Rode VideoMic Pro+ professional video microphone

https://www.youtube.com/watch?v=u-Z9WHCH3MA   Over the past few years the Røde range of broadcast and video microphones has won a growing following here in Hungary too. Hundreds of camera operators and event videographers have already swapped the noisy built-in microphone and mic preamp of their semi-pro, and even professional, cameras for one of the directional Videomic models, with their outstanding sound quality (in the low end as well) The range has now been joined by the Videomic Pro+, which is meant to close the gap between the Videomic Pro Rycote and professional shotgun microphones even further. The new microphone inherits every strength of the VMPR and adds a set of useful, professional features on top. The foundation is still the best sound quality in its class, the +20dB gain boost (which lets you bypass the noisy preamp stage of the camera), the high-pass filter for cutting wind noise and rumble, and the Rycote Lyre suspension for maximum mechanical isolation. And here is what is new, found only in the Videomic Pro+:

• a true shotgun capsule and body design for even better sound quality and handling,
• automatic power on/off: the microphone senses the plug-on voltage supplied by the camera, shutting down when the voltage disappears and powering up when it returns, so there is no need to switch the microphone on and off by hand any more,
• a captive battery compartment cover that can never go missing,
• new power options: the voltage the microphone needs comes from the new RØDE LB-1 lithium-ion battery supplied in the box, but the microphone can also run on standard AA batteries or from the micro USB port on the microphone,
• the LB-1 battery charges through the micro USB port of the microphone,
• the microphone cable is no longer hard-wired: the 3.5mm jack socket on the microphone takes any cable you like, and of course a short jack-to-jack cable is in the box as well,
• every function switch is now digital, so the chance of these parts failing (along with the noise they used to make when switched) has dropped dramatically,
• two high-pass filter frequencies > 150Hz and 75Hz,
• upper-mid frequency boost > in the speech range, so reports and interviews come across even more clearly,
• safety channel > the right channel output is pulled back by 10dB as a safeguard, so that even when you record in unpredictably loud surroundings you always end up with one clean, distortion-free track,
• an improved, even more effective foam windshield.