Build & Design: Light Yet Durable

One of the first things you’ll notice about the Rode NTG5 is how incredibly lightweight it is. Weighing in at just 85 grams (about 3 ounces), it’s among the lightest shotgun mics you’ll find. This may not sound like much, but when you’re running a long shoot, whether handheld or on a boom pole, every gram counts. You won’t even notice it when it’s attached to your rig, and that’s a big win if you’re working with other heavy equipment or running and gunning.

But don’t let the lightweight nature fool you into thinking it’s fragile. The NTG5 is built with durability in mind. Its body is constructed from robust aluminum, and it’s finished in a matte black coating that not only gives it a sleek, professional look but also protects it from wear and tear. While it may not be built to survive being dropped off a building, it’s sturdy enough to handle the rigors of field production and regular use.

Another thoughtful design choice is the custom rycote lyre shock mount. This feature helps isolate the mic from vibrations and handling noise, which is a key factor when you’re recording in environments where even the tiniest rattle or bump can be captured. And unlike other solutions like third-party rubber band suspensions, blimps, or whatever the hell else is out there… this one is free, lightweight, compact, and efficient. Moreover, thanks to the pistol grip, you can actually hold it by hand, yes! So it even makes the boom pole optional (though let’s be real, that’s more of a crutch, and it’s gonna suck ass if you’re doing a long video session).

Bottom line: that pistol grip with rycote lyre + windscreen combination just works – too well, and at no extra cost. It deals with unwanted wind and handling noise beautifully. It’s a clever, cost-efficient solution and really the soul of the NTG5 design – meant to serve as a more lightweight, cheap, and angry alternative to the typical blimp setup. And it’s not just a basic foam windscreen you’re getting, no no. Rode actually throws in a WS10 furry windshield too – and that thing alone is worth like 60 bucks!

Sound Quality: Precision with a Natural Touch

The real beauty of the NTG5 is its sound quality, which is nothing short of impressive. Rode has struck a delicate balance here:

This microphone doesn’t try to artificially shape the sound in any way, which is a refreshing change from mics that tend to add a bunch of unnecessary color (oh yes I’m referring to a more budget-oriented NTG4+ version here). Instead, the NTG5 captures audio with a neutral, transparent tone – exactly what you want from a shotgun mic at a pro level or for any serious production. What you get is clear, detailed audio, with enough presence to pick up subtle nuances in the voice or the sound of your environment. The mic’s wide frequency response (20Hz to 20kHz) means that you’re not losing any important low or high-end frequencies, and even the quietest details are captured with minimal interference.

In terms of directionality, the NTG5 behaves like a typical shotgun mic. Its supercardioid pattern locks onto sound from the front while rejecting the sides and rear significantly. It’s not razor-thin in focus – don’t expect laser-beam isolation. In fact, both the NTG3 and NTG5 lean slightly wider, which makes them more usable in dynamic, real-world situations. You still get clean separation, just without the ‘tunnel vision’. One of the real strengths here is off-axis handling. Unless you’re in a horrible room, reflections and background bleed aren’t going to ruin your take. Off-axis sounds stay clean and natural, not weird or phasey, even though comb filtering is a common problem even for high-end mics. That smooth rejection is the payoff for not chasing hyper-narrow pickup.

But the cream on top here? The NTG5’s impressively low self-noise of just 10 dBA. That’s seriously quiet. For comparison: the NTG4 sits at 16 dBA, the NTG3 at 13 dBA… and even the MKH416 comes in at 13 dBA. So yeah, on paper, it wins. But don’t get too excited about the numbers. These specs are nice to have, sure – but they don’t always reflect real-world performance. Even if the NTG5 ranks among the top five in this area, it doesn’t knock the MKH416 off its throne. Self-noise only becomes a real factor in ultra-quiet environments anyway. In most typical use cases, you won’t notice the difference. Speaking of use cases, we’ve now come to the next point.

Versatility: Wide Range of Use

The Rode NTG5 stands out as an impressively versatile microphone. Whether you’re a content creator, filmmaker, podcaster, or audio engineer, it adapts well to a wide range of workflows and consistently delivers professional-level results.

Film and Video Production

• For film and video work, the NTG5’s focused pickup pattern and excellent off-axis rejection make it a reliable go-to. Whether you’re dealing with unpredictable outdoor environments or working on an indoor set full of ambient distractions, this mic locks onto dialogue with clarity and confidence. Its compact form factor makes it easy to boom or rig, and the extremely lightweight build is a blessing during long shoots – your arms and your crew will thank you.
• It also performs well in field recording. When you need to capture subtle environmental details or isolate specific sound elements, the NTG5 delivers clean, textured recordings without pulling in too much of the surrounding noise. It handles nuanced sound design work with ease, offering clarity without harshness.
• That said, this kind of performance is expected from a mic in this class. If you’re buying a professional shotgun mic, you expect it to handle production audio competently. So while the NTG5 performs admirably in these areas, the real value shows up when you push beyond the traditional use cases.

Streaming and Content Creation

• Where the NTG5 really starts to show its edge is in content creation – especially streaming setups where visual clarity is just as important as sound quality. A lot of streamers default to large dynamic mics like the SM7B, but these often end up dominating the frame, obscuring the face or blocking gestures. On top of that, if you turn your head even slightly, the audio level can drop dramatically. While dynamic broadcast mics have their place and can sound fantastic, they often come with trade-offs in freedom of movement and camera aesthetics.
• The NTG5 offers a refreshing alternative. Mounted just out of frame – either above the camera or off to the side – it captures clean, directional sound without cluttering the shot. This setup gives you much more room to move, emote, or stay visually connected to your audience without being tethered to a mic right in front of your mouth. For visually engaging content where body language and presence matter, this makes a huge difference.
• And just to be clear, it’s not limited to out-of-frame use. Like its more expensive cousin, the MKH416, the NTG5 also works surprisingly well for close-up voiceover work when used in the traditional way. So if you’re doing occasional narration or need to lay down a clean voice track, it won’t disappoint! And more icing on top? Rode actually includes a solid shock mount and wind protection in the package – and this is where the value comes from. Just throw it on a mic stand, and you’re set.

Overhyped or Just Right?

Is the Rode NTG5 overhyped? That really depends on what you’re expecting – and what you’re comparing it to. Let’s break it down into a few real-world factors that can help you decide:

1. Price. If the MKH416 is out of reach and the NTG5 lands in your budget sweet spot, it’s a solid buy. But if the price difference is small, it might be smarter to just go with the industry standard. That way, you won’t end up wondering later if you should’ve just gotten the 416 in the first place.

2. Footprint. The NTG5 is lighter and less bulky than the MKH416 + blimp combo, which matters if you’re working long shoots or want a setup that’s easier to handle. It fits nicely into minimalist rigs or solo setups.

3. Included gear. Rode packs in a high-quality Rycote shock mount and wind protection out of the box. If you’re planning to use those straight up without investing in extra gear, you’re already saving more than you might think.

Bottom line: If you’re budget-conscious and care about staying lightweight, the NTG5 is a smart move. But if you’re already close to MKH416 territory, might as well go all in and be done with it. Don’t let the hype make your decision – just weigh what matters in your use case.

Now, to be fair, the NTG5 doesn’t lean on flashy gimmicks or try to win over casual users with exaggerated specs. That’s a good thing. It’s a pro-oriented tool that keeps things clean and effective. No magic tricks, just solid sound you can rely on. And if you’re doing pro work, you already know EQ and post-processing are part of the game. So yeah – less flash, more function. That’s the real appeal.

Final Verdict

If you’re looking for a professional shotgun mic that doesn’t weigh you down – physically or financially – the RØDE NTG5 hits a rare sweet spot. It brings clean, neutral sound, decent directionality, and an impressively low noise floor, all wrapped in a featherweight body with some genuinely useful accessories thrown in. No, it’s not the legendary MKH416, and it doesn’t try to be. But that’s exactly the point. The NTG5 is for people who want something lighter, more affordable, and still totally capable of delivering broadcast-quality results. If that’s what you’re after, there’s a good chance you’ll find the NTG5 isn’t just a smart buy – it’s the right one. If you’re ready to step up your audio game without breaking the bank, the NTG5 is a no-nonsense tool that punches way above its price tag.

- Reviewed at $499

Pros:

• Lightweight / small footprint
• Proprietary rycote lyre shock mount
• Professional sound quality + neutral response
• Free Rode WS10 Furry Windshield
• Arguably offers more bang for the buck
• Versatility – filmmaking, voiceovers, streaming
• Ultra quiet, extremely low self-noise
• Excellent resistance to moisture

Cons:

• Like the NTG3, its directionality isn’t razor-sharp. You’ll pick up more off-axis sound than with some higher-end shotguns.
• Depending on current pricing, the MKH416 might be the better buy. If the difference isn’t big, it’s worth considering the upgrade.
• Make sure your seller is Rode-authorized. Otherwise, your warranty’s void—and at this price, that’s not a risk you want to take.

Best Price on RØDE NTG5

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WARNING! MAKE SURE YOUR AMAZON SELLER IS AUTHORIZED: https://rode.com/en/support/where-to-buy

Features

Rode Videomic NTG has been produced after Videomic Pro and Videomic Pro+, which are similar in a sense but do not have the USB functionality. Most of the features have been carried over particularly from our previously reviewed Videomic Pro+. I shall cover them briefly but won’t go into lengthy details because there are plenty of sources that do just that, the mic is being heavily marketed already but every feature adds to the price. Røde even went as far as selling you its exact disadvantages namely, inferior sound quality since computer market is dumb and they’ll buy it anyway, but more on that later.

• This mic has an internal battery that can work for 30 hours straight, but usually a recording never takes that long and thanks to an auto sensing function that powers the mic up only when the camera is on, it should never run out of juice. The battery is not serviceable but should anything go wrong, Rode will replace it for you while under warranty – and considering the problem they’ve run into with Videomic Pro+ batteries, maybe it’s for the better.
• The auto power sensing function works like this – it waits for the camera to power up the mic via 3.5mm jack, and when the current is detected, the mic turns on automatically. Although the feature is priceless, it is not fault-proof. In fact, it doesn’t work with higher-end professional equipment, I believe some Canon and Sony cams are on the list. If it can’t detect the camera, you will have to power it on manually …and if it still gives you only static, you will then have to procure an aftermarket TRS cable, which better be short unless you intend to look ridiculous.
• Rode Videomic NTG has a variable gain function once again, but the gain range has been extended from 0-10 to 0-15 whatever those numbers mean. Then you get a switchable 20 dB pad, a safety channel and a 2-stage frequency roll off. The good thing is – it comes with a guide on how to set up the levels properly and when the pad and safety channel should be used, so I don’t have to bother explaining this, thanks Rode for saving our time.
• The output ports, which you already know are the USB type-C and the 3.5mm trrs. The latter is auto-sensing, meaning it will work with cameras and computers’ TRS mic plugs and cellphones’ TRRS plugs without requiring a splitter. It has a relatively low impedance of 10 Ohms, which should be able to drive most headphones for direct monitoring. The USB-out provides 24-bit depth at 48 kHz sampling rate – this is fine, and type-C can potentially work with smartphones too.

Sound & quality

Now here is the part where I’m not too happy about Videomic NTG. It is obvious if you do some research and comparisons, for example by looking at the specs alone. What’s the buzz about 20 dB pad and safety channel whistles, when the dynamic range of the mic is only 105 dB, whereas Videomic Pro is specced for 120 dB? Here is another thing; the self-noise of the Videomic NTG is 15 dBA, for Videomic Pro it is 14 dBa, sounds like a negligible difference but even Rode admits this mic is noisier and noticeably so, because that’s acoustic noise and the USB transceiver might be occasionally adding a lot more to it.

Another clever quick hack is that the frequency response is specified as ±3 dB. If you are ok with math, it widens the range of acceptable parameters to plus side by 3 dB and minus side by 3 dB, thus making it 6 dB, which is enough to make it a complete mess. Meanwhile the response chart looks like a straight line, which it isn’t, because it has been normalized to look nice in accordance with ±3 dB specification, and the divisors on chart are 10 dB, lol, so the actual response has been effectively hidden. Videomic pro and pro+ show much more accurate curves that perform better in reality, even the pro+ is better despite being much more aggressive and directional.

However, that’s only half of the story because the real caveat is the off-axis response, which this time is demonstrated more clearly. If you overlay the polar pattern of the Videomic Pro and Videomic NTG, you can see that the Videomic Pro has a much more stable off-axis response. Videomic NTG is suffering badly from off-axis coloration; the high frequency sector is non-linear and rolls off rapidly. When used inside interiors this may result in bad comb-filtering effects, otherwise it may still require lots of EQ. When used outside there is another issue – wind noise, which is once again worse than in other DSLR mics of this price. Aside from that, Videomic NTG also has a poorer rejection from behind.

Why is this mic so subpar when it comes to off-axis coloration? Well, here is where marketing hype comes into play. Røde Videomic NTG indeed uses a new tube technology, which implies that the mic should be better, but this is not the case. The new tech, unfortunately, doesn’t mean better-sounding. It is a compromise – you sacrifice the quality for the size. Because the batteries have been moved inside, while keeping about the same length of the mic, Røde has had much less space to work with. They did a great job though at keeping a good degree of side rejection, matching that of Videomic Pro. Side rejection is always crucial for shotguns, but not every mic of this size offers a good rejection.

Durability & conclusion

Regarding the build and durability, the mic is pretty much solid and since everything is detachable, you will find it road worthy as well. There are no hanging battery docks, so it’s also aesthetically pleasant. However, one part you should be particularly careful about is the 3.5mm port. If you take it apart, the port is actually surface mounted, which caught me by surprise. If you are familiar with pc gadgets, the vast majority of failures are due to USB ports detaching from the boards. So, using a surface mounting instead of through hole is the worst possible decision one could make when designing the PCB for this class of gadgets. Rycote lyre is also worth mentioning for this build, the cable management is nice.

Time to wrap up with this review, so should you buy Rode Videomic NTG? Personally, I wouldn’t bother because I don’t need a USB mic. Videomic Pro is still just so much better in terms of quality, so for me Videomic NTG is a step back. You can buy a better shotgun for this money, but not every one will come with USB out, so if you really need this functionality it’s understandable. Comica VM20 has a similar concept, it’s much cheaper but unfortunately lacks in side rejection. Videomic Pro is far better choice if you don’t really need the USB and if you want a premium mic with all the features and maximum side rejection then go get Videomic Pro+ instead.

Best Price on Rode VideoMic NTG

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Features

CVM-VM20 has an internal battery, rechargeable via USB. It uses a Type C connector commonly found on modern smartphones, and the charging cable is also included in the package. The battery lasts about 60 hours, which is not necessarily impressive if you are fixated on raw numbers. What’s far more important is that the mic has an actual OLED display that shows you precise battery levels, so you can always get the accurate readings and charge when necessary. With other mics, you don’t know when their batteries run out and the indicators are usually elusive too, not to mention the bulging battery compartments, which may feel a little bit awkward.

This mic has a two-step low cut button, which upon pressing will cycle it from flat to 75 Hz and 150 Hz roll off. It is nice to see a two-step low cut on a budget mic because usually only expensive mics have it. The 75 Hz low cut is crucial if you are talking super close to your mic, it prevents it from popping and overloading if for example you accidentally blow into the tube. I usually have it on by default, unless I need to capture some bass, but then I have to be more careful with handling. 150 Hz option is just as useful if you intend to record in an environment with motor noise, refrigerators, air-conditioners, vehicles, etc. There aren’t many useful sounds at those frequencies anyway.

At the opposite end from the tube, Comica VM20 features a gain knob, which allows boosting the output levels by as much as 20 dB, or 10 times when measured in volts. It is actually similar to Rode Videomic Pro, but unlike latter, VM20’s knob produces a variable gain. I can adjust it from 0-10 and always have the right gain for my needs. The knob feels tight and sturdy – it will never turn by accident, so you don’t have to worry about it. When used with my Galaxy cellphone I actually prefer the gain at around 5-level. Why? Because modern phones have AGC (automatic gain control), and they tend to crank the gain too high automatically during the silent passages, making the noise more audible.

Sound & quality

This mic sounds pretty much neutral and natural; it has a wide frequency range, crispy high end and a balanced low end. You can record videos with your phone, upload it to YouTube and get a very decent quality sound from get go. Compared to previously reviewed DSLR shotguns, this may be the easiest mic to work with. Full metal body also protects the VM20 from EMI, which may not sound like a big thing, considering we are only reviewing a budget mic here anyway? – Wrong, cellphones are one of the main sources of the electromagnetic interference, especially when the mic is literally sitting on your phone. Computers can also produce EMI, due to power saving states, so a shielded mic is always good.

On the other hand, signal to noise ratio isn’t that great, which means the mic will be producing a little bit of white noise on its own. This is what differentiates the budget mics from expensive shotguns. Rode Videomic Pro, for instance has a much better self-noise spec, and depending on your preferences may worth the upgrade, but for a budget mic Comica does pretty well, I mean you definitely get what you pay for. An extra gain may also help negating some noisy camera preamps, so it actually isn’t that bad. Anyway, the only time you can hear some noise is when recording indoors at night, with air conditioning and refrigerator turned off. For outdoors it really doesn’t matter, the ambient noise is much higher so the self-noise is negated.

Another difference from the Rode Videomic pro is the dynamic range, and the maximum SPL is lower. The mic will work fine for blogging outdoors for instance, but may not be able to handle extremely high sound pressure – generally, it will work for music but bringing it to a rock fest might not be the best idea. Finally, the pickup pattern isn’t as tight as the more expensive Rode Videomic pro. Comica VM20 captures a bit more of the surroundings, but it is still a shotgun and it is still directional, so as long as you are filming close enough to your target it will do the job. Well at least at a ‘selfie range’ when filming yourself with your phone while speaking for instance, it will definitely do the job.

Conclusion

Comica CVM-VM20 is a nice value for money, compact and road worthy shotgun, compatible with phones and cameras. It’s easy to work with and it has all the necessary features and accessories to start your production. The build quality of this Chinese mic actually surpasses the Rode. The sound quality is quite all right, it’s just clear and natural, so you do get what you paid for. Compared to expensive mics it may struggle catching up with signal to noise and dynamic range specs, and directionality but in this price range, I wouldn’t have to worry about that. If you want an inexpensive but durable, phone-compatible mic with a decent, natural sound and nice features +free dead cat, then of course look no further.

- Reviewed at $129.00

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Features

• Since not everyone is familiar with the former model, I am going to reiterate about its features and bring to your attention a bunch of small improvements as well in order to make an appropriate general overview. Rode VideoMic Pro+ offers low self-noise of 14 dBA, which helps to reduce the hiss when used in a quiet setting and or not pointed close enough to the subject. Furthermore, it has an active amplifier circuit, which allows boosting the produced electrical signal by as much as 20 dB or x10 if measured in volts. Why is this important? Well, the short answer is because it is a DSLR mic, and when used with camera preamps this can result in a better quality audio.
• (The long answer is, in professional application, the mics are usually connected via a balanced XLR cable. This cable has three pins, one for the ground and two for the signal, which is usually transmitted in a different phase from the ground using a balancing output circuit, so that when you subtract the ground from both ends on the receiver end, it effectively nullifies any potential noise introduced by the EMI. Then again, professional preamps are usually very quiet by themselves and can amplify the signal as much as needed without introducing any additional noise, so the only bottleneck is the acoustical self-noise of the mic itself, measured in dB or dBA… However, professional preamps can get quite expensive and even so, may not necessarily work unless connected via a proper cable, such as XLR to a balanced or low impedance source. Therefore, cameras generally don’t have such luxury and come with cheaper, sub-par preamps that can introduce a significant amount of noise due to active amplification and not rejecting the EMI properly, in addition to the noise generated by the mic itself. Therefore boosting the signal strength of the mic can effectively compensate for the deficiency of the camera preamps, thus further reducing the EMI, static or ground noises that might occur in your recording).
• Rode VideoMic Pro Plus uses a detachable 3.5mm trs-trs cable, which is of course better than the non-detachable cable on the non-Plus version. Not only because you can easily find a replacement but because you can now also plug a longer cable and use it with a boom, just like you would with a full-size shotgun without messing with extensions. Not many would have thought of using a DSLR mic like that but this actually works and effectively so if you want to capture a wider shot of somewhat talking while keeping the audio clean. Interviews could be a good example, or simply if you can’t get close enough you could zoom in a bit and extend your boom forward.
• Videomic Pro+ comes with a Rycote lyre suspension, which has become the new standard recently and provides quite a bit of physical isolation, so that the vibration and motor noises from the camera do not creep into your recordings. It is pretty much the same as the latest version of the non-plus, but the earlier version didn’t have one. The battery on the new Pro Plus is now rechargeable via a USB port. It uses a lithium battery instead of 9V and not only does it last longer (specced up to 100 hours), it can also be replaced with two AA size non-rechargeable batteries in case of emergency. The battery door simplifies the whole process.
• This mic has a two-stage high pass filter, flat, 75 Hz and 150 Hz roll off, which is a very useful feature. Without the low pass, the mic could overload if you accidently blow in it, plus it can filter out low frequency rumble, vibrational and other meaningless noise from your recordings. One interesting feature of this mic is that it automatically powers on when your camera is powered on. It detects most of the cameras but not all of them (so sometimes you may have to power it on manually). All the mic controls are also digital and they remember their state upon power cycling the device. LED strength also adjust depending on the lighting.

Sound & quality

This mic has a clean audio, with very little self-noise of only 14 dBA. This makes it suitable for recording in a quiet setting – not every mic, especially DSLR mic is capable of that. When the recorded signal is low it needs a lot of amplification, so on mics with higher self-noise this could become apparent. At the same time, it has a high dynamic range of 120 dB and specced for 134 dB maximum SPL, so extremely loud sounds aren’t a problem either. This could be useful if you want to record music festivals without degrading your sound for example, but most importantly, it prevents the mic from overloading when used at close range.

Moreover, Videomic Pro+ has a safety audio channel, which records in parallel but at a lower gain, so even if the main audio has been corrupted, you could still replace the bad parts with the safety audio in your editing software. Overall, this mic gives you a great sound quality, not only because of high gain and low noise, as mentioned early but also because of a tight pickup pattern. Rejection of the surroundings noise is just as important and the shotgun mics are suited for this task. However, when it comes to DSLR mics, the amount of rejection from the Videomic Pro Plus is unmatched. The supercardioid pattern it offers is almost as tight as full size short shotguns.

This is very important, and this is actually the biggest difference between the Pro Plus and the regular Pro version. Non-plus version is smaller, shorter and inferior when it comes to rejection. However, the latter has a more neutral, ready for production response. The difference in the pickup pattern is directly responsible for the difference in sound between the two. Videomic Pro+ has lots of clarity and sounds brighter, but the response is also a bit more colored, the upper midrange stands out, so some basic post processing is recommended. However, if I were to choose between the two, I would pick Pro Plus any time, because the additional side rejection is totally worth it.

Alternatives

This is undoubtedly a great mic from Rode: it offers maximum directionality for its relatively compact size, and produces a high quality, high gain sound signal for your camera. However, I do find the price somewhat questionable. The non-plus version was already somewhat pricey, Pro Plus is definitely an improvement but at the time of the review, the price is nearing a $300 mark and this is significant. FYI, for this money you could get a regular shotgun like NTG-2 and a decent on-camera Rycote lyre such as Rode SM3-R – no gimmicks, no battery holder, full metal shielded body, durable, better response and quality control.

Considerations

This is not the first iteration of their camera mics – rode constantly improves their model lineups and adds new useful features, but more features aren’t always better. The build quality is about average. The mic body has plastic parts and the battery placement outside the mic in my opinion is little bit impractical. Regular shotguns have a better feel, although unfortunately, they can’t be just straight plugged into each and every camera. Videomic Pro Plus just doesn’t feel solid enough for its price and with more features and buttons there are always more potential problems. Don’t get me wrong, Rode does offer 10-year warranty on their products, but dealing with customer service can be a hassle too.

The battery deck in particular, has a non-standard pin inside, in the middle, which is used for charging the battery that comes with the mic. You must use caution when taking it in and out or replacing it because if you do it carelessly you may damage it and will not be able to record. Another nuisance is that for the price, Videomic Pro+ doesn’t offer any extra accessories. One would think that a premium mic should have premium accessories with it, but this doesn’t seem to be the case. If you want a dead cat for example, you will have to buy it separately. Well, at least it has an integrated Rycote Lyre mount.

Conclusion

If you need a quality sound for your camera and can afford this mic, by all means buy it. This is probably the best camera mic out there that can be directly plugged via 3.5mm connector. However, it is definitely not cheap, and the build quality just cannot match that of a regular sized XLR shotgun.

- Reviewed at $299.00

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Sound & quality

The frequency response is actually flat, as according to specs but this is only true when two very specific conditions are met, which is being positioned directly on axis and at 12-inch distance from the source. Since it is designed for dialogues however, don’t expect to get a neutral response, because everyone would be off-axis, and then highs start to roll off way too soon leaving nothing but midrange and a bit of overblown lows, depending on the distance. For what it is used it becomes rather dark sounding and could certainly use some high shelf equalization. I can’t say it’s particularly bad or anything – it would be a good sound for a budget mic, not for something sold for six hundred dollars!

– I mean you could buy NTG-3 for this money, a professional shotgun that can work rather well for indoors too.

AT4053b definitely sounds rich but not necessarily very clean compared to expensive shotguns. This is especially true when up-close. The mic does have a roll-off switch that helps very much but doesn’t eliminate the muddy feeling completely. It thus sort of limits its usage to where you can allow more distance with positioning. On the other hand, its side rejection isn’t that strong so you may be capturing a bit too much of the background in a noisy setting. Yet, this also makes it sound a bit more natural in comparison to cheaper shotguns and still helps to negate the comb-filter effects considerably. So the mic isn’t necessarily bad at all, and actually has some benefits of its own… it just doesn’t justify the price for me.

Application

One of the advantages of the Audio Technica AT4053b is that it preserves the lows rather well with distance, which gives it a bit more reach than the other mics around there. In that respect, it comes pretty close to the MKH 50 (even though it may lose quite a bit of highs along the way), and it still sounds quite natural, especially if you aren’t being picky like me. This is where it even beats the Audix SCX1-HC, which thins out with distance much sooner. Of course, in a normal setting for 1-2 persons, this is not the problem for the SCX1-HC, but with bigger groups of people and larger distance, AT4053b can actually shine better, especially in a quiet setting with not too much of background.

Now the only caveat is this mic is very sensitive to vibrations, even to a higher degree than the MKH 50. Therefore, it’s very difficult if not impossible to use with a boom, unless high-end shock mounts are used. This makes little sense however, buying a $200-300 shock mount for a $600 mic… Low cut switch does help greatly with reducing the rumble, so I advise using it when applicable. Still, I can’t particularly advise it for booming, which only leaves one viable option and that is using it with mounted booms. In terms of noise it is rated 16 dB-A, surpassed by both Sennheiser and Audix mics. Usually this is fine but the noise certainly adds up with distance because you have to multiply the signal, so this could be potentially audible in a very quiet setting when the source of the sound is not loud enough.

Overall

Audio Technica does offer fairly good budget shotguns but this AT4053b hypercardioid just seems a little bit overpriced. Hell, for a 15-year old model they should consider some price reduction. It’s not like it’s some kind of high-end, irreplaceable mic with unbeatable specs. It may have a relatively flat on-axis response when it comes to the specs, but that’s about it. The off-axis response is considerably darker and the self-noise is rather high, not to mention the side rejection is a bit too weak for a hypercardioid. And yet, if you can’t afford the better MKH 50 and looking for an indoor mic with a bit more reach than the SCX1-HC and don’t mind using stationary booms, while trying to capitalize on that rich low end and natural tone…

- Then Audio Technica AT4053b is certainly a viable option!

- Reviewed at $599

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Sound & quality

Sennheiser MKH 8050 sounds incredibly rich and warm in character. The highs are also there with just a touch of brightness to retain clarity but the lows are certainly overwhelming. I’m usually not the biggest fan of the sound too rich, dark and warm because the mics producing the sound matching this description always turn up artificially inflated in one or the other part of the low-end specter, ending up being also muddy, puffy or boomy up to a degree. Yet, this doesn’t seem to be the case with the MKH 8050, a supercardioid very linear in its response from lows to highs, and this applies to not only direct response but off-axis response too!

When more brightness is required, it is easy to bring the lows down a bit post recording – it responds very well to EQ, so this certainly isn’t an issue. This mic also has a great reach, not in terms of directionality because that’s what the shotguns are for, but in terms of sounding natural and as rich as ever even at a considerable distance like half a meter, when other mics would usually thin out quite a bit and lose their consistency. This is especially crucial for instruments, which is why; it’s perfectly suitable for musical application too. Not only does it have an incredible tonal accuracy that is independent of axis but it also retains its low-end richness with distance.

Application

Sennheiser MKH 8050 is of course best suited for indoors, first of all renowned as the mic for dialogues. Supercardioid pattern gives it just about enough side rejection to focus on 2-3 people while reducing the room noise to a good degree. With evenly spaced placement, about half a meter above, talents sound pretty natural, rich and equivalent in volume, which is the recipe for a good recording. Unlike the MKH 416 however, it should not be used for voice-overs because it is a poor choice for close miking and doesn’t provide any benefits. With windshield, it can also work pretty well outside yet it cannot compete with shotguns.

There are couple of reasons as to why this is so, first being the inferior side-rejection, which is by design. The other is it is more difficult to handle it, because it’s much more sensitive to vibrations. The mic’s richness has its drawback that it also amplifies handling noises to a great degree, which occur at the bottom of its low-end response. This can be especially heard in a quiet setting when on a boom, and it may be difficult for an operator not to make any noises. There are of course solutions to this other than switching back to a shotgun; one could use a stationary mount or to procure themselves a high-end shock mount, which is what I would advise.

Overall

The mic may have some drawbacks, which mostly come down to the problems with the user rather than the mic itself, but I don’t feel like exaggerating those details, as it still excels at what it does, and I don’t know any other mic that would come on top in terms of sound quality. MKH50 in comparison being an older version might be a little more susceptible to EMI especially compared to the MKH416 with a longer tube, but the overall specs are slightly in favor of the MKH50. However, I haven’t noticed a lot of difference so would probably grab the one that goes on sale first. But in ideal settings, and if form factor isn’t an issue one might consider a marginal difference in purity in favor of the MKH 50P48.

Overall, Sennheiser MKH 8050 is a perfect addition to your gear that will complement for a quality shotgun when working indoors and wanting to achieve the best sound possible. Shotguns like 416 could also accomplish this job rather well but there is a variety of reasons for switching to the supercardioid MKH 8050 . Once again, you may want to minimize the comb-filtering effect that affects shotguns when shooting in the interiors, minimize off-axis coloration when miking multiple persons, or simply want the most natural and tonally accurate sound that retains its richness with a little bit of extra reach added to it.

- Reviewed at $1,200

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Best Price on Sennheiser MKH 50P48 (Older Model)

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Noise levels

There is a lot to be said about this mic’s sound quality but I’ll start with highlighting its incredibly low noise levels. The spec for equivalent A-weighted noise is only 8 (eight) dB! This pretty much beats every other shotgun I have previously reviewed; not only that – it surpasses the noise level of Schoeps top of the line mics. At the same time sensitivity is very high too – 40 mV/Pa. For comparison, MKH 416 is only 25 mV/Pa with A-weighted noise level of 13 dB. So, we have 5 dB difference in noise plus difference in sensitivity adds another 4 dB, which makes Sennheiser MKH 8060 effectively quieter by a whopping 9 dB.

This however, isn’t as important as it may seem because shotguns are mainly intended for outdoor use where the ambient background noise easily exceeds 50 dB, and for interiors, you could be getting as much from HVAC (air-conditioning, refrigerators, etc.) so plus/minus 9 dB barely makes any difference. No one actually complains about MKH 416 being noisy in the first place. In fact, the opposite appears to be true. While the self-noise maybe lower with MKH 8060, when used outside in a windy setting it appears to be much more susceptible, compared to the MKH 416 where the difference could be audible.

On the other hand, Sennheiser MKH 8060 does claim an advantage when it comes to indoor usage but for another reason. It has a more linear high frequency response and a different tube design helps to reduce variation in polar response among different frequencies while keeping the off-axis response low, which in turn results in reduction of the comb-filtering effects as well as other unwanted reflections. To put it simply, it has a better off-axis response, so in confined and untreated interiors or in proximity to the walls and ceilings, it should have an advantage. Yet, it’s important to consider its directionality too.

Frequency response

To say it has a better off-axis response is only half the truth, for although it may be better in terms of cancelling the comb-filter effects, and has a more stable higher end altogether, the increased directionality comes with its own trade-offs, which in this case actually affects the low-end and midrange instead. Indeed, MKH 416 with its wider pickup pattern does sound more natural than the MKH 8060. When it comes to the timbre of the voice, especially when off axis – it is much more forgiving, despite the steeper roll off at the higher frequencies, which some operators actually use to their advantage by shifting the axis slightly to get more mellow vs. brighter sound without compromising quality too much.

The frequency response of the MKH 8060 on axis is remarkably flat, without a slightest dent or bump all the way to the upper limit, and, probably even extending well beyond. This however doesn’t make it sound any special, so if you were expecting to hear some special “movie sound” you could easily get disappointed. Don’t get me wrong, the sound quality is superb; it has all the richness and openness, and the amount of detail is remarkable too, it’s just flat curves are never exciting and to me 416 just sounds better off the box. MKH 8060 could take time getting used to, though after a while it sounds just as good as your favorite mic.

This mic has three distinctive switches, one for -10 dB attenuator, and the other two for controlling the frequency response, both of which are quite useful depending on your environment. The high frequency boost is mainly used with blimp so it doesn’t sound muffled while covered in a bunch of fur. The low-end roll off is useful for reducing HVAC noises as well as compensating for proximity effect when very up-close, which you shouldn’t be doing anyway. Because switches make openings in the tube, this could potentially result in additional wind noise crawling into your recordings, so some advise sealing them with a tape.

Directionality, Humidity & Overall

Sennheiser MKH608060 has great specs on paper, better high frequency response and very low self-noise compared to the MKH 416; however, the mic was not meant to be the replacement of the latter, but rather for extending the range of the existing microphone. Sennheiser MKH 8060 does indeed provide a better side rejection and higher directionality but this comes at a price of becoming bulkier: 280mm vs 250mm in length and 25mm vs 19mm in width, (despite the reduction in weight 150g vs 175g) is a significant drawback. Schoeps CMIT 5 for comparison offers even more side rejection than MKH 8060 while having a smaller profile but that is not surprising as their mics are among the most expensive too.

Sennheiser mics however have advantage over CMIT when it comes to humidity. Since both MKH 416 and MKH 8060, as well as previously reviewed Rode NTG-3 are RF-biased, they can work at lower polarization voltages and therefore less prone to failure and crackling noises due to excessive moisture in 100% humidity conditions. When choosing between the two, Sennheisers MKH 416 appears to be even more rugged than the MKH 8060 and less susceptible to wind noise too. MKH 8060 on the other hand is ideal when extended reach is required and its improved off-axis rejection comes handy for cramped interiors, especially when you don’t have time to switch to your hypercardioid or only carry one mic.

- Reviewed at $1,499

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Sound & quality

This is not an exaggeration when I say the sound of MKH416 is fantastic. The frequency pattern of this mic has been tailor-made with precision. The midrange is totally flat hence it has a very natural sound that compares to and even beats non-shotgun mics as long as you remain in the sweet spot and don’t go too much off-axis because that’s what we are trying to reject. The sound is very clean throughout the specter; especially the rich low end that it offers is simply fantastic. On the other hand, the highs are noticeably brightened, there is a lot of air and openness to it and virtually zero distortion and I mean it.

Technical specs are as follows:

• Equivalent noise (A-weighted) = 13 dB
• Sensitivity = 25 mV/PA

Sennheiser MKH416 is quite sensitive and doesn’t need much gain. The equivalent noise figure is within expectations from the mics of this price range. If you can read it – great, if not all I can say is you won’t hear any static or noise unless in a completely soundproof room, and even there it could be considered negligible for video production purposes. Sennheiser also offers mics with lower noise figures but this directly reflects on their price and it’s simply not needed in most cases. There is a misconception that the MKH416 has a tube preamp, but it’s actually solid state. Tube interference – is a fancy way of saying boom mic.

Directionality

The amount of rejection on the MKH416 is not too tight. It is still a shotgun, and it works like shotgun and perfectly rejects a reasonable amount of extraneous sounds but do not be deluded into thinking that it actually offers a tighter pattern – it is not. In fact, its pattern is more comparable to hypercardioid mics, which are commonly used for miking indoors. It’s also one of the reasons it actually perfectly suits the voice over job unlike any other shotgun. Hence, it has a double purpose; it is used for both voice-overs indoors, and outdoor recording, such as in filmmaking, documentaries and of course, TV shows.

Voiceovers

You may wonder why MKH416 for voiceovers aside from everyone using it and it’s good that you don’t blindly follow the herd and are trying to understand yourself. Indeed, spending a grand on a shotgun… (?) when you are not even a filmmaker may sound counterintuitive. My answer is this – first forget that it is a shotgun, it’s just a mic. Other shotguns may have tighter patterns and sound unnatural, especially indoors, but this one is not the case. When you try it for voiceovers, you will fall in love with its tone. The sound is beautiful out of the box and requires little to no postproduction, once again, unlike other shotguns.

Second, it actually rivals studio mics with cardioid patterns and large diaphragm condensers such as Neumann TLM103 (similarly priced by the way). Why? Because most voiceover work is never done in a soundproof studio where those usually shine. If you get the Neumann with that huge ass shock mount and pop-filter in your home, you will be disappointed by the amount of room reverb and noise it would pick. And there is nothing you can do about it other than treating and soundproofing your room. MKH416 actually saves you money because you don’t have to do it; simply a quiet room is all you need.

Build and durability

The mic is relatively compact only 250 mm in length and 19mm in diameter, though a bit on a heavier side, weighting 175 grams. Obviously phantom powered, there are no batteries but it’s quite energy efficient and can work off a portable recorder for a good while. If you don’t have a portable recorder yet, be sure to check out available discounted offers. My go-to recorders are usually Zoom, they are rugged and provide top-notch recording quality, and the hottest model at the time of writing is Zoom H4n. It is compact and relatively inexpensive, and while there are more advanced versions, the H4 is perfect to get you started, so I’ll include the link to the offer below.

Regarding the build quality and durability, we give it the highest possible mark. This review may be a bit late but the Sennheiser MKH416 and its forerunner MKH415 have been known for decades. Sennheiser definitely know what they are doing because despite the time it has retained the go-to professional shotgun status and an industry standard for not only video making and everything that comes with that but also voice-overs, which I cannot stress enough. And the mic has never had any reported issues with faulty units or dying prematurely. It’s a solid tool that’s worth every dollar and will last for a decade.

- Reviewed at $998

Advantages:

• Double purpose: video making and voiceovers
• Fantastic, very clean quality of sound
• Natural tone and robust richness
• Well deserves the price tag
• Very solid and durable
• Industry standard

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Best Price on Zoom H4n digital recorder

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Sound & quality

Audix SCX1-HC sounds slightly bright – it’s got some nice unobtrusive clarity and plenty of air. As you would expect from a quality SDC, it is very transparent and easily extends to 20 kHz without producing any noticeable distortions. The midrange is markedly clean and naturally represents the timbre of my voice. The acoustic guitar also sounds beautiful when you find the right sweet spot, which is not at all difficult. The bottom end is represented fully, without leaving anything out. And, it also exhibits a good sense of balance so the sound is neither thin nor too bassy.

The polar pattern of SCX1-HC is relatively narrow, which can be both a good and a bad thing, depending on the situation. The good thing is that having an excellent side rejection, it will minimize the echoes and other extraneous sounds coming from the environment. Especially when booming, noises coming from the camera crew or even the audience will be greatly reduced. The bad thing is that you will have to deal with a slightly more colored off axis response. When booming correctly, you will not hear any difference, but if boom operator is slacking, this could become a little bit more noticeable.

In terms of rejection, it feels similar to short shotguns, except it just gives better indoor performance. I find it works best for miking just one or two persons. For larger groups of people you will need to use something with a wider range in order to achieve better results. You can still get away with SCX1-HC as you raise it higher, but this is not something that I would advise doing on a daily basis. In terms of noise, this mic shows an excellent performance. Self-noise figure is only 14 dB-A, which is good for this type of mic, especially for the price – better are only expensive Sennheisers.

Comparison

Many people compare this mic to Audio-Technica AT4053b, because the two are in the same price range. If SCX1-HC has a narrow pattern, AT4053b is the exact opposite – it is widest of all. Audio Technica can work for larger groups of people, but it has issues with handling noise, so I do not particularly recommend it. Unless you are planning to use it exclusively with mounted booms. Despite having a wider pickup, the sound quality is inferior to Audix. Self-noise figure is only average – 16 dB-A. Considering the price of Audio Technica mic, the performance is rather sub-par.

Sennheiser MKH 50 is another mic widely used by videographers. It has better specs and sounds richer and more natural than Audix SCX1-HC. The self-noise of this mic is very low – only 12 dB-A; plus it has a significantly higher sensitivity (25mV/Pa vs 17mV/Pa), which converts into 3 dB more signal. This effectively makes it less noisy by 5 dB, which is amazing. The pickup is not as narrow but still offers a good rejection. I find it somewhat easier to work with – it has a good range and it’s a bit more versatile for different situations. Some people even use it outdoors and achieve great results. However, MKH 50 is about twice more expensive than SCX1-HC.

Poor Man’s Schoeps

Audix SCX1-HC happens to be one of the most affordable hypercardioids designed specifically for indoor miking. Considering the price, it has a fantastic performance and closely matches the specs of Schoeps Colette MK41. Accordingly, it is dubbed as a poor man’s Schoeps. Colette’s performance is only slightly better, yet it is three times more expensive. Among the available models, Audix SCX1-HC is the only one built in the USA. This allows to cut down on customs and other charges associated with import, so it will cost you less than imported brands. Unless you can afford Sennheiser, it should be a no brainer.

- Reviewed at $499

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Stereo vs mono

There is one thing we need to make clear about Azden SMX-30. If you were hoping for a Mid/Side stereo shotgun, this is not the one. MS shotguns exist only in professional world and are usually sextuple-hexatruple times more expensive than this little boy is… What those do is they allow capturing stereo while being directional since both capsules are carefully positioned inside the line tube. SMX-30 on the other hand combines two separate devices – traditional shotgun and X/Y stereo mic that rests on top of it. You can switch between the two but you cannot use two at a time as it’s technically impossible (and even if there was an option for superimposing the two signals, it would suffer badly from comb filtering).

Shotgun

The shotgun part uses the same capsule as the SMX-15 and it has a pretty decent performance. Both models have been released in 2016 and admittedly, they are a great step up from their predecessors. It is once again very similar to Rode VideoMic Pro R, however Azden claims the advantage in the design. VideoMic series have always been nice performers but suffered from flimsiness and felt wobbly on top of the camera. SMX-30 feels more substantial. The suspension is stiffer and more durable while still providing some good isolation. Also, it is slightly more directional while featuring shorter dimensions.

In terms of the frequency response, VideoMic is a bit more precise, it’s pretty flat while featuring just a tad of added brilliance but other than that, their specs are almost identical. Azden’s capsule sounds a bit brighter and produces more hype if you wish, however I have to admit I actually enjoy listening to this ‘hyped’ sound. In general, the frequency response is just a part of equation and it won’t tell you the whole story. The problem with DSLR is that they almost always come with sub par pre-amps, and this often results in degradation of quality, especially in terms of added noise. But, fortunately, SMX-30 turns out very quiet (even when paired with cheap cameras) and it’s quite an advantage.

Stereo mic

While shotgun is always preferable for speech, stereo mic is a nice companion for wildlife adventures. Instead of isolating particular sounds, this device captures the very background itself and makes you submerge into the action, just like when you are watching movies on your home theater. This of course won’t produce Dolby Surround sound – only stereo, but this is enough to create some impressive impact for your audience. Nevertheless, stereo mode is mostly situational so I see it only as a bonus, but the cool thing is that you can always switch on the go, without loading your bags with gear.

The first thing you’ll notice when using SMX-30 is the bright quality of a sound. It’s kind of unusual but it gives you a more dramatic stereo image. Brighter sounds are always easier to localize so I guess it makes sense. At the same time, it doesn’t sound harsh to my ears. The distortion is almost non-existent even if it suddenly captures something very loud. I anticipated a higher self-noise in stereo mode but Azden again surprised me with silence. Overall, I find it impressive and also comparable to more expensive mics.

Features

Azden SMX-30 provides all you need from a DSLR mic. There you have a 20 dB boost, which is crucial for a quality sound. High pass allows reducing low frequency noise and can compensate for proximity when up close. I must note that it’s rather gentle here and some may find it lacking but at least it’s safe to have it on for the vocals. The mic is powered by 2xAA batteries that will last for at least 24 hours. That’s certainly less than Rode while consuming more raw power but this power is not being wasted. They have made a very low impedance output circuit that takes more power but results in significant noise reduction for cameras and portable recorders.

Overall

Despite some of the disadvantages, I pretty much enjoy using this mic. Without asking for premium, it combines a decent shotgun for directional audio and a decent stereo mic for surround. At the same time, it’s quite compact and much less flimsier than Rode, so I can just throw it in the bag and forget about it. Good audio quality and excellent noise levels pay out when plugging directly into the camera. So far, nothing I would really complain about. For those who want a quick and easy, all around DSLR solution, I would certainly recommend this microphone.

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