Ever watch a low-budget movie and wonder, “How did this film make the cut?” The cinematography may have been average, the story derivative but — the sound! The quality of the sound design may be the reason the film made it onto the screen. Surprisingly, many film festival programmers rate sound quality as the element they weight most heavily when looking at entries. In fact, sound in cinema can be very deceptive. Having the best microphone possible is an important element in achieving good sound.

Techniques that many films use — such as audio editing, ADR (automated dialog replacement, also known as dubbing or looping), remixing and sound sweetening — occur in post-production and can be very time-consuming as well as expensive.

Because sound plays such an important role in audience perception, it’s important to get the audio right. That means you need the right microphone for the job. Here are our picks for the best microphones for video production in several categories. At the end of the list, we’ll go over the most important factors to consider as you shop for your next mic.


The Editors’ Choice award recognizes exceptional video production equipment, software and services. These products must help videographers be more effective storytellers while being affordable, easy to use and dependable. The products must also deliver a superior user experience.


Best Wireless Digital microphone

Røde Wireless Go

STRENGTHS:

  • Compact, lightweight build
  • Up to 70m range
  • 128-bit encryption for detailed audio

WEAKNESSES:

  • Not cheap

Rode describes its Wireless GO microphone as an “ultra-compact wireless microphone system,” that features a clip-n-go design and lightweight form factor overall. It’s got plenty of features going for it, but the highlight of the Wireless GO has to be that it sits at the cross-section of usability and performance.

Not only does the GO’s transmitter and receiver weigh a paltry 31g each, but they offer what Rode calls “universal compatibility with cameras, mobile devices and computers.” On top of that, the GO features Series IV 2.4GHz digital transmission as well as 128-bit encryption and range up to 70m.

One of the main downsides to the GO is price – at $300, this is a pricey microphone system. But for those willing to spend this much, the GO is well-equipped to fulfill a wide range of use cases.

Best analog lavalier microphone

Sennheiser evolution wireless 100-p G4

STRENGTHS:

  • Broadcast quality sound
  • Build quality
  • Industry-standard

WEAKNESSES:

  • Price

The Sennheiser evolution wireless 100-p G4A series is a rugged all-in-one wireless system with high flexibility for broadcast quality sound. The system has a transmission range of up to 330 feet and 8 hours of operation time.

An update to the industry-standard evolution wireless mic system series, Sennheiser claims that the user interface of the 4th-gen ew 100-p series will allow for faster set-up and better control thanks to 12 compatible frequencies. Additionally, the ew 100-p output power goes up to 30 mW. The lighter aluminum housing of the SKM 100 G4 allows for easier use.

Included in the latest ew 100-p series offerings are a 135-p G4 Portable Handheld Set and two Portable Lavalier Sets, an ew 112-p G4 (omni), an ew 122-p G4 (cardioid). Also available is the ew 100 G4 ENG Combo Set, which offers both plug-on and bodypack transmitters with an omnidirectional ME 2-II clip-on microphone. The new systems are compatible with all previous evolution wireless systems.


Best handheld microphone

Shure SM58

STRENGTHS:

  • Rugged construction
  • Great sound quality 
  • Built-in pop filter

WEAKNESSES:

  • Optimized for vocal recording

Recently celebrating its 50th anniversary, the SM58 wired handheld mic has long been known as one of the world’s most rugged and affordable professional dynamic microphones. The SM58 is a cardioid mic with a frequency response of 50Hz to 15kHz tailored to deliver warm and clear vocal reproduction. 

Even in extreme conditions, the SM58 is designed to target the main sound source while minimizing background noise. The Shure SM58 has a built-in spherical filter to minimize wind and breath “pop” noise. It also has an internal pneumatic shock-mount system which is designed to help reduce handling noise.


Best shotgun microphone

Sennheiser MKH-416

STRENGTHS:

  • Industry-standard sound quality
  • Built to last
  • Suitable for adverse environmental conditions

WEAKNESSES:

  • Expensive

While not a small investment, the Sennheiser MKH-416 Short Shotgun Interference Tube microphone is an industry-standard that can be spotted on Hollywood sets and professional independent productions alike. The mic is responsive to frequencies between 40 and 20,000 Hz and has a hypercardioid pickup pattern that begins to narrow into a lobar pattern above 2 kHz. This particular microphone has extremely powerful directivity meaning you will always get an incredibly tight and focused recording, no matter where you’re recording.

When your work takes you outdoors, you’re bound to encounter humidity and condensation, which can cause many mics to fail. The MKH 416-P48U3’s RF condenser design makes it highly immune to moisture, allowing you to reliably capture high-quality audio in normal and adverse environmental conditions. The MKH 416-P48U3 also has a foam windscreen to reduce unwanted wind noise.

Designed specifically for film, radio and television work, the MKH-416 has a durable all-metal body ready for hard use on set or on location. It’s expensive but the MKH-416 is a quality product that you can rely on.


Best voice-over microphone

Røde NT1

STRENGTHS:

  • fresh, redesigned look
  • measures just 4.5dBA of self-noise
  • 10-year warranty

WEAKNESSES:

  • tough to record loud sources with

As Røde’s new 1-inch diaphragm condenser microphone, the NT1 offers several differences from its predecessor, the NT1-A. In fact, Røde asserts that the only shared component between the two products is their mesh grille.

The newer microphone of the bunch focuses on balanced sound that expertly blends midrange sounds, high frequencies and stellar bass. Additionally, the NT1’s transducer is suspended inside the microphone, a move that’s meant to “minimize external vibrations at the capsule level,” according to Røde.

Impressively, the NTI claims to measure just 4.5dBA of self-noise, making it an extremely quite microphone that shouldn’t add to the sounds of the environment it is in.

Best podcasting microphone

Røde Procaster

STRENGTHS

  • Voice-friendly frequency response
  • limits audio-distorting noises and sounds
  • 10-year warranty through Rode

WEAKNESSES

  • Limited by its status as an XLR mic

There should typically be at least a little skepticism whenever a company rolls out a marketing phrase like “broadcast-quality sound.” With the Røde Procaster, however, the phrasing is not just warranted, but validated. The Procaster offers a tight polar pattern and a frequency response designed specifically for voices, making it a great companion to even the deepest voices among the thousands of podcast personalities in the world today.

The Procaster also features an internal pop-filter, which is meant to keep any sounds that have the potential to distort your podcast’s audio output to a bare minimum. It’s a rather pricey piece of equipment, especially for those who have just entered the realm of podcasting. But as your listenership grows, they’ll thank you for recording with a powerful microphone like the Røde Procaster.

Best camera-top microphone

Røde VideoMic NTG

STRENGTHS:

  • Safety channel
  • Long battery life
  • Rechargeable battery

WEAKNESSES:

  • Larger than previous models

Røde’s NTG shotgun microphones are typically known for being lightweight, on-the-go microphones capable of delivering broadcast-quality audio. The VideoMic NTG offers everything that we’ve become accustomed to in the NTG series, combined with features from the VideoMic lineup.

The VideoMic NTG can be used in many different setups: on-camera with DSLRs or smartphone rigs, on a boom pole or as a USB mic for recording voiceovers, podcasts or live streaming.

This mic has a highly directional super-cardioid polar pattern and infinitely variable gain control. Users are able to adjust the mic’s output from mic level to line level to headphone level. There is also an Auto-sensing 3.5mm output that automatically switches between TRS and TRRS. It would work for both cameras (TRS) and mobile devices (TRRS). No need for adaptor cables.

The VideoMic NTG has a high-pass filter (75Hz or 150Hz), – 20dB pad, high-frequency boost, and safety channel. Additionally, the switchable safety channel records an additional channel at -20dB if the main channel just so happens to clip.

The microphone uses the Rycote Lyre shock mounting system with cable management. Also, it works with a sliding rail mount.


Best budget shotgun microphone

Audio-Technica AT8015

STRENGTHS:

  • Roll-off positions switch
  • Solid construction
  • Battery or phantom powered

WEAKNESSES:

  • Extra-long form factor

The Audio-Technica AT8015 Shotgun has proven to us it is currently the best budget microphone, offering the most features for the lowest price.

To give you an overview of this mic, the Audio-Technica AT8015 Shotgun is a line gradient condenser, phantom or battery-powered, shotgun mic. Its primary focus is to capture over long distances. It is positioned to do that thanks to its sound rejection design, rejecting sound coming from the sides and the rear. With its ability to capture sound from long distances, it can be used in a number of situations. Those working in TV broadcasts can use it to capture audio of a news reporter or interviewee. Also, those working on professional or personal video projects should be able to use this mic to capture audio clearly without having to get the mic in the shot. Its versatility at a low price is one of the reasons it is the best budget microphone out there right now.

Additionally, the AT8015 Shotgun features a roll-off position switch. What does this switch do? It reduces the pickup of low-frequency ambient noise. So, for instance, the mic will cancel out anything like traffic, room reverberation and mechanically coupled vibrations.


Best USB microphone

Samson Q9U XLR/USB

STRENGTHS:

  • Stout build quality
  • Low Cut Filter
  • Mid-presence Boost
  • Mute button
  • XLR and USB C output

WEAKNESSES:

  • Lots of handling noise
  • USB and XLR output are different sound quality

The Samson Q9U is an impressive USB microphone that all professional podcasters should consider trying out. With USB-C and XLR outputs, it’s a versatile microphone that gets the job done.

There’s a lot to like about the Samson Q9U. Its XLR and USB-C outputs allow the mic to work with both mac and windows computers via USB. You can also connect the mic with any audio interface, mixer or preamp. The Samson Q90’s low-cut and mid-presence controls also help give your voice a midrange bump while filtering out rumble. Samson also included a handy mute button that silences both the USB and the XLR outputs.

So, if you need a professional, quality USB microphone that’s ready to record no matter your setup, the Samson Q9U won’t disappoint.


Best in-line microphone preamp 

Soyuz Microphones Launcher

STRENGTHS:

  • 26db of gain
  • Robust build quality
  • Vintage tone transformer
  • Will make any dynamic sound better

WEAKNESSES:

  • It’s pricey for a single-channel

Soyuz’s Launcher is an inline mic preamp that goes between the microphone and the preamp. Since most dynamic and ribbon microphones have low output, the Launcher boosts the input to the final destination by 26 decibels. Its gain comes from its hand-wound transformer and has an analog tone. This gives the mic a unique, desirable tone. With the improvements to the input gain, the Launcher will lower the signal-to-noise ratio of the destination preamp.

While on the pricey side, the Soyuz Microphones Launcher can give more gain to dynamic microphones and improve the resulting sound quality.


Factors we considered

The best microphone is the right one for your shooting situation. To get a better idea of how to choose the right mic, let’s take a look at some key specs.

Form factor

The first thing you’ll need to consider is form factor. There are several basic types of microphones you can use in production.

Handheld microphones

Whether wired or wireless, handheld microphones are held by an interviewer or talent. They’re great for getting run-and-gun interviews in noisy environments where you don’t have the time for a lavalier. Handheld mics can also be used on a stand to pick-up audio from a subject who will not be moving around. Handheld mics can deliver a very rich full sound. However, if you don’t want your microphone in your shot, a lav or shotgun mic would be a better option.

Lavalier

This tiny microphone clips to a lapel or shirt, or it can be completely concealed under the talents’ clothing. Lav mics come in both wired and wireless forms. Lav mics can be helpful at times in blocking outside noise because of their close placement to the sound source; however, the noise created by your subject’s clothing moving around while wearing a lav can make the audio captured by the microphone unusable. Lavalier mics typically don’t produce as rich of a sound as handheld or shotgun mics. If it’s possible, use a shotgun mic instead of or in addition to the lav.

Shotgun mic

This long, thin type of microphone mounts to a stand, boom pole or your camera rig. Shotgun mics can be placed much further away from your subject than lavs or handheld mics, while still doing a good job at rejecting outside noise. Shotgun mics are sensitive to handling noise, however, which can make using one mounted to a camera rig, or even on a boom pole, challenging.

Microphones in post-production

Microphones used for ADR or narration vary from handheld mics to large condenser mics. While many have XLR outs to connect with pro audio gear, many are now being built to connect directly to computers via USB. Foley — the background sounds in film and TV productions — is often recorded with a large variety of mics depending on many variables, including whether the recording is in a studio or outside and what the desired sound is.

Need-to-know tech specs

This is a quick and dirty breakdown. It’s important to note that audio recording is an art unto itself, similar to cinematography. Many chapters of many books have been written about types of microphones, construction of mics and their pickup patterns.

Condenser vs. dynamic mics

The design of a microphone element or capsule will affect how the mic performs. There are many types of microphone elements; however, due to cost, durability and function, there are only two that should be considered for production and post: condenser and dynamic.

In the most basic sense, condenser microphones use electrical current to power a series of plates that vibrate when sound waves hit them. The obvious con to this type of microphone is that it needs power at all times in order to work. Pro audio systems use phantom power to send power down the microphone cable to condenser mics without interfering with the audio signal. Otherwise, the mic will need a battery.

Condenser mics can be very sensitive, allowing them to pick up audio from a distance. A good example of this use is shotgun microphones. This same sensitivity can result in a condenser mic picking up a lot of extra wind noise and background noise. That’s why a good windscreen is also a vital accessory for your shotgun mic. It’s also important to note that condenser mics can be a bit delicate.

Dynamic microphones are the most rugged mics available.

Dynamic microphones use an electromagnetic coil and diaphragm. While that may sound a lot more delicate than a condenser, it’s not. Dynamic microphones are the most rugged mics available. They do have a limited sensitivity, which actually is not always a downside; however, dynamic microphones don’t usually have as tight of a polar pattern as many condenser mics have.

Polar patterns

Polar patterns, also commonly known as pickup patterns, are the areas that a microphone will be sensitive to sound. The common polar patterns used in production recording mics are omnidirectional, cardioid, hypercardioid, supercardioid and line. Some microphones can even switch between polar patterns.

An omnidirectional mic has a polar pattern that is round in shape, while a cardioid polar pattern is heart shaped. The line polar pattern used for shotgun mics is almost completely in front of the mic and very directional. This helps explain the shotgun’s rejection of noise along the sides of the mic and its popularity for use on film shoots.

Lav and handheld mics commonly use cardioid and hypercardioid patterns. They offer a good balance between wide pick up and rejection of outside noise.

Frequency response

Perhaps the most overlooked element when shopping for a new microphone is frequency response. This is a measurement of the audio frequencies a microphone is most sensitive to. This is usually expressed in Hertz (Hz). Each model will have a different frequency response, so you’ll need to know how you plan to use it. For example, if you record only spoken word, you only need a microphone that has good reproduction down to around 75Hz. Most people’s voices when speaking are not any lower than that. On the other hand, many audio engineers feel that accurate reproduction of up to and in excess of 15,000Hz (15kHz) is important for good intelligibility and a feeling of clarity of the spoken word.

Wireless vs. wired

As a rule, wired microphones are more reliable than wireless; wireless always runs the risk of having radio frequency interference. There are new wireless systems that help eliminate many of those interference issues, making the difference more about money. Wireless systems are typically much more expensive.

Adjusting to the situation

The right mic for the job may be using more than one microphone. For instance, say you’re doing an interview on the sideline of a football game using a handheld mic. You can hear the subject holding the mic but not the crowd behind him. If you see the crowd making a lot of noise behind the subject of the interview but can’t hear the crowd making noise, it’s going to be rather awkward for viewers. In this case, record from a pair of microphones. You can use the built-in mic on your camera to pick up the crowd while the handheld mic picks up your subject. This gives you the ambient sound of your location without overpowering the track from your subject in your mix.

The right mic is only half the job.

Once you’ve determined the right mic(s) for a job, you’ll need to focus on microphone placement. Sound experts have written entire books on microphone placement for recording. Taking the time to learn mic placement techniques will likely improve your audio more than better gear.

Final thoughts

Many microphones require accessories such as a windscreen, pop filter, zeppelin, shock mount or even a boom pole. Purchase them with your mic so you don’t find yourself facing an overnight shipping situation. Remember also that proper placement of your new microphone can make a huge difference.

Don’t settle for acceptable audio when you can have sensational sound.

Contributors to this article include W. H. Bourne and the Videomaker Editorial Staff.

Disagree with our picks? Think we missed something great? Tell us about it in the forums.