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Microphone • others • Type: On-camera • Transducer principle: Condenser • Pickup pattern: Hypercardioid, shotgun • Frequency range: 40 Hz - 20 kHz • Max. SPL: 134 dB • Features: Ideal for film/TV/video • Including: Windscreen • The Rode VideoMic Pro is a professional grade super-cardioid shotgun microphone designed specifically for use with high-quality Digital Video Cameras. The Rode VideoMic Pro improves the prvious VideoMic with lower noise transference by using a new shock mounting system and a lightweight premium microphone cable. The Rode VideoMic Pro compact shotgun microphone exhibits low 20 dB SPL A - weighted noise and an unusually wide 40Hz-20kHz frequency bandwidth for its size. The VideoMic Pro is ultra lightweight, weight 3 ounces, and compact yet rugged due to ABS construction. The Rode VideoMic Pro is powered by a standard 9 Volt battery and offers a bi-colour Low Battery LED status indicator and a switchable 80Hz high pass filter to reduce unwanted low frequency rumble. The Rode VideoMic Pro shotgun mic features a three position input level control with -10dB, 0db and +20dB settings. The Rode VideoMic Pro compact shotgun microphone attaches to any Camcorder that has the standard camera shoe mount with 3/8" thread and utilizes a 3.5mm stereo mini-jack dual mono audio output. The Rode VideoMic Pro compact shotgun microphone operates on a standard 9V battery. Use either Alkaline or Lithium batteries for the longest continuous operating time. The Rode VideoMic Pro compact shotgun microphone will run continuously for over 70 hours with a good quality Alkaline battery. Shotgun microphones are characterized by an extremely directional polar pattern. In the case of the Rode VideoMic Pro, a tight super-cardiod pattern. Shotgun microphones are typically constructed with a long tube protruding from the mic's front. This tube has a series of holes or slots along the side, which act as a phase canceling device for sounds coming from the rear of the microphone. Sounds coming from directly in front of the mic enter each of the holes or slots in succession and therefore add in phase by the time they reach the microphone diaphragm. Sounds from the rear enter in reverse order and thus are out of phase when they reach the diaphragm, resulting in little or no output. The longer the tube the more directional the shotgun microphone becomes.
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