This is a brief explanation of some of the most commonly used shotgun microphones for film & video production. For details of each specific model, you can click on the link and go to the manufacturer’s respective website. However, I felt that it would be very useful to organize these microphones by their application, rather than by brand or by price, in order to help you understand the right mic for the right situation.
Note that both Audio Technica and Sennheiser offer microphones of similar characteristics. I like to think of them as Lexus compared to BMW – both are great cars, just that one is Japanese and the other is German. Sennheiser has been around longer and is the “CocaCola” of shotgun microphones to which everything else is compared. But Sennheiser is also considerably more expensive, and may or may not be the best sounding or most practical mic to use (of course, that is a matter of opinion, and there are those out there who would argue the merits of either brand, or dislike them both and opt for Sanken, Neumann, Schoeps, or one of the other exotic choices).
More Rental houses offer Sennheiser than Audio Technica; however Audio Technica is far less expensive to purchase. I believe that the sound quality of either brand is excellent, and seriously doubt that one could tell them apart by listening to the soundtrack.
Personally, I really like Audio Technica because of their affordability, ruggedness, low handling noise, and great factory support. Not to hide anything, I do confess that I am one of their Instructor/Consultants – but I was a loyal end user years before I ever presented a seminar on their behalf.
The Audio Technica prefix for their microphones is sometimes “AT” as in Audio Technica, or “BP” as in Broadcast Production. The BP series are more recent, as are the result of the RoHS Compliant regulations regarding “green” electronics manufacturing. Audio quality appears about the same; although many of the BP series mics offer a minus 10dB attenuator switch in addition to the low cut switch. I own both types in my kit, and use them interchangeably.
The Audio Technica mics are 21mm in diameter; and the MKH40,50,60,70 are 25mm in diameter, but with a flat side near the base – so shockmounts and windscreens are not usually interchangeable between brands.
Condenser Cardioid “wide angle” mics for interior dialogue w. echo reduction
Overhead “boom mics” for tight interiors where echo is a problem, such as bathrooms, kitchens, small offices, foyers, etc... These are what might be considered as wide angle, short overhead reach (not much more than two feet) interior problem solvers.
Being wider angle than traditional shotguns, these mics could pick up a lot more side noise – but generally side noise is not our primary issue indoors. Echo and reverb are! These microphones, when deployed around 18 inches to two feet above the head, yield extremely mellow dialogue and tend to minimize room echo. However, the quality of these microphones is greatly compromised when deployed at greater distances than two feet, as their limited reach and wider pickup patterns result in a more dilute mix of dialogue vs. room ambiance.
Audio Technica
AT4051 or BP4051 condenser 48v capsule system (cardioid head). Very mellow, smooth response literally reduces audible echo. Very low handling noise; great to use on a boompole. Built-in low cut filter. Ideal for tight 2-shots. Moderate working reach around 1.5 to 2.5 feet overhead.
AT4053 mic (or AT4053-ele companion capsule for the 4051) provides a slightly tighter hypercardioid pattern, well suited for isolating a single actor where noise and echo are problems. Sometimes used as a plant mic.
AT4041 condenser 48v cardioid is very close in performance to the AT4051, but is priced a couple hundred dollars less. If you can’t have a 4051 in your kit, at least have one of these!
AT3031 condenser 48v cardioid. Very affordable low-echo mic for those on a strict budget.
Sennheiser
MKH40 condenser 48v cardioid. Wider angle than the MKH60 short shotgun, making it ideal for echo reduction. Excellent audio, but requires careful shockmounting to avoid boom handling noise. Built-in low cut filter. Ideal for tight 2-shots. Moderate working reach around 1.5 to 2.5 feet overhead. Best when deployed at under two feet, but under proper good acoustic conditions this mic can reach a few feet more and makes an excellent plant mic.
Senn MKH50 provides a slightly tighter hypercardioid pattern, well suited for isolating a single actor where noise and echo are problems. Also, sometimes used as a plant mic.
Very rare these days, but once in a while encountered in older facilities, are the Senn MKH406 (wide cardioid) and MKH435 (wide hypercardioid) shotguns. Unlike the newer MKH40/50 and BP4051/53, the 406 and 435 use interference tubes and are NOT flat off-axis. Strong front reach but hollow & distant off-angle response. Early versions power from 12vT (standard and red-dot “Nagra” versions). Later mics available in 48v Phantom.
Condenser short shotgun
General purpose overhead “boom mics” for soundstages, practical interiors... These condenser mics (requiring 48v or 12v external powering) offer more reach (from 2 to 6 feet overhead of actors) but with a slight to moderate increase of perceived echo for interior shots, compared to the minimal or non-existent echo of the “wide angle” mics described above. Commonly referred to as “short shotguns”, these microphones are full hypercardioids and would be described as fairly directional in pattern.
My own rule of thumb is to use the wider microphones for interior close-ups and medium close-ups, and then switch out to the short shotguns for wider shots calling for higher boom placement, from two to around six feet overhead.
Outdoors, and encased in a quality furry windscreen or zeppelin, the short shotguns can work well up to around three or four feet, all depending on the ambient noise conditions. Okay for a quickie exterior, or as a secondary mic to supplement your long shotgun.
Audio Technica
AT4073a or BP4073 condenser 48v line gradient “short shotgun”. Tight hypercardioid pattern. Flat off-axis response facilitates using mic angle to balance dialogue levels between actors. Better front reach than many of the older, interference tube short shotguns. Built-in low cut filter; and the BP series offers a -10dB pad as well. Slightly more echo than 4051, but much mellower than older short shotguns. Low handling noise; great on a boompole. Overhead working reach easily up to 6 feet, while maintaining full broadcast audio quality. Mic can also function well exteriors, though not quite as high overhead. Very similar in quality to the MKH60, but far superior to the older MKH416.
Sennheiser
MKH60 condenser 48v “short shotgun”. Flat off-axis response. Low cut filter. tighter pattern and slightly more echo than the MKH40/50, but excellent reach and audio quality. Overhead working reach easily up to 6 feet, while maintaining full broadcast audio quality. Mic can also function well exteriors, though not quite as high overhead. Very similar in sound to the BP4073, but far superior to the older MKH416. I find that the MKH60 has a tad more reach than the 4073 when used as a plant mic, but the outer casing appears more sensitive to handling noise.
Sennheiser MKH416 condenser 12vT or 48vPhantom “short shotgun”. This old workhorse was the standard of the industry for decades! Unlike the newer MKH60 and AT4073a, the 416 uses interference tubes and is NOT flat off-axis. Strong front reach but hollow & distant off-angle response. Early versions power from 12vT (standard and red-dot “Nagra” versions). Later mics are available in 48v Phantom. These mics are still available from Sennheiser, and are a popular staple in rental houses. However, they are old technology, and were superceded by the MKH60 which is much better performing and flat off-axis response.
New on the market is the Sennheiser MKH8060. It is priced higher than the ENG mic such as the K6/ME66, but somewhat lower than the MKH60 – so I am guessing that it is being touted as something in the middle. I have not had any personal experience with this mic, and there are not that many professional reviews (from people I trust) – so at this time I do not offer any opinion.
Condenser Long Shotgun
Best for exterior dialogue, sports, multi-camera audience shows, and high overhead interiors... These condenser “long shotguns” offer best reach (up to 8 or 9 feet overhead) but will increase interior echo if the room has any echo at all. Primarily used outdoors, where echo is not an issue but side background noise is.
Long shotguns are often found on multi-camera video sets, where booms are kept high out of frame to accommodate a wide angle camera. Usually, though, those sets are constructed with acoustic absorbing materials along with skewed wall angles to minimize echo.
Long shotguns should always be used with a full zeppelin when outdoors to protect against (contact) wind noise. In the event of acoustic wind noise (the sound of wind howling through the trees or the alley), the best course of action is to close mic the actor. Windscreens only protect against a gust of wind striking the microphone element directly; background noise such as howling wind or other exterior noises are not affected by windscreens.
Audio Technica
AT4071a, BP4071, BP4071L condenser 48v “long shotgun”. Very tight, ultradirectional pattern. Flat off-axis response facilitates using mic angle to balance dialogue levels between actors. Better front reach and far less echo than older, interference tube long shotguns, such as the MKH816. Built-in low cut filter; and -10dB pad on the BP4071. Slightly more echo than 4073, but still mellow enough to use indoors when needed, when long reach is paramount. Low handling noise; great on a boompole. Overhead working reach up to 8 or 9 feet, although it is always better to be closer if you can in order to maximize side rejection and emphasize the actors.
Sennheiser
MKH70 condenser 48v “long shotgun”. Flat off-axis response. Low cut filter. Tighter pattern with slightly more echo indoors than the MKH60, but excellent reach and audio quality. Overhead working reach up to 8 or 9 feet. This is the successor to the old venerable MKH816 long shotgun.
Senn MKH816 condenser 12vT or 48vPhantom “long shotgun”. This workhorse was the standard of the industry for decades! Unlike the newer MKH70 and BP4071, the 816 uses interference tubes and is NOT flat off-axis. Strong front reach but hollow & distant off-angle response. Early versions power from 12vT (standard and red-dot “Nagra” versions). Later mics available in 48v Phantom. Like the 416, these mics remain a popular staple in rental houses. However, they are old technology, and were superceded by the MKH70 which is much better performing and flat off-axis response.
ENG Shotgun Mics for broadcast news, docu, corporate, and film schools...
Another name for electret condenser mics that operate from nominal voltage of only a few volts. They can utilize either an internal battery (such as AA), or external phantom power -- only for convenience. Not as much audio quality as condenser mics, but more rugged and far less expensive. If you are on a limited budget or your students are rough on equipment, this would be where to start.
Sound quality is nowhere near as smooth as from the real condenser microphones described previously, and they only exhibit a fraction of the usable reach of the condensers. However, being powered from an internal AA battery can be very convenient when working with less professional camcorders or audio devices that lack either XLR inputs or 48v Phantom powering. These mics can be used on a boompole, or even handheld closer to talent – which gives them a huge advantage over built-in camcorder or audio recorder microphones.
As long as the sound mixer pays attention to the limitations in reach and off-axis response of these medium budget mics, the average audience will probably not recognize the difference in sound quality unless they listen to a side by side comparison with the higher grade, condenser shotguns.
I keep a couple of AT897’s in my sound kit, and another one stored in my camcorder case – because they do come in handy for those times when less is better!
Audio Technica
AT897 electret condenser short shotgun. Uses internal AA battery or 48v Phantom (slightly improved performance with 48v). Excellent general purpose, interference tube shotgun mic. Good hypercardioid pattern. Lightweight, ideal for camcorders or boompole. Built-in low cut filter. Very usable “broadcast” dialogue from 1.5 to 4 feet overhead; audible but lower grade “industrial” audio from greater distances. Comparable, if not superior (my opinion), to modular systems such as the K6/ME66 costing nearly twice as much! If you cannot afford a true 48v condenser short shotgun, I believe that this is the best compromise to own.
AT835b or BP8035 electret condenser short shotgun. Uses internal AA battery or 48v Phantom (improved performance with 48v). Good (not great) general purpose shotgun mic. The AT835b was an early model, and has been superseded by the AT897 which is significantly better. The BP8035 is the very recent RoHS Compliant version of the AT835 – and I cannot fathom why Japan would even bother. They already have the 897, which is the same price range and far superior to the old 835. Tight hypercardioid pattern. Moderate echo indoors, typical of interference tube shotguns. Very low handling noise; okay to use on camcorder or boompole. Built-in low cut filter. Broadcast quality reach is from 1.5 to 3 feet overhead; ENG audio from greater distances. Very rugged construction.
AT815b or BP8015 electret condenser long shotgun. Uses internal AA battery or 48v Phantom (improved performance with 48v). Longer reach mic for exteriors, sports, and documentary. Increased echo when used indoors. Very tight ultradirectional pattern. Very low handling noise; okay to use on camcorder or boompole. Built-in low cut filter. Very rugged construction. Good companion mic to AT835b or AT897.
Sennheiser
K6/ME66 electret condenser capsule short shotgun. Uses internal AA battery or 48v Phantom (improved performance with 48v). Good general purpose shotgun mic. Tight hypercardioid pattern. Moderate echo indoors, typical of interference tube shotguns. Very low handling noise; okay to use on camcorder or boompole. Built-in low cut filter. Broadcast quality dialogue from 1.5 to 3.5 feet overhead; ENG audio from greater distances. Very rugged construction. Part of Sennheiser's K6 modular system that allows use of screw-on various capsule “mic heads” onto the K6 powering base.
K6/ME67 electret condenser long shotgun. Uses internal AA battery or 48v Phantom (improved performance with 48v). Longer reach mic for exteriors, sports, and documentary. Increased echo when used indoors. Very tight ultradirectional pattern. Built-in low cut filter. Very rugged construction.
K6/ME64 electret condenser cardioid configuration. The ME64 head is a cardioid pattern. Not enough reach for booming dialogue, but an excellent choice for handheld interview, narration, subtle sound effects, and music.
K6/ME62 electret condenser omnidirectional configuration. Excellent choice for handheld interview, narration, subtle sound effects, and music.
K3u/ME80 electret condenser capsule short shotgun. Obsolete predecessor of the improved K6/ME66 system. Slightly less reach and less quality than the ME66. Powers from a rare 5.6v battery or from Phantom power. If you find one on E-Bay… leave it there!
General purpose dynamic handheld mics...
These are very short range,with relatively low sensitivity to sound compared to condenser or electret condenser ENG mics -- but are best for handheld interviews, news reporting, narration. Not for dramatic dialogue. Since dynamic mics tend to compress loud sounds, they are excellent for recording loud crashes, explosions, gunshots.
Use omnidirectional handhelds for situations where the mic is handed off to non-professional talent or shared between interviewer and interviewee, to avoid the problems of incorrect angle. Cardioid mics need to be properly aimed towards the mouth of the person speaking; and not everyone gets it right. Beware.
Audio Technica
AT804, AT8004, BP4002 dynamic omni handheld. Good for interviews, location narration, sound effects. The AT8004L is a long handled version of the AT8004.
ATM29HE, ATM63HE, AT2010, BP4001 dynamic hypercardioid handheld. Good for interviews where background noise is a problem. Excellent narration mic. Great for “stand-up” vocal performances (music/comedy).
ElectroVoice
RE50 dynamic omni handheld. Broadcast industry favorite reporters mic for decades. Good wind suppression and internal shockmounting.
ElectroVoice RE20, Shure SM7. High quality cardioids, commonly seen as hanging studio mics for radio & TV announcers
Shure
VP64AL dynamic omni handheld. Sleek, long handled omni mic for handheld reporting & interviews.
Shure SM58 dynamic cardioid handheld. Classic silver-domed rock 'n roll favorite. Great for on-stage singers, but lacks the reach for interview work. Shure SM57 cardioid is intended for acoustic instruments, though some performers favor them for warm vocals.
This is by no means a complete list of microphones. Every professional sound mixer has his or her favorites, and all of the major manufacturers are continually improving their product lines by updating or adding new makes & models.This article is only meant as a guide and a starting point. Always remain open to experimenting with microphones, and don't always assume that old or discontinued models are unworthy. Large corporations often make their engineering decisions based on mass marketing or internal corporate politics, and many a "classic" microphone remains in hot demand by the industry's top audio engineers. On the same token, sometimes new technology is able to solve age old problems, and it is just time to move on.
Forget the spec sheets and the marketing hype. Try out a microphone under YOUR WORKING CONDITIONS on a real set, and let your ears decide what sounds good and what doesn't.
Remember these sage words:
Producers lie to save money. Directors lie out of artistic naivete. Sales clerks lie to earn commissions.
