Can wired lavs be hooked up to mic processors?

[Natan Pakman]

Originally Posted by Steve House

Certainly true. But both of the aforementioned mics are available in versions equipped with an 48p power supply/ XLR connection intended for hard-wired applications instead of feeding a wireless transmitter so I'm assuming that is what he's planning to purchase and his question is actually "is it appropriate to use a signal processor inline with a hard-wired lav mic?"

That is exactly what I am wondering. In a TV/radio show I work on, we use standard radio mics (EV-re20) hooked up to the dbx-286a processor I mentioned previously. We are trying to transition to using more of a TV-studio look and are looking at wired lavs as possible alternatives.

Here is a clip of what our show currently looks like: Taxes = Investments in USA, Indefinite Detention = Imprisonment without Trial - YouTube
I'm not really sure how a low-budget wired lav like the AT-899 would sound compared to this; any ideas would be appreciated.

[Steve House]

Originally Posted by Natan Pakman

That is exactly what I am wondering. In a TV/radio show I work on, we use standard radio mics (EV-re20) hooked up to the dbx-286a processor I mentioned previously. We are trying to transition to using more of a TV-studio look and are looking at wired lavs as possible alternatives.

Here is a clip of what our show currently looks like: Taxes = Investments in USA, Indefinite Detention = Imprisonment without Trial - YouTube

I'm not really sure how a low-budget wired lav like the AT-899 would sound compared to this; any ideas would be appreciated.

LOL when you said "radio mics" most of the folks here would assume you were referring to wireless lav systems. The RE-20 is an industry standard radio studio mic in North America but wouldn't generally be referred to as a "radio mic" in film/video circles. At any rate, I think you could go either way for the sort of show you're doing - either sweetening your audio on the fly as you record or doing it later in post and your choice of mic won't affect that. My earlier advice to do it in post still holds. But I sort of like the visual effect of the RE-20 there on the desk, kind of like Larry King or Howard Stern and there's nothing wrong with that mic as far as the sound you can get from it. Johnny Carson's trademark RCA ribbon desk mic was actually a prop most of the time but added visual interest to the set.

[Natan Pakman]

The studio-mic-on-the-desk effect is one factor, but we may change the general layout of the studio and the host may be standing up and moving around a bit, in which case a lapel mic might be better. I might be getting one of these wired lavs for some field work, and then we can try it out in the studio.

[Richard Crowley]

Consider using "headset" microphones. They keep the microphone optimally positioned no matter what the talent is doing. Again, the Rode headset microphone features the same replaceable cable and interchangeable connectors. (In case you decide that wireless would be more convenient for moving about.) I am very happy with mine. I have a Rode lav and a Rode headset mic.

RODE Microphones - HS1-B

[Denis Danatzko]

Not sure if this helps, and I've never used a Rode product, but I do have one A-T 899 (omni), five A-T 831R (cardiod), and 5 Shure SM-11 (omni) lavs.(The A-T 899 is my favorite).

I run them directly into either an HMC-150, an HVX-200, a 4-mic JuicedLink mixer on a DVC-20P, a Shure M367 field mixer, or a Soundcraft EPM-8. The A-T lavs have always worked fine with Phantom power whether connected directly to the cameras or the mixers. The SM-11s are dynamic, and I've been underwhelmed with their performance.

[Natan Pakman]

I ordered 2 AT-899s so we'll see how they do.