Top 10 Shotgun Microphones: Best Shotgun Mics You Can Get Your Hands On! (2022)
Shotgun microphones are essential instruments in the world of professional movie and video production. Whether or not attached to the top of a growth pole, mounted to a digital camera, or in any other case set up around a set, a shotgun microphone is an incredible instrument to have in your location/movie sound equipment.
A shotgun microphone is an extremely directional mic that’s ultra-sensitive and has a small recording angle to isolate subjects from ambient noise. They’re useful in a wide range of settings whether or not it’s taking audio while mounted to a digital camera to record a subject talking to the digital camera, capturing distant sound in a busy setting, at a class while somebody is giving a speech, and even for soloist musicians performing in a group or orchestra.
We consulted specialty review websites, industry trade magazines, and blogs, and browse the net impressions of typical customers to see if performance usually matched a mic’s promise. In evaluating our choices, we prioritized sound high quality after which looked at construction (together with wet resistance), price, dimension, and how the microphone’s powered.
Like all condenser mics, shotguns require some type of power source. They often depend on 48v phantom power, which is delivered from a recording device, mixer, or digital camera.
We just want to let you know that we’ll list these Top 10 Shotgun Microphones reviews in no particular order. They’ll be randomized as we don’t wish to sort them from best to worst.
Listed below are our Top 10 Shotgun Microphones for 2022:
1. Sennheiser MKE 600 Shotgun Condenser Microphone
The MKE 600 is the best video camera/camcorder microphone able to deal with even demanding film challenges. As a result of its high directivity, the MKE 600 picks up sounds coming from the direction the digital camera is pointing and successfully lowers noise coming from the sides and rear, and the switchable “Low Cut” filter moreover minimizes wind noise.
The MKE 600 can also be battery-powered. A battery on/off swap prevents the battery from discharging prematurely; “Low Batt” is displayed. When utilizing devices that do not provide phantom power, the MKE 600 could also be powered for up to 150 hours by a single AA battery.
The 10″ long MKE 600 makes use of an interference tube and a super-cardioid polar pattern to supply pronounced directivity on-axis together with significant attenuation of sound entering at the sides and rear, making the MKE 600 far more practical at capturing distant sources than the omnidirectional mics present in most cameras.
The MKE 600 has a foam windscreen to cut back undesirable wind noise from breezes, fans, heaters, and air conditioners by up to 25 dB. Enhanced attenuation of wind noise is possible with the addition of an optionally available windshield such as the Rycote 15cm Super-Softie, which additionally gives excessive immunity to rain.
2. Audio-Technica AT 875 R
The Audio-Technica AT875R short shotgun microphone is nicely suited to budget-conscious indie movies, TV shoots, nature recording, and documentary projects where simplicity and high-quality sound are prioritized. With a balanced 3-pin XLR output and help for 11 to 52 VDC phantom powering, the AT875R is suitable for a wide range of handheld audio recorders, area recorders, and mixers adapters in addition to built-in preamps on many camcorders and cinema cameras.
The AT875R’s excessive sensitivity permits it to perform reliably with a wide range of microphone preamps. Its full-spectrum frequency response makes use of a delicate improvement in excessive frequencies to boost intelligibility and compensate for the loss in clarity resulting from wind safety.
The sturdy housing ensures rugged dependability while sustaining a lightweight that will not burden your growth pole or digital camera, and the included equipment accommodates mounting the AT875R to a mic stand, growth pole, or camera-mount microphone holder.
The AT875R includes a mic clip for simple placement on a mic stand or growth pole. Alternatively, mount the AT875R in the Audio-Technica AT8415 shock mount (available individually) to impede the switch of vibrations between your growth pole and the mic. The AT875R additionally contains two rubber O-rings that increase the microphone’s diameter to suit the more giant mic holders discovered on many high-end cameras.
3. Rode NTG-3 Shotgun Condenser Microphone
The NTG3 is a broadcast-grade shotgun microphone designed for probably the most demanding shoots which have high-resolution broadcast audio. It features RF-bias technology that yields superior resistance to moisture and condensation, making it appropriate for outside shoots in adverse situations. The NTG3 has a rich, warm sound and a tightly controlled polar pattern with distinctive off-axis efficiency with no coloration.
It’s also extremely regarded for voice-over work, the place its pure tone and punch deliver exceptional efficiency for a variety of voice types. The NTG3 was engineered for broadcast-quality sound, enhanced immunity to RF (radio frequency) interference, and low dealing with noise. Plus, its balanced output permits longer cable runs than most camera-mount shotgun microphones.
The mix of the NTG3’s 10″ long body and super-cardioid polar pattern yields centered on-axis directionality with most rejection behind the mic. Its low self-noise of 13 dBA and extremely delicate condenser component talk detailed audio unburdened by the hiss that plagues many low-cost microphones.
Due to its 3-pin XLR output and compliance with 44 to 52 VDC phantom power, the NTG3 is suitable for a wide range of handheld audio recorders, field recorders, and mixer adapters, in addition to built-in preamps on many camcorders and cinema cameras.
4. Schoeps CMIT-5U
The CMIT 5 is SCHOEPS’ shotgun microphone which has set a brand new standard for shotgun microphones since its release. In addition to this, the microphone’s sound level decreases softly but steadily for off-axis sounds, permitting these to be recorded neutrally as well as reducing the consequences of motion during growth operation.
The CMIT 5 additionally has a much stronger directionality than one may anticipate from a microphone of its length. If required, the CMIT 5 may also be used for music recordings, for example, opera recordings. The similar MiniCMIT presents the options of a CMIT 5 in a compact design and is very beneficial to be used with digital wireless transmitters.
The sound quality of the CMIT 5 stays consistent even when the microphone is rotated on its axis since its directional pattern is identical in both the vertical and horizontal planes. The capsule and amplifier of the CMIT 5 are constructed as a single unit, not like the microphones of the SCHOEPS Colette series.
Pairs of LEDs next to every push button point out the standing of the filters. Even in darkness the user can learn the settings and see that the microphone is operational. The settings are retained when the microphone is off.
5. Rycote HC-22 Shotgun Microphone
The Rycote HC-22 is a shotgun microphone with a 6.3″ interference tube that leverages the corporate’s audio experience to supply a high-performing, all-purpose resolution for location recording, and broadcast work. The electret condenser capsule options refined RF shielding to cut back noise and interference.
The HC-22 can deal with sound sources at volumes up to 133 dB SPL when working on full 48V phantom power. The mic also can run on 24V, however with lowered SPL handling capabilities. The mic provides a particularly low self-noise of 8.5 dB and a large frequency response of 50 Hz to 20 kHz. A travel case is included, whereas all kinds of Rycote windshields and mounting equipment can be found individually.
The HC-22 combines an extremely directional polar pattern with extraordinarily low self-noise. This gives solid off-axis isolation with a precise sound quality to match, making the HC-22 a fantastic mic for recording circumstances that will require an extra-centered recording method.
This microphone reproduces a correct reflection of what’s being recorded. The mic gives a crisp sound with some extra warmth. How warm will range ear-to-ear but the mics are somewhere in the center, not fairly as warm as an extremely warm mic, and far from sounding sterile.
6. Sanken CSS-50
The CSS-50 is an affordable, easy-to-operate, and flexible microphone designed to be used in broadcasting and movies requiring stereo and surround sound. The CSS-50 captures stereo center-targeted sound with average ambient noise. To achieve this, Sanken developed the three-capsule CSS-50 to seize the middle sound like a standard shotgun with the addition of two mic capsules for variable stereo imaging.
Due to the unique skinny square capsule design, 3-capsules could be installed in a short acoustic tube, maintaining primary shotgun efficiency equal to the CSS-5 in a compact body. High-performance electret condenser capsules deliver a large frequency response and excessive sensitivity. Choose between sharp mono directivity, directional stereo, or a large 140º pattern all with constant sound characteristics.
Different modes include mono, which gives sharp directivity, and is maintained over a large frequency varies for the aimed frontal sound sources. It picks up the chosen sound supply clearly in noisy ambient situations or a long reverberation area.
Lastly, a large mode is designed for stereo recording of sound effects where dialogue will probably be dubbed in at a later date. The high-performance electret condenser capsules are equal in response to DC-biased capsules. The CSS-50 picks up the focused sound as well as extraordinarily correct stereo localization.
7. Sennheiser MKH 416 Shotgun Condenser Microphone
The venerable MKH 416 is a compact pressure-gradient microphone with a short interference tube, extremely resistant to humidity resulting from its RF condenser design. That includes excessive directivity, low self-noise, high consonant articulation, and feedback rejection, the MKH 416 can deal with troublesome exterior filming and recording situations without any issue.
The MKH 416 was engineered with experience in thought. Its 40 Hz to 20 kHz frequency response incorporates a delicate rise from 5 to 15 kHz to extend intelligibility, and a pure bass roll-off to mitigate rumble. Its low self-noise of 13 dBA and high sensitivity of -32 dB allows studio-worthy sign purity without requiring noise discount and achieve boosting in postproduction.
When your work takes you outdoor, you are bound to encounter humidity and condensation, which may cause many mics to fail. The MKH 416’s RF condenser design makes it extremely proof against moisture, permitting you to reliably seize high-quality audio in regular and adverse environmental situations.
Due to its 3-pin XLR output and compliance with 44 to 52 VDC phantom power, the MKH 416-P48U3 is suitable for a wide range of handheld audio recorders, area recorders, and mixer adapters, in addition to built-in preamps on many camcorders and cinema cameras.
8. Audio-Technica BP4029
Primarily based on models initially developed to be used in the broadcast of the Sydney Olympics in 2000, the BP4027 (14.96 in long) and BP4029 (9.29 in long) Stereo Shotgun models are engineered for high-end broadcast and manufacturing use. Both microphone’s characteristic independent line-cardioid and figure-of-eight components are configured in an MS (Mid-Side) association with a switch-selectable inside.
The BP4029 Stereo Shotgun Microphone from Audio-Technica gives two internally-matrixed modes which provide conventional “left-right” stereo. To accommodate various acoustic environments, the person might choose between a “wide” pattern (LR-W) with elevated ambient pickup, and a “narrow” pattern (LR-N) which provides extra rejection and less ambiance.
In M-S mode, the BP4029 gives independent mid and side signals. This permits the Mid-Side stability to be adjusted as desired on the recording desk or mixing electronics, reducing the quantity of equipment necessary in the area. A switchable low-frequency roll-off filter helps reduce the pickup of unwanted low-frequency noise.
These phantom-powered models characteristic a rugged light-weight design and glossy black color scheme, excellent for on-camera use. These modern microphones permit sound recordists the selection of choosing left-right stereo output (wide or narrow) through the microphone’s inside matrixing system or select discreet Mid-Side signals for later manipulation.
9. Rode NTG4+ Shotgun Condenser Microphone with Rechargeable Battery
The NTG4+ is a professional shotgun microphone with an expansive feature set that makes it extremely versatile. It’s super lightweight, making it excellent to be used on a pole or a digital camera. Its low-noise circuitry and clear, crisp sound additionally make it a wonderful microphone for voice-over and live streaming applications.
The NTG4+ has an extremely directional super-cardioid polar pattern and includes a high-pass filter, a -10dB pad for recording loud sound sources, and a high-frequency increase for compensating for the dulling impact of utilizing a fluffy windshield. It may be powered by both P48 phantom power or its inside rechargeable lithium-ion battery, which gives over 150 hours of operation at a single charge.
The mix of the 10.9″ long body and super-cardioid polar pattern yields centered front-facing directionality and enhanced attenuation of sound getting into from the sides. Its low self-noise of 16 dBA and delicate condenser component talk detailed audio unburdened by the hiss that plagues many low-cost microphones.
The elevated sensitivity of the NTG4+ permits it to produce strong output levels without having to use high gain at your mic preamp. Sonically, the NTG4+ delivers warm sound due partially to its light dip in excessive frequencies and its rumble-reducing selectable low-cut filter.
10. Zoom F1-SP
The F1-SP comes with the SGH-6 Shotgun Mic known for capturing pro-quality, hyper-directional sound, and its aluminum body makes it extraordinarily lightweight. Mixed with the F1, you’ll be able to record high-resolution audio up to 24 bit/96 kHz, offering high-impact audio for any video production.
Connect the F1 and Shotgun to the included shock mount and attach it to your digital camera. Then connect the F1’s audio output to your digital camera’s enter utilizing the included 3.5mm stereo cable and also you’re able to record. Whereas recording to your digital camera, the F1 also can record to a microSD card, offering a stereo audio file that may be edited in post-production.
Monitor your levels, battery life, lo-cut settings, and extra with the F1’s newly designed monochromatic display, making certain visibility even in shiny daylight. One-touch buttons make record levels, limiter settings, and volume output simply accessible.
The SMF-1 shock mount was engineered to remove unwanted thumping sounds brought on by vibrations when capturing the transfer. The F1 records audio in WAV or MP3 codecs. WAV files are mechanically time-stamped, making them Broadcast Wave Format (BWF) compliant. With our proprietary 10-pin connector, the F1 is compatible with all of Zoom’s interchangeable mic capsules, offering extra options for recording.
Shotgun microphones are essentially the most extremely directional of easy first-order unidirectional types. At low frequencies, they’ve got the basic polar response of a hyper-cardioid but at medium and higher frequencies an interference tube gives them an elevated response. That is achieved by a means of cancellation of off-axis waves coming into the longitudinal array of slots.
A consequence of this technique is the presence of some rear lobes that adjust in level and angle with frequency and may cause some coloration effects. Because of the narrowness of their ahead sensitivity, shotgun microphones are generally used on tv and movie sets, in stadiums, and for area recording of wildlife.
Microphones containing active circuitry, similar to most condenser microphones, require power to function the active elements. With the appearance of solid-state amplification, the power necessities were drastically reduced and it grew to become practical to make use of the identical cable conductors and connectors for audio and energy.
A professional shotgun mic is often used to capture sound at a distance, which means that the microphone is attempting to select up low-level signals. That is why a high-quality shotgun microphone must have a sensitivity higher than these intended to select up close sources.
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