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The RODE VideoMic is a professional grade shotgun microphone. Based on

Rode VideoMic Directional Shotgun Mic Rode VideoMic Directional Shotgun Mic w/Mount

Rode VideoMic Directional Shotgun Mic

the latest Film industry technology, the VideoMic is designed specifically for use with high quality digital video cameras. The microphone exhibits low noise and an unusually wide bandwidth for its size. It is ultra lightweight, yet rugged, due to it’s ABS construction. The VideoMic is powered by a standard 9 V battery and offers a low battery LED status indicator and a switchable high pass filter to reduce unwanted low frequency rumble. The VideoMic attaches to any camcorder that has the standard camera-shoe fitting and utilizes a stereo mini jack for audio output.

VideoMic Specs

  • Power: 9V battery powered
  • Acoustic Principle: Line gradient
  • Directional Pattern: Super Cardioid
  • Frequency range: 40Hz-20kHz, selectable HPF @ 80Hz/12dB/octave
  • Output impedance: 200 Ohms
  • Signal noise ratio: 74 dB SPL (A – weighted per IEC651)
  • Equivalent noise: 20 dB SPL (A – weighted per IEC651)
  • Maximum SPL: 134dB SPL (@ 1kHz, 1% THD into 1KOhm load)
  • Sensitivity: -38 dB re 1 Volt/Pascal (15 mV @ 94 dB SPL) +/- 2 dB @ 1kHz
  • Weight: 176gm
  • Dimensions: 65mmH x 250mmW x 102mmD

One Year Warranty
All RØDE products are warranted for one year from date of purchase (extendable through online registration).

Here is a review of the Rode VideoMic

Rode VideoMic Directional Shotgun Microphone 300x146 Rode VideoMic Directional Shotgun Mic w/Mount

Rode VideoMic Directional Shotgun Microphone

After spending many days combing the internet and reading review after review I decided to give the RODE VideoMic Directional Camcorder Microphone a try. I wanted something that was good, light, somewhat short and inexpensive. I have a small mini dv camcorder that is only about 5 inches long and didn’t want a mic that would get in my viewfinder’s shots. The mic sticks out about 5 inches in front of my lens, but manages to stay out of my shots.

First let me comment on the sound. This little bugger picks up sounds very well. In a quiet room I can be 40 yards away and still pick up the conversation. The quality is outstanding. The audio compared to the built-in mic in my camcorder is night and day. The Rode is so clear. The price is great. I’m guessing the quality would compare to other mics in the $300 range.

My Rode came with a Dead Cat wind screen which resembles a cat’s tail. It really saved me some money! At first I didn’t use the Dead Cat, but then I ran into a little wind which interfered with gathering good audio. After using the Dead Cat, I always keep the wind screen on the mic. It does not interfere with the clarity of the audio and works incredibly well in breezy conditions. I will mention that I had to trim the hair on my wind screen because I could see the hair in my videos. After trimming the hair a bit, the wind screen is still effective and no more hair dangling in the top of my video screen.

The shock vibration design is cool and they even gave me extra rubber band thingies. This mic sits high off the camera and stays out of my shots. Since the mic is somewhat far away from the camcorder, I don’t pick up any camera humming noise that can happen with other mics that are too close to the camera. Even on my hot shoe, I don’t get any humming.

I wish I could say that I have used $300 mics and above, but I haven’t. I will say that you won’t be disappointed with this microphone. I’m a photojournalist by trade and I have begun to shoot video for our newspaper’s web publication. This mic is perfect for my needs.

If you buy it, don’t forget to turn off the mic. I accidentally left mine on. There is no auto shutoff.

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All microphones convert sound energy into electrical energy, but there are many different ways of doing the job, using electrostatics, electromagnetism, piezo-electric effects or even the change in resistance of carbon granules. Pondering over which mics to buy, the field of choice is narrowed considerably when it comes to mics used in music recording or live performance. The vast majority of microphones used in these applications are either capacitor (electrostatic) or dynamic (electromagnetic) models. Both types employ a moving diaphragm to capture the sound, but make use of a different electrical principle for converting the mechanical energy into an electrical signal. The efficiency of this conversion is very important, because the amounts of acoustic energy produced by voices and musical instruments are so small.


Most of you will have used a dynamic mic at sometime or another — if it looks like a mesh ball on a stick, then it’s almost certainly a dynamic model. In live sound, nearly all the mics used are dynamics, and in the studio, instruments such as drums, electric guitars, and basses may also be recorded using dynamic mics. Dynamic microphones have the advantages of being relatively inexpensive and hard-wearing, and they don’t need a power supply or batteries to make them operate. So, how do they work?

A lightweight diaphragm, usually made of plastic film, is attached to a very small coil of wire suspended in the field of a permanent magnet. When a sound causes the diaphragm to vibrate, the whole assembly works as a miniature electricity generator, and a minute electric current is produced. Because the electrical output is so very small, it has to be amplified using a mic preamp before it is large enough to be useful.

Given the stated advantages of dynamic mics, why bother with any of the other, more expensive types? The weakness of the dynamic mic lies in the fact that the sound energy has to move both the mic diaphragm and the wire coil attached to it. The mass of the coil adds to the inertia of the diaphragm assembly, which in turn restricts the frequency response of the microphone. In practical terms, the outcome is that dynamic microphones fail to reproduce very high frequencies accurately. In some applications, this isn’t too serious, but if you’re working with an instrument where a lot of tonal detail is contained in the upper harmonics, a dynamic mic is unlikely to bring out the best in that instrument.

Another side-effect of the finite mass of the diaphragm/coil assembly is that the dynamic microphone is not particularly efficient — a lot of amplification has to be used to make the signal usefully large, and the more gain you use, the more noise you add to the signal. In the studio where the mic is used very close to the sound source, this lack of efficiency is not a major problem, but if you’re trying to capture a quiet or very distant sound, then a dynamic mic isn’t likely to produce good results.

To summarise; dynamic microphones are most effective when working with relatively loud sound sources that don’t contain a lot of very high-frequency detail. They’re also tough as old boots, which makes them good for live work, or for any application within six feet of a drummer!

Another type of dynamic microphone is the ribbon microphone, but these are only used in fairly esoteric recording applications by engineers who appreciate the subtleties of the ribbon sound. These mics are comprised of a thin metal ribbon suspended in a magnetic field, and when sound energy is encountered, the electrical signal generated is induced in the ribbon itself rather than in a voice coil. The main advantage of ribbon microphones is their smooth, detailed sound; the disadvantages are their higher cost and the fact that they are more fragile than conventional dynamic mics.


Capacitor mics have been around for several decades, and although modern capacitor mics do incorporate a few small technical improvements, the sound character has actually changed very little — some of the best-sounding models were designed over 20 years ago. Basically, the heart of any capacitor mic is a pair of conducting plates, one fixed and the other in the form of a moving diaphragm. When the spacing between the plates changes (as it does when the diaphragm vibrates) the capacitance varies, and if a fixed electrical charge is applied to the capacitor, an electrical signal is produced which faithfully represents the diaphragm vibration.

To keep the weight down, the diaphragm is often made from gold-coated plastic film. As a result, the diaphragm assembly is very light compared to that of a dynamic mic, so the system is much more efficient, and is capable of capturing harmonics right up to the range of human hearing and beyond. The size of the diaphragm also has an effect on the tonal quality of the mic — large-diameter models are chosen for vocal work because of their warm, flattering sound. Small-diaphragm models tend to be chosen where high accuracy is required.

Even though they are relatively efficient, capacitor microphones still produce such a small electrical signal that they require a special type of built-in preamplifier to bring the signal up to usable levels, and this is one factor that contributes to the higher cost when compared to dynamic mics. Additionally, all capacitor mics need a polarizing voltage in order to work. The most common source of polarizing voltage is the 48V ‘phantom’ power source, which is why many mixing consoles have a phantom power supply built in. The term ‘phantom power’ came about because the polarizing voltage is supplied via the signal leads of the microphone — no additional cabling is needed. Because of the way phantom power is supplied, all phantom-powered microphones must be balanced, and must employ the same wiring configuration. Budget mixers or cassette multitrackers with unbalanced mic inputs cannot be used with conventional capacitor microphones unless an external mic preamp (with phantom power) is used.

Broadly speaking, capacitor microphones are more expensive than their dynamic counterparts, but they are also much more sensitive, and can capture high-frequency detail much more accurately. Furthermore, the capacitor principle, unlike the dynamic principle, lends itself easily to the production of mics with switchable pickup patterns (see the box elsewhere in this article for more information on these), although the cheaper models tend to offer just a fixed cardioid pattern. Currently, there are some real bargains to be had in the capacitor mic market — for example the AKG C3000 (currently retailing at £351) and the Russian-made Oktava MK219 (£311).


There is another type of capacitor microphone, known as the electret mic. Despite inauspicious beginnings, these have now been developed to the point where they can rival true capacitor quality for a much lower price. Instead of applying an electrical charge to the microphone capsule via an external power source, electret mics use a diaphragm made from an insulating material that has a permanent electrical charge. A preamplifier is still needed, but this can be built very cheaply, and will run from a battery in some cases.

Electret mics made in this way don’t offer any real advantage over dynamic mics, because the diaphragms have to be quite heavy in order to carry the permanent electrical charge — but what if the permanently-charged material was fixed not to the diaphragm, but instead to the stationary back-plate? This way, much thinner diaphragms can be employed, made of the same metal-coated plastic material as on a true capacitor model. What I’ve just described is the back-electret microphone, and the best of today’s back-electret models can rival conventional capacitor models in every aspect of performance. The best back-electret models are actually just as expensive as top capacitor models (the famous Bruel and Kjaer mics are back-electrets), but there are some less costly models around which deliver studio quality at a bargain price. One of the most popular low-cost back-electret models in recent years is the AKG C1000, but don’t neglect the models from other manufacturers. Currently, it’s possible to buy a good back-electret mic for around the same price as one of the better dynamic models –  Most back-electret microphones in this price range offer a choice of battery or phantom power operation, with a fixed cardioid pickup pattern.


You might expect the perfect microphone to have a perfectly flat response right across the audio spectrum, but there are various practical reasons why this isn’t so. Virtually all mics have a deliberate low-frequency (or LF) ‘roll-off’ — in other words, they are less sensitive to frequencies below about 50Hz. Without this roll-off, low-frequency vibrations, knocks, breath pops and other such problems would produce very large, low-frequency output signals, which would not only compromise the sound quality, but might even damage loudspeaker systems.

While LF roll-off is designed to exclude unwanted sounds, mics are also often designed to accentuate specific parts of the audio spectrum in order to create a flattering sound. For example, numerous Rode mics are designed with a ‘presence’ boost in the upper mid-frequency range, to help make vocals more intelligible. Presence boost (which is usually between 3 and 6 kHz), has the effect of making the sound more transparent or detailed.


The proximity effect comes into play when vocalists sing very close to a Rode mic, and the effect is that the level of bass in the recorded signal goes up enormously. The proximity effect is all down to the laws of physics, and may be a benefit or a problem depending on what you do with it — experienced live performers can use the proximity effect as a type of dynamic EQ, allowing them to alter the tone of their voice as they sing, simply by varying the mic-to-mouth distance.

In the studio, Rode mics tend to be used at a reasonable distance from the performer, usually with a pop shield in between, so the proximity effect doesn’t affect the recording of vocals. When recording electric guitar or bass, the proximity effect is often deliberately brought into play, to help create a more punchy sound.


A professional studio will accumulate a varied collection of Rode mics, but in project studios, where finances are limited, it’s usually a matter of buying whatever mic suits the regular vocalists the best. If you’re working with a number of singers, then it may be better to go for a more tonally neutral mic, so that you can use EQ to fine-tune the sound.

If you’re currently working with budget equipment, you might feel that paying a lot of money for a mic is pointless, because the ultimate quality of your recordings will be limited by the gear you’re using. To some extent this is true, but if you don’t capture a good sound at source, things can only go downhill from there. Microphones don’t tend to go out of fashion in the same way that effects units and synths do, so there is an argument for buying only quality Rode Mics that will always be useful to you, no matter how your recording setup evolves over the years. Quality dynamic mics aren’t expensive, and even the top studios use mics such as Shure SM58s and 57s  If you can’t afford a capacitor mic straight off, a good dynamic will get you by for the time being, and when you eventually add a capacitor mic to your setup, the dynamic model will still be useful for instrument recording. It’s no longer true that professional Rode mics are only for professionals.


The most basic microphone pickup pattern is omnidirectional — which means that the microphone picks up sound equally from all angles. Omni pattern mics tend to be the most technically accurate, but they may well pick up sounds not intended for them, especially where several instruments are playing close together. That’s why cardioid (unidirectional) Rode mics are more suitable for use in smaller studios.

Directional microphones are referred to as cardioids because a graph of their sensitivity at different angles looks ‘heart-shaped’. The least sensitive spot of a cardioid microphone is right behind it, with the most sensitive spot being ‘on-axis’. Cardioids (or the more tightly-focused hypercardioids — see below) are used extensively in live performance, because of the need to prevent spill and acoustic feedback.

Hypercardioid mics, sometimes also known as supercardioids, are useful in situations where sound leakage is a real problem, but in the studio, they tend not to be used, as relatively small physical movements by the performer can cause the sound level to change significantly.

One mic pattern which now tends only to get used in specialist applications is the figure-of-eight — so called because its sensitivity graph looks like a figure eight. This type of Rode mic picks up sound equally well from in front and behind, but is relatively ‘deaf’ to sound arriving from the sides. Back in the early days of pop, it wasn’t uncommon to see two backing vocalists singing into opposite sides of a figure-of-eight mic to save on the number of microphones, but now they tend to be used mainly for classical stereo recording or as part of a Middle and Side (M&S) stereo pair (the workings of M&S mics are beyond the scope of this article.

As mentioned elsewhere in this article, capacitor microphones can be built to provide several different pickup patterns which may be changed with a simple switch. To achieve this, the capsule is made with two diaphragms, and by changing the level and polarity of the polarising voltage on one of the diaphragms, every possible pickup pattern can be created, starting with from omni, progressing through cardioid and hypercardioid to figure-of-eight.


It’s a fact that different Rode mics are better at different jobs, and in the studio, where there are lots of different instruments to record, it helps to have range of Rode mics from which to choose. If you can afford it, buy at least one good capacitor mic (ideally a large-diaphragm model) or at least one of the better back-electret models for serious vocal work, and keep a few general-purpose dynamic mics around for drum and electric guitar work. In smaller studios, where the acoustics are seldom ideal, the cardioid pattern Rode mic is the most useful, because it helps exclude unwanted room reflections — so don’t spend a lot more money buying a switchable pattern mic unless you have very clear reasons for needing those other pickup patterns.

When it comes to choosing a capacitor mic, you have to decide whether to opt for a large- or small-diaphragm model, but on top of that, you may have a choice of transformer or transformerless electronics, and maybe even a valve option to consider. As a very general rule, modern transformerless electronics offer the best paper specification, and the subjective sound is often brighter and more detailed than the transformer version of the same mic — but that’s no guarantee that the sound is better. Matching transformers can introduce benign coloration, and the mechanisms by which they do this are wrapped in almost as much mystique as the alleged sound of valves. For this very reason, some users will insist on the transformer version of a mic simply because they like the tonal character of the microphone. Subjectively, transformers seem to produce a warmer, more comfortable sound than transformerless circuits.

At one time, it looked as though valve mics would stay extinct, but the escalating prices of original models forced some manufacturers to reconsider, with the result that you can now buy re-issues of original valve mics alongside brand-new valve designs such as those built by Groove Tubes. Valve mics invariably cost more than their solid-state counterparts , but those who use them seem to feel that the enhanced sense of warmth and transparency is worth the extra cost. On the other hand, it can be argued that a good solid-state capacitor mic processed via a valve mic preamp (or via a mixer channel with a valve DI box in-line) should sound just as good, and will cost rather less.

The problem arises when you want to try out a Rode mic before buying it, because there’s no simple way to judge a mic without actually working with it for a period of time. That’s one reason people tend to buy tried and trusted mics instead of risking an unfamiliar brand. Ultimately, most people either buy something that they’ve used before in another studio, or they buy what the professionals use. This is a pity, really, as there are some excellent new mics on the market too. If you’re interested in an unfamiliar mic, try to arrange to hire one for a few days, to see how it works in your studio. Most dealers should be happy to offer an arrangement whereby you get the hire money back if you make a purchase.


When it comes to recording vocals, there are no hard and fast rules about the type of Rode mic to choose, because all that matters is the end result. For this reason, some top pop singers record using relatively inexpensive dynamic mics, rather than capacitor models, because the dynamic mic gives them a warmer, thicker, more punchy sound. On the other hand, a breathy, intimate voice can benefit from the detailed high-end of a capacitor mic. Not only do the different types of mic sound quite different, but you’ll also notice that even similarly-specified mics of the same type but from different manufacturers will also sound noticeably different. For example, the classic Neumann U87 provides a warm, confident sound, but with plenty of detail and ‘air’, while something like the Audio Technica 4033 has a distinctively silky sound. By the same token, AKG’s 414 and Beyer’s MC740  have a very bright, open sound, because of their presence characteristics.

For drum work, the most common setup is to use dynamic mics for all the close mics (on the individual drums) and then augment these with capacitor mics for the overhead mics and the hi-hat. Dedicated kick drum mics are available, and these will produce a more powerful bass drum sound than general-purpose dynamic models. Some engineers also prefer to use capacitor mics on the snare drum for a crisper sound.

Electric guitar is less demanding on mics, because a typical guitar cab has a very limited high-frequency output, and in most instances, a dynamic vocal or drum mic will do fine. As an alternative, a capacitor mic can be used for a more American sound.

Published in SOS June 1995
(some price information has been removed)
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Rode Mic M3 Instrument Condenser Microphone

31DhZqp9A L. SL160  Rode Mic M3 Instrument Condenser Microphone

  • 9V Battery or Phantom Powered
  • Switched high pass filter @ 80Hz-12dB/Oct (-10 and -20dB PAD)
  • Heat treated high-strength mesh head
  • Frequency Range: 40Hz ~ 20kHz
  • Equvalent Noise: 21dbA SPL

The RODE Mic M3 is an extremely versatile multi-powered condenser microphone for studio and location applications. The Rode Mic M3 delivers the goods wherever a low-noise wide-response cardioid condenser microphone is demanded.

One of the key features of the Rode Mic M3 is that it has been designed with a switchable PAD and high pass filter, which gives you greater control of the sound source. An end address condenser microphone, the M3 features a heavy-duty metal body, category leading low self-noise, three stage PAD (O, -10db, -20db), a battery status LED and a High Pass Filter. It is battery operated to allow versatility with locations as well as being manufactured in a sleek contemporary black design.

The Rode Mic M3 also comes complete with windshield and a stand mount, and can be powered via a 9V battery or 24-48V phantom power. RODE M3 Features Heavy duty metal body Internal capsule shock mount High level of RF rejection Switched high pass filter @ 80Hz-12dB/Oct (-10 and -20dB PAD) Low handling noise Heat treated high-strength mesh head Battery status indicator 9V Battery Power and 24 – 48V phantom power Heavy-duty carry case, pop shield and RM3 Mic Clip included Designed and manufactured in Australia Full 10 year warranty


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List Price: $ 299.00

Price: $ 109.00

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RODE NT1000 Vocal Condenser Microphone

31jU8%2BmvDyL. SL160  RODE NT1000 Vocal Condenser MicrophoneThis is a great Rode Mic to add to your Microphone collection.  Its great for vocals as well as pianos and many other uses.  A must have for any studio.

  • Packed Weight: 882 gm (Mic only 682 gm)
  • Power Requirements: 6mA @ P48 (35V – 53V)
  • Signal/Noise Ratio: > 88dB
  • Maximum SPL: > 140dB SPL
  • Dynamic Range: > 134dB

The Rode Mic NT1000 brings new standards to the recording industry.When today’s musicians and recording engineers demand clarity and dynamic range, they demand large capsule performance.

The Rode Mic NT1000 is superior in both vocal and instrumental performances. Voiced for application versatility, the NT1000 has been hailed by many as the ultimate drum over-head and grand piano mic selection.

The Rode Mic NT1000 is also equally at home as a first call vocal mic. With its Australian made 1 inch HF-2 capsule incorporating internal shock mounting, the Rode NT1000 boasts a 134 dB dynamic range, and 140 dBA SPL capabilities and a 20 Hz – 20 kHz frequency response.

Includes mic stand mount, and zippered pouch. Rode NT1000 FeaturesHF2 1 inch capsule with gold-plated diaphragmUltra low-noise transformerless circuitryCardioid polar patternHeavy-duty cast metal satin nickel bodyHigh-strength welded and heat-treated mesh headInternal capsule shock-mounting True externally biased condenserFull frequency response

Rating: 5 RODE NT1000 Vocal Condenser Microphone (out of 2 reviews)

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List Price: $ 599.00

Price: $ 329.00

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RODE PSA 1 Swivel Mount Studio Microphone Boom Arm

31VxpicpjLL. SL160  RODE PSA 1 Swivel Mount Studio Microphone Boom Arm Reviews

  • Rotates 360 degrees with a maximum reach of 32.5 inches horizontally and 33 inches vertically
  • 3/8-inch threaded mic mount/clip only. If your mic mount thread is 5/8″, you will need a mic thread adapter (adapters not included).
  • Holds up to 4.4 lbs.
  • Includes two desk mounting options
  • 2-axis swivel mount for accurate positioning

The Rode PSA 1 Swivel Mount Studio Microphone Boom Arm is the professional way to mount your microphone to a studio desk. The PSA1 works with almost any mic on the market.

Rating: 4 5 RODE PSA 1 Swivel Mount Studio Microphone Boom Arm Reviews (out of 4 reviews)

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List Price: $ 109.00

Price: Too low to display

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Rode Procaster Broadcast Dynamic Vocal Microphone

31dpgZZLqYL. SL160  Rode Procaster Broadcast Dynamic Vocal Microphone

  • Broadcast quality sound
  • High output dynamic capsule
  • Balanced, low impedance output
  • Internal shock mounting of capsule for low handling noise
  • Internal pop-filter to reduce plosives

Designed as a no-compromise Rode microphone for On-Air broadcast use, the Procaster Broadcast Dynamic Vocal Rode Microphone is one of the ultimate broadcast quality mics for the 21st century. Featuring a tight polar pattern and tailored-for-voice frequency response, the Rode Mic Procaster is perfect for every application where a great sounding, rugged microphone with superior ambient noise rejection is demanded. Plus, the Rode mic Procaster is affordable and features an internal pop-filter to reduce plosives. Includes stand mount, 3/8 inch adaptor and zip pouch.

Rating: 0 5 Rode Procaster Broadcast Dynamic Vocal Microphone (out of reviews)

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List Price: $ 369.00

Price: $ 229.00

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Rode Microphones NTG3 Shotgun Microphone

510ZgDnojhL. SL160  Rode Microphones NTG3 Shotgun Microphone

  • Designed to withstand adverse environmental conditions
  • 50% less self-noise than the majority of shotgun microphones
  • True condenser (externally RF biased)
  • Extremely low handling noise
  • High level of immunity to radio frequency broadcast

The NTG-3 is the result of years of development by Rode engineers, providing the professional broadcast and film industries with an affordable yet uncompromising microphone.

Using a technology known as RF-bias the Rode NTG-3 is almost completely resistant to moisture, making it the only option when recording in any demanding environments where condensation is an issue.

In addition to its robust properties the NTG-3 combines very low weight (163g), a durable anti-glare finish and incredibly low handling and self-noise (13dBA) to become Rode’s premier A/V microphone.

When not in use the NTG-3 can be stored away in the included weather resistant aluminium storage cylinder, providing additional protection when travelling and storing the microphone.


  • Designed to withstand adverse environmental conditions
  • 50% less self-noise than the majority of shotgun microphones
  • True condenser (externally RF biased)
  • Extremely low handling noise
  • High level of immunity to radio frequency broadcast
  • Superior broadcast sound quality
  • Weather resistant aluminium storage cylinder included

Rating: 5 Rode Microphones NTG3 Shotgun Microphone (out of 1 reviews)

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List Price: $ 899.00

Price: $ 599.00

Rode NT2A Vocal Condenser Microphone

41tdp0dlscL. SL160  Rode Microphones NTG3 Shotgun Microphone

  • Large 1″ (25mm) HF1 gold sputtered capsule
  • On body control of polar pattern, HPF and PAD
  • Three position variable polar pattern – Omni, Cardioid or Figure 8
  • Three position variable High-Pass Filter – Flat, 40Hz or 80Hz
  • Three position PAD – 0dB, -5dB or -10dB

The RODE NT2A is a professional, multi-pattern studio condenser microphone.The NT2A is based on the legendary NT2 – thetonebehind countless recording hits of the last decade. A professional large capsule (1 inch) studio microphone incorporating three-position pick-up patterns, PAD and high pass filter switches conveniently located on the mic body.At the heart of the NT2A is the Australian designed and manufactured HF1 dual diaphragm capsule. The frequency and transient response of this transducer has been voiced to complement today’s modern recording techniques, and yet still evoke the silky smooth character of the legendary microphones of the 50′s and 60′s. These features provide the flexibility and superlative audio characteristics that make the NT2-A one of the most versatile condenser mics available.RODE NT2A FeaturesLarge 1 inch HF1 gold sputtered capsuleOn body control of polar pattern, HPF and padThree position variable polar pattern: Omni, Cardioid & Figure 8; all controlled on the mic.Three position variable high-pass filter: Flat, 40 Hz or 80 HzThree position variable pad: 0dB, -5dB or -10dBUltra low noise, transformerless surface mount circuitryWide dynamic rangeHigh strength heat-treated steel mesh headInternal capsule shock mountingSupplied complete with ZP1 zip pouch and RM2 stand mount

Rating: 4 5 Rode Microphones NTG3 Shotgun Microphone (out of 2 reviews)

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List Price: $ 699.00

Price: $ 359.00

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Sennheiser MKE 400 Shotgun Microphone – Black

41yDuHzlEEL. SL160  Sennheiser MKE 400 Shotgun Microphone   Black

  • Rugged all-metal housing
  • Integral shock mount for rejection of handling noise
  • Switchable sensitivity for long and short distances.
  • More than 300 hrs operationg time from 1 AAA battery.
  • Fits all camers with a standard hot shoe mount and an external microphone input

The MKE 400 microphone has a rugged metal housing that is compact and is very versatile, great for video sound. It is a small shot gun microphone for cameras with a lighting shoe mount and external microphone input. It preserves captivating moments with the most natural, life like sound reproduction, and is durable enough to withstand heavy professional and home use. It uses a single AAA battery for OVER 300 Hours of operation. Built in shock mount and switchable sensitivity for for optimizing the sound recording for either short or long distances.Rugged, compact and versatile, the compact Sennheiser MKE 400 shotgun microphone is a great choice for use with both handheld video camcorder and larger professional models. Designed for cameras with a lighting shoe mount and external microphone input, it offers natural, life like sound reproduction, and is durable enough to withstand heavy professional and home use.

Switchable sensitivity aids in capturing long and short distances, resulting in pristine detailed audio and low noise, and the built-in shock mount helps to suppress handling and vibration noise. It’s powered by a single AAA battery (included) for over 300 hours of continuous use.

Key Features

  • Rugged all-metal housing
  • Maximum side noise rejection, optimized for video recordings
  • Switchable sensitivity for long and short distances
  • Switchable wind noise filter
  • Approximately 300 hours operating time (from a single AAA battery)
  • Integrated shock-mount for rejection of handling noise
  • Foam wind shield included


  • Cable length: Approx. 7.9 in. (200 mm)
  • Equivalent noise level: 21 dB (A) (“vol -”) 16 dB (A) (“vol +”)
  • Frequency response: 40 Hz – 20 kHz
  • Max. sound pressure level (passive): 126 dB (“vol -”) 118 dB (“vol +”)
  • Connector (microphones): 3.5 mm stereo mini jack
  • Pick-up pattern: Super-cardioid, lobar
  • Power supply: 1.5-V battery (size AAA)
  • Operating time: Approx. 300 hours
  • Sensitivity as per 121 TR 9-5: 8 mV/Pa (“vol -”) 20 mV/Pa (“vol +”)
  • Dimensions: 5.1 x 0.83 x 2.4 in. (130 x 21 x 62 mm)
  • Weight: Approx. 2.1 oz. (60 g)

What’s in the Box
MKE 400 with coiled cable (3.5 mm stereo mini jack), battery (AAA), foam wind shield

Rating: 4 5 Sennheiser MKE 400 Shotgun Microphone   Black (out of 7 reviews)

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List Price: $ 249.00

Price: $ 193.00

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RODE NT1A Cardioid Condenser Microphone

416PcVFaWML. SL160  RODE NT1A Cardioid Condenser Microphone

  • Nickel-plated body
  • Unrivaled low distortion
  • Ultra-low self noise (5
  • High SPL capability

The original NT1 was voted “Best Microphone at Any Price” by the editors of Electronic Musician magazine. The NT1A delivers performance usually associated with higher priced microphones. Features: large capsule (1″) with gold-plated membrane; cardioid polar pattern; ultra low noise, transformerless circuitry; state of the art surface mount electronics; heavy-duty satin-nickel finish; internal shock mounting system; gold plated output connectors; true condenser (externally biased); full frequency response. The NT1A will blow you away! Ultra low-noise, transformerless circuitry. Cardioid polar pattern. Large capsule (1″) with gold-plated membrane. Surface mount electronics. Heavy-duty satin-nickel finish. Internal shock mounting system. Gold plated output connectors.  True condenser design (externally biased).  WARRANTY All RODE products are warrantied for 1 year from the date of purchase. Your purchase may be registered ?on-line? or by mailing the warranty card. The RODE Warranty covers parts and labour that may be required to repair the microphone during the warranty period. The Warranty excludes defects caused by normal wear, modification, shipping damage or failure to use the microphone as per RODE’s Instruction Guide.  

Rating: 5 RODE NT1A Cardioid Condenser Microphone (out of 2 reviews)

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List Price: $ 369.00

Price: $ 199.00

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Rode Boompole Microphone Boom Arm

31NbncXYTuL. SL160  Rode Boompole Microphone Boom Arm

  • Lightweight aluminium construction
  • New ultra smooth extension and retraction system
  • Easy to use locking mechanism
  • Precision balanced
  • Compatible with NTG1, NTG2, NTG3, NT4, NT5, NT55 and M3 microphones

Designed for the professional, the Rode Boompole is a high grade professional boom pole for location recording. The boom pole allows you to mount your microphone securely and swivel it in a range of directions that will allow you to easily change positions and follow your sound source. The Boompole extends from 33 inches to 10 feet. Machine from high grade aluminium.

Rating: 4 5 Rode Boompole Microphone Boom Arm (out of 6 reviews)

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List Price: $ 199.00

Price: Too low to display

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Azden High-performance(SMX-10) Stereo Condenser Microphone

21yAniqs bL. SL160  Azden High performance(SMX 10) Stereo Condenser Microphone

  • Ability to record directly in stereo Dual uni-directional electret condensor microphone Built-in cable with 3.5mm plug.
  • Uses one AAA battery Includes windscreen and camera shoe-mount

Now you can record in stereo directly with Azden’s SMX-10. The 177mm long, dual uni-directional, electret-condensor mic is powered by a single AAA battery (not included) and features a built-in cable with a 3.5mm stereo mini plug.

Main Features

  • Manufacturer: Azden Corporation
  • Manufacturer Part Number: SMX-10
  • Manufacturer Website Address:
  • Product Type: Microphone
  • Connectivity Technology: Cable
  • Microphone Technology: Electret
  • Microphone Type: Detachable
  • Dimensions: 6.97 Length x 0.72 Diameter
  • Weight: 1.83 oz – Without battery

    Perfect for use with smaller, high-end camcorder, the Azden SMX-10 compact shotgun microphone records in stereo and is powered by a single AAA battery that provides up to 400 hours of continuous use. This dual uni-directional, electret-condensor mic measures 7 inches long with a 0.7-inch diameter, and it weighs just 1.83 ounces (without battery).

    It includes a permanently attached coiled cable coming out the back that plugs into 1/8-inch (3.5mm) jacks. Other features include a foam windscreen, lo-cut switch to minimize rumble and wind noise, and camera hot-shoe mount.


    • Type: Stereo electret condenser
    • Frequency response: 100-18,000Hz
    • Sensitivity: -40dB @1kHz (1V/Pa)
    • Output impedance: 1.5 k ohm @ 1kHz
    • Signal-to-noise ratio: 60dB (1kHz @ 1Pa)
    • Dynamic range: 66dB
    • Power supply: 1.5V DC; AAA size battery (not included)
    • Max. SPL: 100dB
    • Battery current drain: 0.5mA
    • Battery life: 400 hours with Alkaline battery
    • Weight w/o battery: 1.83 ounces
    • Dimensions: 7-inch length, 0.7-inch diameter
    • Output cable: Permanently attached with 3.5mm plug

    What’s in the Box
    SMX-10 microphone (with attached cable), hot-shoe mic holder, foam windscreen

    Rating: 4 Azden High performance(SMX 10) Stereo Condenser Microphone (out of 28 reviews)

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    List Price: $ 137.21

    Price: $ 59.99

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    Rode NTG2 Condenser Shotgun Microphone

    31ifRhKfxuL. SL160  Rode NTG2 Condenser Shotgun Microphone Reviews

    • Broadcast sound quality
    • Low noise circuitry
    • Condenser transducer
    • P48 phantom power or 1.5V AA battery
    • Two step High-Pass Filter – Flat or 80Hz

    The RODE NTG2 is a new, lightweight condenser shotgun microphone, designed for professional applications within the film, video, television and production industries.The NTG2 provides a balanced low impedance output stage and operates either from an internal 1.5 V battery (AA) or 48 V phantom power. A wide bandwidth and controlled polar response coupled with low noise SMT electronics, makes the NTG2 the perfect choice for film, video engineering and voice-over work. The NTG2 is extremely lightweight making it ideal for mounting directly to video cameras or on boom poles.The NTG2 comes complete with zip pouch, stand mount and windshield.The windscreen effectively suppresses wind noise when recording outdoors in moderate conditions.RODE NTG2 FeaturesBroadcast sound qualityLow noise circuitry48V phantom power or 1.5V AA batteryTwo step high-pass fileter – flat or 80 HzRugged metal constructionLow weight – 161 grams (5 ounces)Low handling noiseSupplied with stand mount, zip pouch and windshield

    Rating: 3 5 Rode NTG2 Condenser Shotgun Microphone Reviews (out of 6 reviews)

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    List Price: $ 349.00

    Price: $ 269.00

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