Hi All

I have just completed making a Health & Safety video for a company.

The only microphone I used was the one on my camera (XL1s) This was O.K but I needed the presenter to sound better and louder.

I have been told to use a lapel wireless microphone, but being new to video work I am after information on which would be suitable to buy.

Kind regards

Andy

Lots of choices out there at lots of different price points. What is your budget?

Suggest you visit the "Now Hear This forum" for lots of discussions on wireless and wired mics, among other audio related things

For low budget work in a controlled environment VHF models will usually work. I've used the The modest cost Azden WDR-Pro series with success.

But I've recently switched to a Sony UWP series UHF model, and it sounds better.

A lot of people like the Sennheiser EW100 series.

Hi Don

Thank you for your valuable information.

I have not got much in the way of a budget, so I am looking at the lower price microphones.

I have now had a look at the Azden series which I think may start me off.

Just a couple more questions.

How would the receiver fit to the camera?

And do you just plug it into the excisting microphone socket?

Kind regards

Andy

The receive can mount on the shoe on the camera, and the receiver can connect to the mic jack, or into the Audio 1 jacks depending on the cables/adapters you have.

Thanks again Don for all your help.

I have been looking for a retailer in the U.K that sells the Azden but with no success. (maybe the frequency is not suitable here)

So now I am looking at the Sennheiser Evolution G2 EW122P mic kit, it is more expensive (£365.00) but maybe I will not out grow it!

Kind regards

Andy

Thanks again Don for all your help.

I have been looking for a retailer in the U.K that sells the Azden but with no success. (maybe the frequency is not suitable here)

So now I am looking at the Sennheiser Evolution G2 EW122P mic kit, it is more expensive (£365.00) but maybe I will not out grow it!

Kind regards

Andy


Consider the EW 112 P instead - the only difference is the microphone - the 112 includes an omni mic while the 122 is a cardioid. For most use the omni is preferred. Cardioids are more for sound reinforcement use where feedback from PA speakers is an issue and can be a real PITA to position, especially when used on non-professional talent. With a cardioid, every turn of the head and they go off mic.

Thanks for the advice Steve.

I have now decided to go with what you have recommended (112)

I do have one more question.

I have been asked to film a local jazz band next month, would it be best to use the standard mic on the camera or is there a way of connecting the wireless system (112) to the bands PA system?

Kind regards

Andy

What you need depends in part on the use to which the recording will be placed, the nature of the venue, placement of the camcorder, that type if instruments the group has, how they are distributed, and so on.

If the band has a mixer that is providing house sound, try connecting a tape recorder to the mixer output and sync in post. People use MiniDisc, DAT and some of the new solid state recorder for this purpose; e.g., the M-Audio Microtrack 24/96.

Recording ensembles is a bit of an art. The Shure website has some interesting papers on recording.

A minimum would be a couple (for stereo image) of wired cardoid mics between the group and the audience, fed back to the camcorder. Cardoid to suppress the audience noise. (Cardoid is often better for this than hypercardoid.)

I just bought the Sony UWP-C1 system for $500 from B&H. It works great. It comes with either an XLR or a miniplug for the receiver to plug into the camera. It also has clips that look cheap, but are usefull for clipping onto anything (camera strap, etc). My only complaint is that they're a little too lightweight and made of cheap plastic.