In my opinion the ME66 doesn't sound very good indoors ('cheap' shotguns usually sound terrible indoors). It also doesn't sound very good if you don't aim it well.

The AT835b falls in the cheap shotgun category too. This is not to insult these microphones, but expensive mics like the Sennheiser 416 are on another level. Indoors, they don't sound as bad as the cheaper stuff.

With shotguns, they have that weird 'shotgun sound' indoors. You don't get this outdoors.

2- The Sony MS907 / 908 is not bad if you need to record ambience. It can work with a minidisc recorder (although do some research on how to do digital uploads; the hiMDs may be the best bet). Also works straight into the camera.

Some other Sony mics like the 930c is a total lemon.

Shotgun mikes are meant to be used closer not further. A lot of people get that confused. If you are using the onboard camera mike and are looking for a first external mike I don't know of anyone who is not happy with the Audio Technica AT822 stereo mike. It is around $250 and is the best all purpose microphone for camera work. It comes with every kind of adapter except one to attach it to a mixer and that can be easily made (I'll give you the directions if you want).
For live shoots I also use three Rode NT3 mics. They were around $150 when I bought them, but I think they raised the price. They, like the AT822 can be battery operated. I use all four mikes with a Behringer MXB1002 portable stereo mixer. The AT822 gets plugged into two mic inputs with my special adapter and the Rodes into the other three. Covers a full stage.
In terms of BRANDS, Audio Technica and Rode (IMO) offer the best value for quality products.

John

"Shotgun mikes are meant to be used closer not further. A lot of people get that confused. "

Craftech, you simply rule !
Hats off.

With ALL the mics you can find, in fact, the closer the better.
The pattern is usefull to control what you want in and out of the recorded track.

Maybe an exception: the Sanken CS-3e. Can be used to save the shot in certain cases. It's a mic they tailored with the less proximity effect they could have, resulting in a shotgun mic that really keeps the low frequencies on, even 50 feet away from the kattle... more and more soundguys have this one in their kits. Not the warmest sound around (like Neumanns or Schoeps). A little dry, but really efficient. (farss will LOVE this one, hahaha! ; ) )
And not so expensive for what it does.

We've got the Sanken CSS-5, a truly remakable microphone.
But here's the problem. I'm about the only guy to use it. You give a client a choice between it and a ME66 and they'll take the ME66 every time. When it come to audio, videographers are very conservative, they'll spend half an hour worrying about what tape stock to record on and when it comes to a mic it's "Give me one of those furry things we can stick on a pole".
Bob.

The ME-66 has successfully fulfilled its design objective, to help interviewee voices cut through in newsgathering.

That is what is behind its harsh sound, which helps intelligibility under difficult conditions.

The sound of any mic will be affected by the choice of mic pre quite a bit, but I have never found a mic pre that can make the ME66 sound pleasant for drama or non-ENG interviews.

I have a decent toolbox of different microphones for different uses, including an AT822 that I have been using since about when it came out, and a Sanken CS-3e that can be a real lifesaver.

Both of those mikes have a very pleasant sound and are worth their price.

I've listened to the Rode VideoMic and thought it was way better than anything even near the price of it.

Carbon fiber boom poles ARE nice when somebody has to hold them up for a while. Very pricey, unless you make one yourself by converting a carbon fiber fishing pole.

I bought mine with the CS-3e and was lucky to get a very good carbon fiber boompole with inner coiled cable for just over $400.

The ME-66 IS harsh and, really, easily clips compared to the now "old" 416 that will cost you a few more bucks.
And its physical insulation is waaaaay less forgiving. Plug these two mics and manipulate them... you *so much* will notice.

Then, there's the MKH series.

And the Neumann KMR81.

And ...

The ME-66 big advantage is its price and versatility. Yes, it's a very nice package, considering you can swap capsules and get different patterns (even a lavallier) . From this point of view, this is a good mic to buy.
I see Rode just released a new line of shotgun mics for field recording. Haven't got feedback so far but I'd be interested to know about these mics.

I also like the Rode Videomic. Besides you have to like a company when the part number for the optional wind screen is "DEADCAT".

Larry

I've used everything from a Neumann U87 and a Rode NTK (in studio applications), or a Audio Technica AT3035 (on site indoors), to a Audio Technica AT315b (my choice for shotgun applications) or a Audio Technica Lav mic. They all have certain strengths for certain applications, and all have worked for me flawlessly.

My advice is to divervisfy your mic arsenal for the various applications you think you'll encounter.

Just my 2 cents

The ME-66 has successfully fulfilled its design objective, to help interviewee voices cut through in newsgathering.

In my opinion, the ME66 sometimes gives less intelligible sound than the DVX100's on-board microphones. It just sounds... thick for some reason (i.e. low detail).
http://www.dvinfo.net/conf/showthread.php?t=56080

The ME66 has better rejection, so that helps in noisy situations.

2- To me, it seems like a better choice would be a hypercardioid microphone. Off-axis response would be great (unlike shotguns, which are terrible in this regard) so the sound doesn't turn bad if aim is a little off. They will sound better indoors. And outdoors, you are only missing a little bit of extra rejection.

3- On dvfreelancer.com, there's clips comparing the Audio technica 4073a to the ME66. To me, the AT4073a is on another level and well worth the extra price. So if you do have to go with a shotgun, the AT4073 is better.

There's also a clip comparing the Oktava MC012 (MK012?) to the ME66 indoors. The Oktava sounds better to my ears.

I appreciate everyone's feedback. I have to admit I originally was thinking that I would use a shotgun mic to help capture ambient sound, but that may not be the case.

I agree that with time, there is a need to have a collection of mics to fit all occassions. Its hard though in the short term to drop a few hundred dollars on a mic and only use it once or twice a year.

I think I will try the Rode Video Mic and see what it has to offer to the productions I create and expand from there.

Thanks again

I received my Rode Video Mic and very pleased with it. This mic provides very good performance and its price is very fair. If you are looking for a on-camera microphone then this is surely a model to be considered.

Chad