Boom Poles and Shock Mounts: A Beginner's Guide

A great microphone does not help very much if you cannot put it in the right place.

In production sound, one of the best ways to capture clean dialogue is to get the microphone as close to the actor as possible while keeping the microphone outside of the camera frame. This is the job of the boom pole.

A boom pole is an extendable pole that allows a boom operator to position a microphone above, below, or beside an actor while standing farther away from the action. At the end of that boom pole is usually a shock mount, which holds the microphone while isolating it from vibrations and movement traveling through the pole.

Together, the boom pole and shock mount allow you to position the microphone where it sounds best without introducing unnecessary handling noise into the recording.

What Is a Boom Pole?

A boom pole is essentially a lightweight telescoping pole designed specifically for holding microphones.

Boom poles are made from several sections that extend outward and lock into position. This lets the boom operator adjust the length of the pole depending on the shot.

For a close-up, you might only need a few feet of boom pole. For a wide shot, you may need to extend the pole considerably farther so you can stay outside of the camera frame while still getting the microphone close to the actor.

Unlike a regular pole or stand, a professional boom pole needs to be lightweight, rigid, quiet, and easy to extend because the boom operator may need to hold and move it for hours at a time.

Why Use a Boom Pole?

The main purpose of the boom pole is microphone placement.

As we discussed in the previous articles, getting the microphone closer to the actor improves the relationship between the dialogue you want to record and the unwanted sound around it.

Imagine trying to record an actor from fifteen feet away. Even with an expensive shotgun microphone, you may hear:

• Room ambience
• Air conditioning
• Traffic
• Other actors
• Reflections from walls

and other unwanted sound along with the dialogue. Now move that microphone two feet above the actor's mouth. The actor's voice reaches the microphone much more strongly compared with the surrounding sounds.

The boom pole gives you a way to accomplish this without putting the microphone inside the camera frame.

Boom Placement

A boom microphone is commonly positioned above an actor and pointed down toward their mouth or chest. However, the microphone does not always have to come from above — sometimes it may sound better or be more practical to boom from below.

The position will depend on the camera framing, lighting, environment, actor movement, microphone being used, and the acoustics of the location. The important principle is: get the microphone as close to the desired sound source as reasonably possible without entering the camera frame.

You are not simply trying to point a shotgun microphone toward the actor from somewhere far away. You are physically moving the microphone closer to the sound.

Boom Pole Length

Boom poles are available in many different lengths. Personally, I own several K-Tek boom poles:

• One 9-foot boom pole
• Three 12-foot boom poles
• One 16-foot boom pole
• And a 7-foot travel boom pole

I find the 12-foot size particularly useful because it gives me enough reach for most production situations without becoming unnecessarily long and difficult to handle.

A shorter pole can be useful for interviews, interiors, small rooms, and tighter shots where you can remain close to the actors. A longer pole becomes useful for wide shots or situations where the boom operator needs to remain considerably farther away. A short travel boom pole is good for throwing in a suitcase.

There is no single boom-pole length that works perfectly for every production. That is why, as your kit grows, having several lengths can be useful.

Longer Is Not Always Better

It might seem like buying the longest boom pole possible would be the best choice. After all, a longer pole gives you more reach. But additional length also creates additional problems — the farther the microphone is extended away from you, the harder it becomes to control. A longer boom pole can be:

• Heavier
• More difficult to balance
• More tiring to hold
• More susceptible to movement
• More difficult to use in small spaces

The weight of the microphone and wind protection also becomes more noticeable when that weight is several feet away from your hands.

The goal is therefore not to use the longest pole possible. The goal is to use enough boom pole for the shot. If a 9-foot pole gives you the reach you need, there is little advantage to struggling with sixteen feet of boom pole.

Carbon Fiber vs. Aluminum Boom Poles

Boom poles are commonly made from either aluminum or carbon fiber.

Aluminum boom poles tend to be less expensive and can be a perfectly reasonable way to begin. Their main disadvantage is weight — that difference may not seem significant when you pick up the pole for a few seconds, but it becomes much more noticeable when you are holding the microphone above actors for long periods of time.

Carbon-fiber boom poles are generally lighter while remaining relatively rigid. For professional production work, reducing weight can make a significant difference over the course of a long shooting day.

I personally use K-Tek boom poles. K-Tek currently manufactures both aluminum and carbon/graphite boom-pole options, including cabled and uncabled configurations.

The Boom Pole Locks

A telescoping boom pole needs some way to lock each section in position. Typically, you loosen a locking collar, extend or retract that section of the boom, and tighten the collar again.

Good locks are more important than they may initially seem. On set, you may need to quickly change the length of the boom between shots. You want the sections to move smoothly when unlocked but remain securely in place when tightened.

If a lock slips, the pole can slowly collapse while you are booming. If a lock is difficult to operate, making small adjustments can become unnecessarily frustrating. This is one of those features that is difficult to appreciate until you have spent an entire day repeatedly extending and collapsing a boom pole.

What Attaches to the End of the Boom Pole?

The microphone usually does not attach directly to the boom pole. Instead, the boom pole connects to a shock mount, and the microphone sits inside the shock mount. The basic setup is:

Boom Pole → Shock Mount → Microphone

Most professional boom equipment uses a 3/8-inch threaded connection between the boom pole and microphone suspension. This is worth knowing because not every microphone accessory uses the same thread — traditional American microphone stands, for example, commonly use a larger 5/8-inch thread.

Adapters are available, but knowing what thread your equipment uses prevents the frustrating experience of arriving with two pieces of equipment that cannot physically attach to each other. The Rycote INV-7HG MkIII, for example, uses a 3/8-inch female mounting thread and can also be adapted for a 5/8-inch stand.

What Is a Shock Mount?

A shock mount is a suspension system that holds the microphone while reducing the amount of vibration transferred from the boom pole into the microphone.

Microphones are sensitive. They do not only hear actors speaking — they can also pick up vibrations traveling physically through the equipment holding them. Imagine gripping the boom pole and slightly repositioning your hand. That movement can create vibration in the pole. Without proper isolation, the vibration can travel:

Hand → Boom Pole → Microphone → Recording

What seems like a tiny movement to you can become a noticeable thump, rumble, or handling noise in the recording. The shock mount interrupts that path.

How a Shock Mount Works

Instead of rigidly attaching the microphone directly to the boom pole, a shock mount suspends the microphone using flexible materials. Those flexible components absorb and isolate movement before it reaches the microphone.

Without a shock mount:

Boom Operator Movement → Boom Pole → Microphone → Unwanted Noise

With a shock mount:

Boom Operator Movement → Boom Pole → Shock Mount → Reduced Vibration → Microphone

The shock mount cannot eliminate every possible movement, but it can greatly reduce the amount of physical handling noise that reaches the microphone.

The Rycote INV-7HG MkIII

I own several shock mounts, but the one I probably use most often is the Rycote InVision INV-7HG MkIII. It is a relatively simple suspension that works well for many of the shotgun microphones I use.

The INV-7HG MkIII uses Rycote's Duo-Lyre suspension and is designed for microphones approximately 19–34 mm in diameter. Rycote specifically designed the HG version to provide additional support for microphones using slip-on wind protection such as Softies, which can make the front of the microphone heavier.

That additional support is useful in production because a microphone often has more attached to it than just the microphone itself. Once you add wind protection, the balance and weight of the microphone assembly changes. A good shock mount needs to support that additional weight while still isolating the microphone from the boom pole.

Why the Correct Shock Mount Matters

Not every shock mount is appropriate for every microphone. Microphones have different:

• Diameters
• Lengths
• Weights
• Centers of gravity

A suspension that works perfectly with one microphone may be too loose, too stiff, or poorly balanced with another. The amount of wind protection being used also matters — a bare microphone with a small foam windscreen weighs considerably less than the same microphone fitted with heavier outdoor wind protection.

If the suspension is too soft for the microphone, the microphone may bounce excessively. If it is too stiff, it may not provide enough isolation from handling noise. The goal is to find a suspension appropriate for the weight and dimensions of the microphone setup you are actually using.

Rycote, for example, differentiates the standard INV-7 from the INV-7HG MkIII partly on this basis: the HG model uses a stiffer suspension intended to better support front-heavy microphones and slip-on wind protection.

The Shock Mount Is Part of Microphone Placement

It is easy to think of the shock mount as an accessory that simply keeps the microphone attached to the boom pole. Its job is more important than that.

Remember that the microphone needs to be moved. Actors walk. Cameras change positions. The boom operator moves the microphone between actors. The pole extends and retracts. The operator changes hand positions. All of these actions create movement.

The shock mount allows us to make those movements while minimizing the mechanical noise transferred into the microphone. A professional boom setup therefore needs both good microphone placement and good mechanical isolation.

Internal vs. External XLR Cables

Once the microphone is attached to the boom pole, its audio still needs to reach the mixer/recorder. One option is to run an XLR cable externally along the boom pole, wrapped around the outside from the microphone down toward the boom operator.

This works, but it can become inconvenient. Every time the boom pole is extended or collapsed, the cable needs to accommodate that change in length. The cable can also move against the boom pole, pull on the shock mount, or create additional handling noise if it is not managed correctly.

Another option is a boom pole with an internal coiled XLR cable.

Internally Cabled Boom Poles

With an internally cabled boom pole, the microphone cable runs through the inside of the boom pole. The cable is coiled so it can expand and contract as the boom pole changes length. The microphone connects to the cable near the top of the pole, and at the other end, another XLR connection allows you to connect the boom pole to the mixer, recorder, or wireless transmitter.

The main advantage is convenience — you can extend and collapse the boom without repeatedly rewrapping an external XLR cable around the pole, and the cable is protected inside the boom.

Internally cabled models are available with different connector arrangements; K-Tek, for example, sells cabled boom poles with both bottom-exit and side-exit configurations in portions of its range.

Bottom Exit vs. Side Exit

An internally cabled boom pole needs somewhere for the XLR connection to exit the pole. Two common designs are bottom exit and side exit. With a bottom-exit boom pole, the XLR connector comes directly out of the bottom of the pole. With a side-exit boom pole, the connector exits from the side near the bottom.

I strongly prefer a side exit.

Why I Prefer Side-Exit Boom Poles

My first boom pole had a bottom XLR exit. The pole itself still works, but I damaged multiple XLR cables over time by resting the bottom of the boom pole on the ground. With a cable plugged directly into the bottom, the weight of the boom pole puts pressure on the cable and connector whenever you set it down vertically. The connector also prevents the pole from sitting evenly on the ground.

I eventually tried using a right-angle XLR cable so the pole could sit more naturally. That helped with the angle, but it did not solve the underlying problem — there was still pressure being placed on the cable, and eventually I damaged that cable as well.

After that experience, my preference became very simple: if I am buying an internally cabled boom pole, I want a side exit.

Why the Bottom of the Boom Pole Matters

Being able to rest the boom pole on the ground may sound unimportant until you spend a long day booming. There are many moments between takes when you are still holding the boom but no longer need the microphone above an actor. Being able to place the bottom of the pole on the ground lets you support some of its weight without putting unnecessary strain on your arms and shoulders.

With a side-exit cable, you can do this without placing the XLR connector directly between the pole and the floor. It is a relatively small design feature that can make a noticeable difference in day-to-day use.

Cable Noise Can Travel Through the Shock Mount

Even with a good shock mount, cable management is important. A loose microphone cable can strike the boom pole or pull against the microphone, and those vibrations can potentially travel into the microphone and become part of the recording. This is sometimes called cable-borne noise.

A well-designed shock mount often includes some way of controlling or securing the microphone cable so movement farther down the cable does not directly pull on the microphone. Rycote specifically describes its suspension systems as providing isolation from handling and cable-borne noise. As with everything else in production sound, the entire physical path matters.

Boom Pole Technique Still Matters

A shock mount can reduce handling noise, but it cannot compensate for poor boom technique. If you constantly hit the boom pole, rapidly change hand positions, swing the microphone aggressively, or allow cables to strike the pole, some of that movement may still make its way into the recording.

Good boom operating involves learning how to move smoothly. When changing hand positions, you want to minimize unnecessary movement. When following actors, you want the microphone to move deliberately rather than swinging wildly from person to person. The better your boom technique becomes, the less work the shock mount has to do.

Weight Becomes More Important Over Time

When shopping for your first boom pole, it is easy to focus mostly on price and maximum length. Weight deserves just as much consideration.

A difference that seems insignificant when holding two boom poles in a store can become very significant after ten minutes of holding one above your head. Then imagine doing that repeatedly during a ten- or twelve-hour shooting day. You are not only supporting the boom pole — at the end of it you may also have a shotgun microphone, a shock mount, wind protection, an XLR cable, or possibly a wireless transmitter.

All of that weight is positioned several feet away from your body. This creates leverage, making the microphone end feel heavier the farther the boom is extended.

Balance Matters Too

Total weight is not the only consideration — where the weight is located matters. Imagine holding a five-pound object against your chest, then imagine holding that same five-pound object at the end of a long pole. The weight has not changed, but the effort required to support it has increased dramatically.

The same principle applies to booming. A heavy windshield or front-heavy microphone becomes more difficult to control as the boom extends. This is another reason choosing an appropriate shock mount and wind protection system matters — you are building one complete physical system, not simply attaching random accessories together.

What Should a Beginner Look for in a Boom Pole?

When buying your first boom pole, consider:

• Maximum length — will it give you enough reach for the kinds of productions you expect to work on?
• Collapsed length — will it fit in your vehicle, equipment case, or storage space?
• Weight — can you comfortably hold it for an extended period?
• Material — do you want a less expensive aluminum pole or a lighter carbon-fiber option?
• Internal cabling — do you want the convenience of an internal XLR cable?
• Cable exit — if internally cabled, does the XLR connection exit from the bottom or the side?
• Locks — can you extend, collapse, and lock the sections quickly and securely?
• Rigidity — does the pole remain controllable when fully extended?

A boom pole is a simple piece of equipment, but these details can have a major effect on how pleasant it is to use. My recommendation: a 12 foot max length aluminum boom pole with an internal cable and side-exit.

What Should a Beginner Look for in a Shock Mount?

For the shock mount, consider:

• Microphone compatibility — make sure the mount is designed for your microphone's diameter and weight.
• Wind protection — consider whether you will be adding a foam windscreen, Softie, or another windshield system.
• Isolation — the suspension should reduce handling and vibration noise without allowing the microphone to bounce uncontrollably.
• Mounting thread — make sure it connects properly to your boom pole.
• Cable management — the microphone cable should be secured in a way that reduces cable-borne vibration.

A good shock mount does not need to be complicated. Its job is simply to hold the microphone securely while mechanically separating it as much as possible from the movements of the boom pole.

My Typical Setup

For much of my production work, my basic setup is something along the lines of:

K-Tek Boom Pole → Rycote INV-7HG MkIII → Shotgun Microphone

The exact boom-pole length and microphone change depending on the production. For a smaller interior setup, I may not need much reach. For a wider shot, I may need one of my longer poles. The important thing is having the ability to choose the appropriate equipment for the shot rather than forcing the same configuration to work in every situation.

My collection of 7-foot, 9-foot, 12-foot, and 16-foot K-Tek boom poles gives me that flexibility.

The Boom Pole in Our Signal Flow

We can now add the physical boom setup to the signal-flow concepts from the previous articles. The acoustic path begins:

Actor → Sound Waves → Shotgun Microphone

The microphone is physically supported by:

Boom Operator → Boom Pole → Shock Mount → Microphone

But ideally, the shock mount prevents most of the unwanted vibration from that physical path from entering the audio signal. Once the microphone converts the actor's voice into an electrical signal, our familiar audio road begins:

Microphone → XLR Cable → Mixer/Recorder

So the boom pole itself does not carry the audio signal unless an XLR cable runs through it. Its main job is positioning. The shock mount's main job is isolation. The microphone's main job is capturing the sound. Each component has a different purpose, but they work together as one system.

Conclusion

A boom pole allows you to place a microphone close to an actor while keeping yourself and the microphone outside the camera frame. A shock mount allows you to move and hold that microphone while reducing the amount of physical vibration that reaches it. The basic setup is:

Boom Pole → Shock Mount → Microphone

For beginners, the most important things to remember are:

• Use enough boom-pole length for the shot, but not more than you need.
• Weight and balance become increasingly important the longer you hold the boom.
• Make sure the shock mount is appropriate for your microphone and wind protection.
• Manage your microphone cable so it does not create additional handling noise.
• If you choose an internally cabled boom pole, consider how and where the XLR cable exits the pole.

Personally, K-Tek boom poles and Rycote shock mounts make up a large part of my boom equipment. My most commonly used shock mount is the Rycote INV-7HG MkIII, and I keep several boom-pole lengths available so I can choose the setup that makes sense for each production.

Like everything else in production sound, the goal is not simply to own the most expensive equipment. The goal is to create a system that lets you put the microphone in the best possible position, move it quietly, and capture the cleanest signal you can.