutorial about mics. But I have one concrete question. I have Canon 600D and I would like to buy Sennheiser MKE 600 and sometimes (in run and go situations) plug directly into DSLR (with XLR to mini-jack adapter) and sometimes (for interview) to ZOOM H4N. It is possible to do that? It is Canon 600D capable of handle this mic? I'm recording documentaries in the field and there is often no time to prepare boom pole and so on.

Hi Ondřej  -

With the proper adapter you shoul;d have no problem connecting the Sennheiser MKE 600.

Kopul LMT100 - Low to High Impedance Matching Transformer (1.5')

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

I am ignorant relative to street/video mikes. I have always done studio stuff. I'm interested in long range sound recordings. What is the distance that good sound can be acquired from? Such as 50 feet or 100 feet? Is there any such thing?

Hi Richard -

You will need a parabolic  setup along with a  quality shotgun microphone.  For example:

The JonyShot 24" Parabolic Microphone Dishfrom Jony is highly directional and handheld or tripod mounted. It has 2 comfortable grips on either side of the dish making it easy to hand hold and aim. The bottom of the unit has a mounting plate with 1/4" threads for mating to a tripod for fixed or aimed shots.
The isolated microphone mount accepts most handheld or shotgun microphones (available separately), giving you complete control over the audio you are expecting. It will even accept a different mount if you prefer. The microphone is aimed to the rear center of the dish where the audio is concentrated and directed into the microphone's element. Audio can be picked up from as little as 3.0' (0.9m) or as much as 500.0' (152.4m) depending on wind and weather conditions.
The optional microphone feeds into an optional preamp that outputs the audio to optional headphones for optimal aiming by the operator. The audio is also output to feed a cable or an optional wireless transmitter.

The Sanken CS-1e Short Shotgun Microphone is a professional microphone specifically designed for boompole and video camera mounted applications alike. The CS-1e features a short, lightweight design that remains hidden from video camera frames, yet comfortable to operate while mounted onto a boompole. In addition to its convenient size, the CS-1e's DC biased condenser capsule and output electronics yield uncanny directivity and long range, greatly minimizing off-axis noise and feedback. Its extended reach and improved low-frequency response deliver the range, noise rejection and sound quality ideal for professional broadcast applications, video audio capturing, film and more.

Unique long reach and sharp directivity

Ideal for mounting on HD camcorders

Suitable for ENG applications

Short 7" length, light weight (less than 3oz) for easy operation

Sanken's original square-type DC-biased condenser capsule

Improved sensitivity via redesigned capsule and circuitry

Improved S/N ratio through advanced capsule sensitivity

Extended low frequency response

Quick response after power on

Advanced RFI rejection

Wide 50Hz - 20kHz frequency range

Accepts high sound pressure levels without distortion

Rugged and dependable design

Awesome article!!  I am working on a voice recognition system where users stand about 5-6 feet away from a display and deliver voice commands to control other devices connected to the video system. 

Today we have users wear headsets in order to perform effectively with others in the room talking, etc.  

Do you think a shotgun mic would work well instead?   There's often ambient alarms, music, ventilation as well.  

I would love your input.  The monitor has the mounting threads on top of it, and the device where it will input is right below the monitor.  There is power available there as well, and the input is a standard headphone jack. 

Thank you so much!

Hi Jacob -

it "sounds" like a small form-factor shotgun would be just the ticket.  Consider the MyMyk SmartMyk Directional Microphone for DSLR & Video Cameras, an external HD camera microphone designed with a hypercardioid, highly-directional condenser microphone capsule. The mic is made from durable polycarbon ABS material and it features an integrated shock mount that's made from synthetic TPE material. Synthetic TPE is weather-resistant and supports use even in extreme cold. The SmartMyk also features a detachable reticulated polyurethane foam windshield and a flexible, coiled connection cable with a 3.5 mm gold stereo mini-jack plug for use with most DSLRs and several video cameras. It's also equipped with a stainless steel shoe mount.

The SmartMyk works by localizing the sound to the image, rejecting background noise, and concentrating on the sound from the subject of the camera's focus. Plus, it easily attaches to most DSLR or video cameras via the integrated shoe mount. This makes it an ideal choice for professional recording, home videos, Internet broadcasting, sporting events and more. The mic is powered by a 3V 2032 button cell battery (not included), which supports over 200 hours of continuous use.

HD (Highly Defined) Quality Audio

The SmartMyk delivers HD (Highly Defined) transparent and clear recorded sound, which is an authentic replication of the original source. The result is vivid, rich sound that complements your HD video

Directional Condenser Microphone

Background noise is a common problem with in-built microphones, which tend to pick up everything around them. The SmartMyk uses a highly directional electret condenser microphone and rejection tube to minimize background noise and localize the sound to the focused image, ensuring you get more of the sound you want - and less of what you don't

Integrated Shock Mount

The red shock mount built into the SmartMyk is made of TPE soft synthetic rubber, ensuring any noise created through camera handling vibrations are reduced to a minimum. The TPE material is also extremely resistant to cold temperatures, which prevent it from freezing and therefore losing its flexible shock mount properties

3.5 mm Gold Stereo Mini-Jack Plug

The SmartMyk uses a 3.5 mm jack, complete with a 5.9" (150 mm) coiled cable, which plugs into any camera with a 3.5 mm microphone input. The signal to the camera is dual mono, delivering an identical signal to both the left and right audio track. With the aid of a readily available adapter, it can also be used with cameras or other equipment that require an alternative input configuration (for example XLR inputs)

Lightweight 2.1 oz Design

The SmartMyk weighs only 2.1 oz (60 g) and the body, tube and housing of the microphone are made of polycarbonate ABS material which is lightweight, while also strong and robust

200+ Hours Continuous Recording

The SmartMyk is powered by a reliable and widely-used CR 2032 button cell battery, which provides an impressive battery life of approximately 200 hours of continuous usage (depending on the climatic conditions under which it is used)

Camera Bag Friendly

No need to detach the microphone before packing it away. The profile of the SmartMyk is so small that it comfortably fits into most camera bags while still affixed to the camera

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi

Great read. I have a JVC Everio GZ30 Hd cam and put a pretty good shotgun mic on it. I just cannot tell the difference now between the shotgun mic or the regular pick up from the camera when playing back the videos. We use it for hunting videos and I just cannot tell if the mic is working or not. How can I figure that out? Should I be able to do a test video and do 1 take with and 1 take without and tell the difference? I am wondering if my lug in jack may be damaged...

Thanks

Chef Derek

Hi Chef Derek -

I have checked several JVC cameras with "GZ30" in their model number and none of them offer an external microphone port.  Please reply to the e-mail below with the complete JVC model number and I will trymy best to advise you.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

What is a good shotgun microphone to buy for about £400

Hi Michael -

I am excited about this new Rode NTG4+ Shotgun Microphone with Digital Switches and Built-In Rechargeable Battery is designed for ENG, filmmaking, field recording, sound design, and broadcast applications. The microphone builds upon the success of the company's NTG1 and NTG2 microphones with an updated capsule to deliver broadcast quality sound and digital switching options for versatile field operation.

Designed to be mounted on a boom, a handheld pistol grip, or atop a compact camera for run and gun style filmmaking, the microphone features a super-cardioid directional pickup pattern, a frequency range of 20 to 20,000 Hz, a sensitivity of -32 dB re 1 V/Pa, a dynamic range of 119 dB, a signal to noise-ratio of 78 dB SPL, and a maximum SPL of 135 dB from 48V phantom power (4.8 mA current draw) or the internal rechargeable lithium battery.

Along the body of the microphone is a power button with LED indicator as well as three digital switching buttons with LED indicators.

The first button provides a -10 dB pad on the input of the microphone to allow the recording of loud sounds without clipping.

The middle button turns on a 75 Hz high pass filter which is useful for reducing low frequency and infrasonic rumble from HVAC systems indoors or street traffic outdoors from over-powering the recording.

The third button is a high frequency boost. The value of the high frequency boost is in restoring some of the high frequency content that is often lost when a blimp or furry windshield is placed over the microphone. An added benefit is that the high frequency boost switch can help improve the intelligibility of recorded speech, especially useful for filmmaking and broadcast applications.

The NTG4+ includes a built-in rechargeable lithium-ion battery. The battery supplies the microphone with 150 hours of phantom power, which makes the NTG4+ especially desirable for run and gun mounting atop a DSLR or mirrorless camera system that would otherwise be unable to directly provide phantom power to the microphone. It takes approximately two hours to recharge the battery to full capacity using a standard Micro USB cable connected to a portable USB power pack or a USB wall adapter that are commonly used for charging most smartphones.

The microphone comes with an RM5 microphone clip, a foam windshield and a ZP1 pouch. The microphone also comes with a Micro USB cable.

Please  feel free to contact us via e-mail if you have additional questions:  AskBH@BandH.com

Sam

Thanks a lot..it was of great help.

cheers

Arjun

What are people using to combat room noise like commercial air condition commercial refridgerators car noise like when people are riding in the car and the vibration of the car tires or engine gets into the signal. Is the a good portable gate out that can combat this problem? Or is it only something that can be fixed in post production?

Hi -

Typically these unwanted  low-frequency ambients or environmental sounds are easily filtered in post.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi,
I work online via Skype and phone all the time. I am creating a treadmill desk, with a treadmill that produces a constant humming noise, which although not loud, it can be heard with a regular mic. Would a shotgun mic aimed directly at my mouth while on Skype be good enough to filter out this constant humming?
Thanks,
Julio

Hi Julio -

It's worth a try, but a shotgun mic might not help you very much. You and the treadmill are approximately the same distance and area from the camera.  A headset  mic would be the best choice for isolating your speaking voice for these SKYPE calls.

Please  feel free to contact us via e-mail if you have additional questions:  AskBH@BandH.com

Great Article, thank you very much.

I need a shotgun mic that could directly plug into a mac with thunderbolt or USB and be read as an input by a mac, can you assist ?

We capture live footage from the camera, in an Apple Mac App we have built but wish to capture sound separately directly in our app also via a shotgun/boom mic.

Thanks for your assistance

Hi Brad -

The Duet USB Audio Interface for iPad & Mac from Apogee is a portable audio interface that builds on the success of the Duet 2 by adding compatibility with iOS in addition to Mac. It provides a direct digital 30-pin connection that allows for DC charging of the Apple device.

This interface is more than capable of making studio quality recordings of vocals, guitars, bass, keyboards, drums, and anything musical. Because of its portability, you are ready to create at any time. And while the high-gain microphone preamps capture performances with clarity, the outputs are also capable of presenting incredibly detailed and dimensional sound.

The dual microphone preamps feature enhanced components and seamless, click-free transitions throughout the 75dB of gain. The preamps are optimized for any sound source, so no matter what's being recorded, it get's captured in every detail. The AD/DA converters are also an all-new design, delivering the purest recordings and best listening experience possible.

A full color, high-resolution OLED display is the main control center for the Duet, providing visual feedback for multiple functions including metering, numeric value for input and output levels, input grouping, phase, muting, phantom power and Soft Limit indication. The display provides immediate status of the inputs and outputs without having to refer to Maestro or the host recording software.

Please  feel free to contact us via e-mail if you have additional questions:  AskBH@BandH.com

Hi..I have a samll EOS M camera.I bought a Rode NTG 2 shotgun mic with XLR cable and connected the mic into the camera audio kack through a XLR cable connector to record directly into my camera instead of via ZOOM H4N . But when I try to record the audio is not recorded at all.. Any help here?

Hi Fareed -

Your camera will not accept an XLR input. It offers a 1/8" (3.5mm) microphone input only which would require using an adapter with any XLR type microphone.  Since your camera does not furnish phantom power, make sure you are using the microphones's battery power.  Always have fresh batteries on hand as well.

The Kopul LMT100 cable simply enables a microphone or mic-level device to be input into a high-impedance 3.5mm mini input found on DSLRs, camcorders, and other devices. It is 1.5' long and has a 3-pin XLR female connector on one end and a standard 3.5mm mini plug on the other. It is designed for use with mono microphones.

Matches low-impedance XLR output to high-impedance 1/8" (3.5mm) audio input

Ideal for plugging professional XLR microphones into DSLRs, camcorders, and other devices with a 1/8˝ microphone input

For use with battery-powered and dynamic microphones

Designed for a mono source, but will split the signal to both channels of a stereo device

Please  feel free to contact us via e-mail if you have additional questions:  AskBH@BandH.com

Concise and quite helpful, thank you.  

A nice piece of information on how to use the microphone. I need to design one using active components for the filter!

Hello,

A little while ago I bought the AKG C568EB shotgun mic, including an external recorder: the Tascam DR-40.

As a hobby I like to photograph fireworks shows, but sometimes I try to make video’s too. I use my Canon 700D camera for this. The internal microphone of this camera takes all the surrounding noise from the crowd, which distracts from the fireworks sound, what is most important to me. That’s why I wanted a shotgun mic, but since it’s phantom powered I bought an audio recorder with it. (My camera doesn’t support phantom power)

Here is one record I recorded with it. I had the mic plugged in the XLR input and recorded in mono. Also I had the input level set at +50 on the Tascam recorder.

https://www.youtube.com/watch?v=SWwL5yrilCo

What bothers me is the big fireworks don't really sound like big fireworks when they explode, but more like party poppers, if you get the idea. It doesn't sound as heavy or deep, if that are the right words to describe it. It might be asked a little bit mucht, but do you have any idea how I can make the fireworks sound a little bit better with this combo of AKG mic and DR-40 recorder?

I would really like to hear from you, thanks.

Hi Johan -

What you are describing is not possible to record with your gear.  You are "feeling"  the percussive air movement of the fireworks' explosion with your body more than you are hearing it with your ears.  The small condenser element of your mic is more like your ears in this respect.  Your only practical option is to add the explosion effects in post.

Please contact us via e-mail if you have additional questions:  AskBH@BandH.com

I really appretiate this! its helped me alot in my movies

Ok, we produce live theatre, we are venturing into outdoor venues and A) can't afford wireless lav's B) need to reinforce our sound... I have been looking into overhead condensers, shotgun mics, boundery pzm's and pcc's and the like... what do you recommend?

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