What are the current good buys in supplemental microphones?

I have a TASCAM recorder which works but is too fussy to operate with my mirrorless video functions. I have been

looking at a Sennheiser MKE 400, and a Senal Stereo and even a Rode, all in the two hundred dollar range which is

enough for my experiments in home video. I am recording voices and rain and bird sounds and not music and not concerned with hi fidelity and super noiseless reproduction frankly.. From what I have researched, the big design goal is to get a shock

mount that will work but not break easily. I have never used a shock mount but I imagine a pro one is a pricey

piece of gear and elastic bands are still elastic bands or expendable. Any experience here.. Sennheiser has a

reliable name it is true,but the company is known by me for headphones and cartridges mostly. Ad says metal construction on the MKE 400 yet users decry the mount for breaking easily...might be worth a shot in any event.. Mild field usage wise.. I do not seek to add sound in post production,not yet but maybe later on , yet I can see the value in isolation of the mic from the camera to avoid screeching sounds when handling the lens etc.

Your experience or thoughts?

 

The Sennheiser looks pretty good here:

 

http://en-us.sennheiser.com/shot-gun-microphone-cameras-video-recordings-mke-400

<p>Frankly, I find all of the Rode, Sennheiser, Audio-Technica, and Azden mics in that general price range to be more or less interchangeable. There are ergonomic differences, but until you spend a lot (hundreds, at least) more on one, we're truly splitting hairs. A good cardioid pattern will help to eliminate self-noise from the camera, but you're almost guaranteed to get some of that no matter what you do if the mic is in the hot shoe. Most shockmounts will hold up well to thoughtful handling by a non-newbie user. You've been around the block and understand how to be reasonable with equipment - that immediately removes any concerns I'd have about how the mounts from any of those manufacturers would hold up.</p>

<p>Which Tascam are you using? I'm curious because I'm about to get the <a href="http://tascam.com/product/tm-2x/">Tascam TM-2X</a>. Is this what you're currently using? I like that it has x/y configuration and it has a removable neck to extend the mic over the lens more.</p>

I am using a separate self contained DR 40 TASCAM PCM recorder with a SESCOM attentuation cord and headphone tap. It was not designed for on camera mounting, but another member here suggested it was a decent item. It is and was on sale for $120.00, a great price IMO, so yes it works and has some values in the overall picture,like adding supplemental ambient sounds. But I dislike it..it is too complicated in its controls for a non audio buff. Which is me. I now want a mic with an on-off capability and maybe one or two options. I am looking clower at the Sennheiser or the Senal from B and H. Thanks, Matt, for your thoughts. I am indeed a gentle user.. Not willing to spend much for my type of video play. The TM-2X looks OK, Rich, but it has no power supply and that would put me off to use the camera batteries with phantom power, and it as no isolation I can see, but it is a nice price got to say. Do let us know how it works out in the real world. Probably would be better than onboard stereo..

My DR 40 adapted for a camera bracket and cable to camera input...with the old GH 2, I now have a newer model, the OMD EM-1 which like all could use a better mic input. I think, that is...will fool around or play with the shoe style microphone.. I hasten to add that the DR 40 and Zoom mics do not have to be placed on a stalk but can be mounted direct to the shoe, with attendant unwanted noise from camera and camera handling... I will likely go for either Sennheiser or the Senal, both look very much alike and I expect their electrical audio characerisitcs are similar. Not much interest from forum land in this topic here or other locations, it appears. Audio is more a specialty item where photgraphers are just not all clued in. Look at cinema, where audio is a specialty. A passing thought, could be wrong. Audio has its own language and science I mean. With my budget putting myself in the popsicle class..

 

Meaning they are all as Matt says about the same. Same shop in Hong Kong, with different stick on labels? Just kidding...<div>[ATTACH=full]1156692[/ATTACH]</div>

<p>I highly recommend the Rode Stereo Pro; I call it my little black tennis ball. Had it for about 3 years, and I use it a bunch of different ways--including putting it on a boom stand, balancing the feed with their nifty mini to xlr adaptor, and running 30 ft. of xlr cord back to my Sony EX3. Killer job of picking up 3 seated interview subjects.<br>

I use it with a Sennheiser snap-on transmitter to mic the stage for dramatic plays.<br>

For a dslr, it's got the got the right plug (stereo mini), it's self-powered (9v), has a low-cut filter, and a three-position output level switch. It's also decently cardioid in pattern, but yeah, if it's in the hotshoe, it picks up lens movement noise--or heavy breathing--but not bad. They also have a short mini to mini extention cord to move a bit away if you've got a rig.<br>

I own about thirty different mics, and the Rode's my favorite. It's not cheap, but you get what you pay for. <br>

And no, I don't own stock. I do, however, do a fairly decent Aussie accent...</p>

<p> </p>