Hello All,

I did some searches but couldn't exactly find what I was looking for.

I'm planning to buy a shotgun mike to attach to my A-1. I will use it for family events, recording concerts and may even do a wedding or two...cardioid or super cardioid pattern...a bit of a reach would be nice.

I would like to find something that produces a fairly good sound...perhaps not too bright sounding for music. I'm not too worried about higher SPL at concerts as I will control that manually if necessary.

Any suggestions?

For more professional sound I will use large diaphram condenser mikes run through a board with the A-1, when I need that.

I'm needing this mike more for one attached to the A-1 as an 'on the go' mike.

Also,

I'm getting the impression that many of you out there are shying away from any mike you attach to the A-1 that is longer than 9 inches. Is this true?

Thanks again.

Rog Lee

Don't hesitate: the Rode NTG's are an excellent choice. In Europe for sale, sometimes under the 200 Euro's for an NTG2 - and they easily compete with 3X to 4x more expensive mics.

One additional remark: even with the NTG2 + 'dead cat' wind shield, I had occassionally the dead-cat bottom hairs popping into the camera's view during a more entensive wind blaze.

An the length of the NTG-2 is not that big... this could be the problem you describe.

I would say that a general purpose shotgun is a contradiction in terms.... Personaly, I use a Thomann t.Bone EM9900. It is longer than 9 inches, relatively cheap (€99) and is able to pick sounds at 5-8 meters very nicely. I had to build myself an attachment for it, however (copied from the J-rod).

BTW, should I say that recording concerts with a shotgun is a poor idea? They are mono mikes (obviously: they only record in front), will not help to reduce reverb and acoustic laws imply that their directivity does not extend to bass sounds. On top of that, in practice, you need a low cut filter on shotgun because their design is based on an interference tube which is very, very sensitive to wind.

Shotguns main use is when you are outside (i.e. no reverb) and you need to record someone which is 3 to 8 meters away. For that they work very well (if there is no sound source behind the subject and if you use a windscreen).



For recording concerts, a flash card recorder like the cheap zooms h2 or h4 left near the scene or connected to the home mixer will give you results lightyears beyond anything carried on your A1.

I second the NTG-2. I use it with the Rode shock mount and the sound is great.

Audio Technica makes a couple of good mics in this range.

The AT875 is a short shotgun, only 7 inches long, made for use on video cameras, and it costs $199.95. The short length is very, very helpful:
http://www.bhphotovideo.com/c/product/495302-REG/Audio_Technica_AT875R_AT875_Short_Condenser_Shotgun.html

Here is the AT4073a, at 9 inches long, a long time professional alternative (to the high priced shotguns) choice for its high quality and low cost of $540:
http://www.bhphotovideo.com/c/product/68317-REG/Audio_Technica_AT4073A_AT4073A_Shotgun_Microphone.html
http://www.bhphotovideo.com/c/product/400803-REG/Audio_Technica__AT4073_Kit_Shotgun.html

The AT897 is a popular low cost shotgun for $249.95. However, it's 11 inches long, about the same as the NTG2:
http://www.bhphotovideo.com/c/product/300615-REG/Audio_Technica_AT897_AT897_Short_Condenser.html

The NTG-2 and any of the above mics would probably work well. I suggested considering length in making the choice. The XLR connector on the back of the mic adds some length, but a right angle XLR connector helps here.

Here is the Rode NTG-2 (at $249):
http://www.bhphotovideo.com/c/product/367747-REG/Rode_NTG_2_NTG_2_Shotgun_Microphone.html
http://www.bhphotovideo.com/c/product/400806-REG/Rode__NTG_2_Shotgun_Microphone.html

Since the A1 can supply phantom power, you can shave off a few inches by buying the NTG1 instead of the NTG2 (same mic, just no battery compartment). I have one and it works wonderfully.

B&H has one in a kit (for the same price as the mic alone) with an angled XLR cable (on the female end) and a shoe-mounted (SM3) shockmount. I picked up the SM5 one, which sports a cylinder that slides right into the A1's mic holder. Works well.

cheers, d.

I'm a big fan of the Sennheiser K6 series. The ME66 is probably "the classic" microphone. I personally own an ME67 barrel which is longer. I also own an Azden SGM 2x which has both short and long attachments, and I thought it was pretty good until I got the Sennheiser. The K6 works on either battery OR phantom power.

The other nice thing about the ME66 is that there are a lot of "Accessories" that fit it...furries, blimps, etc.

JR

As usual on this site, you guys are all very helpful.

Re: Rode...I'll check this out. I have two Rode LD condensers and am very impressed with those mikes.

Re: recording concerts. I realize the shotgun is going to be a bit of a problem here and I would use any number of dynamic mikes in place of the shotgun....provided I have the time to set up. I'm thinking of the situation where I run into a situation where music is there and I need to record with what I have on the camera.

I have researched the Sennheiser and AT and I have had the opportunity to use a few of these mikes in other situations....excellent mikes..Sennheiser and AT.

The length thing I was talking about had to do with some folks who posted that a mic that was 11" or longer would get in the way of recording or would be seen in a wide angle shot. It seemed some folks were suggesting mikes that were 9" or less in length for the A-1.

Interestingly, I have this mike and tried it today attached to the A-1 recording acoustic guitar and voice...using the A-1 48volt.

http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_SM86_content (actually fits the A-1 mike holder)

The mike/camera was about 12 feet away from the subject and the audio was at +12db.

I was surprised at how nice a job the combo did in sound. Interesting.

Thanks again all for all the help...

Much appreciated.

You are all nice folks. :)

Rog Lee

Roger,

Along with Daniel Park mine is another vote for the Rode NTG1 in a Rode SM5 shock mount which also raises it above the wide angle FOV. I'm very happy with the combination.

I've been happy with my Audio technika 897,which I've had for a couple of years. I used it on my XL2, and now switch it from my XLH1 to A1. I was also lucky enough to pick up an AKG blue line with a hyper cardiod capsule for $250! It's a great mic, especilly indoors. Now if I could find a cardiod capsule for the AKG....
Bruce S. Yarock
www.yarock.com

The Rode, AT and Sennheiser microphones mentioned above can all do a nice job at being a shotgun for field use.

However, I'm not too worried about higher SPL at concerts as I will control that manually if necessary.
is perhaps being a bit optimistic. The issue with mics and live concert SPL is being sure that the mic can handle the higher sound levels found at some live events, especially rock concerts and 4th of July events with live cannon and 1812 Overture. Remember that the mic is ahead of the level controls in the camcorder, including the MIC ATT setting. Some mics go into excessive distortion at lower sound pressure levels than others, and some do it at lower levels on battery than on phantom power. The mics mentioned above can deal with sound levels below the threshold of pain for most folks, but other may have problems. You need to read the specs to determine what the mic can handle in the way of SPL.

Another issue to consider is whether or not you want stereo sound. I've been using an AT-825 for stereo and have been satisfied with it.

Cardiod pattern mics generally typically have fewer polar pattern artifacts in their frequency response, and do nicely for concerts, especially when located between the audience and the performers. In this location I believe they do a better job reducing intrusive audience sound than hypercardiod or line-gradient mics.

I'm thinking of the situation where I run into a situation where music is there and I need to record with what I have on the camera.

I suggest getting a Zoom H2 and dropping it in a mike stand at the center of the stage.

U can't go wrong with the RODE NTG2 at the price point..but for concerts I use the NT4 along with audio direct from the board

Hey all,

Greetings from Minn.

Thanks again for all the input. I'm researching mikes based on what you all have been saying.

By the way Don...

A number of mikes have a -20db pad switch or something like that. Since shotgun mikes are designed to reach out...I guess that would defeat the purpose of the mike...??

Perhaps there just isn't anything out there. mike wise, that can both reach out distance wise and compress sound when too close.

Maybe the built-in A-1 mike?

Malcom, I'm also looking at the NTG1.

And Malcom, a very good friend of mine is visiting her son there in Australia. He's a teacher, and married a beauty from your country. They have two kids and, from what I hear, love life there.

Take care all and thanks for the help. I do appreciate it.

Rog Lee

I was also lucky enough to pick up an AKG blue line with a hyper cardiod capsule for $250! It's a great mic, especilly indoors. Now if I could find a cardiod capsule for the AKG....
Bruce S. Yarock
www.yarock.com

Bruce,

I'd like to know more about your AKG blue line. I own and use an AKG3000B. Good mike for live sound....but very bright sounding when recording.

What are the characteristics with the blue line with the A-1?

Also, may I ask....what will the cardioid capsule do for sound that your hyper cardioid won't do? I would guess that the hyper cardioid would reach out further?

Just curious.

Rog Lee

A number of mikes have a -20db pad switch or something like that. Since shotgun mikes are designed to reach out...I guess that would defeat the purpose of the mike...??

That can work, if the 20dB pad does in fact extend the linear range of the mic to higher sound pressure levels, e.g., by attenuating the sound entering the mic. But that feature is not commonly found on the typical shotguns used for video in the under $500 class.

Perhaps there just isn't anything out there. mike wise, that can both reach out distance wise and compress sound when too close.

Keep in mind that compression is not the function of the mic - precise, accurate, distortion free and noise free tranducing of the sound pressure waves to an electrical signal is the function of the mic. Compression is used to reduce the dynamic range of a sound signal - and is usually accomplished by an external processor, or in sound editing software.

BTW, typical shotgun microphones discussed above do not "reach out" as such, they mainly suppress pickup of sounds from the sides and the rear giving allowing the sounds from the front to stand out effectively filtering out the sound from the sides and rear.

"Reach" is accomplished by amplification, sometime in the mic, sometimes in external preamps, or sometimes with special mics that use parabolic reflectors to concentrate the sound much as a lens does light.

Don,

Good points and thanks for the reply.

Rog Lee