it was poorly packed from the inside of the box to it rolling around freely in the mic bag. Dont know why it doesnt work but it ruined this christmas present.

With a ten year warranty, I was praying it wouldn't fall apart after I crossed the 10-year mark, but here we are. One of the best mics I've owned. Great for dialogue and sound effects. Versatile and priced fairly.

Ladies and Gentlemen of the Media, welcome to a mic that punches well above it's weight.
Not that it ain't got any meat on it's bone.
This Shotgun condenser is up there with the Sennheiser, but at a fraction of the cost. (half the price)
As a pro Voice Over talent I'm always looking for a mic in my locker that will cut through the mix and shine.
It can get a little muddy down low especially on a deep bass voice like mine, however that's easy to EQ out by dropping 3 db at 100 hz and flatlining the rest of the band at 0 db and normalizing.
I'm using this on all types of reads in my Sound Proof Booth to great effect and my clients love it.
Plus it comes in a cool aluminium storage cylinder for easy, safe, dry transporting.
The NTG3 has an amazingly low self noise (as do most Rode mics I've bought a few over the years), which also makes it easy to edit breaths and mouth clicks on my TwistedWave DAW.
I've come back to it again recently since upgrading my audio interface from a Focusrite Scarlett 2i4 to a PreSonus Studio 2/6 and it's XMAX pre amps are loving this mic.
Do yourself a favour and try one out, it's a great investment for your business, plus you can use it for film work outside (even foley).
It already comes with it's own pop guard which makes it easy to see your scripts, but also make sure to buy the Rycote suspension mount to smooth out any studio movement.
Built like a tank in Sydney, Australia it's a winner.

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While this microphone is marketed more towards the film and video industry, it makes an AMAZING voiceover mic. One might wonder why you'd want a shotgun mic for voiceover work as opposed to something like the NT1a or a larger condenser microphone, but shotgun mics just have a way of "cutting through the mix" and placing your vocals right up front. It's often referred to as the "poor mans" Sennheiser MKH-416 which is considered the "Hollywood Mic" and is used on almost ALL of the movie trailers you here. That may be a fair comparison, but for my money I can't tell a $400 difference in the two mics. The mic sounds great without any EQ or compression (you will need phantom power on your pre-amp) but run this thing into an Aphex 230 Master Voice Channel (discontinued) and it's AMAZING!

With the NTG-3, Rode has done something spectacular: made a formidable opponent to the Sennheiser 416 at about half the price! The folks down in Australia have proven their talent in mic design with gems like the NT1-A, and this mic is no exception.

I ran for years with a 416 (one of the industry standards for short shotguns) and, while it is still a great shotgun, it has been out of reach for many folks because of the price yet unmatched in performance by anything under $1000.

The NTG-3 hit the mark for performance. It's a very close match to the 416, and has both amazing sound and off-axis rejection. For indie film makers, sound engineers on a tight budget, or anyone else that wants a great short shotgun mic for on-came dialog (or anything else), the NTG-3 is definitely one to consider heavily.

Nice, warm, rich sound. Hot output. And the RF-bias design is invaluable. This mic will be your best friend in the field, and even in the VO booth.

The packaging is also note-worthy, as the mic comes with the standard zippered pouch, but also encased snugly in a padded aluminum tube for ultimate protection in storage/transport.

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