Hi all,

I'm looking for some advice on my next microphone purchase.

I currently primarily using a Rode NTG2 on a boom pole for most of my interviews. However I'm not happy with the sound it produces when indoors (obviously being a shotgun mic it pics up a bit of echo).

So I'm looking at buying a new mic for indoor IVs, and I'm wondering what is the best type of mic for indoor use that can be attached to a boom pole? Or is a wireless lapel system a better solution?

A bit of online research has told me that hypercardioid or supercardioid mics are the best bet.. but aside from that, I don't have a lot of knowledge in this area.

I'm looking to avoid spending thousands as my work is primarily for web rather than broadcast. So any tips/suggestions would be appreciated.

Cheers.

It would help to know what "interviews" means here?
Do you mean just the subject seated in front of the camera, with the interviewer off-camera? interviewer off-mic?
Do you mean the subject and the interviewer both on-camera in a conversation? Are you trying to do that with one fixed mic? Or with a mic on each person?
Does "interview" mean standing in a noisy trade-show exhibit floor and talking to people as you encounter them? Separate on-camera inerviewer? Or is the camera operator doing the questioning?

There are a wide variety of different scenarios that come to mind when someone says "interview" And they all have different kinds of possible microphone solutions. Likely two or three different alternative solutions to each depending on a lot of other things like budget, quality expectations, personnel, experience, etc. etc. etc.

A couple more questions:

Does the mic need to be out of sight? Does the person being recorded need to be mobile (i.e., not tethered by wires to a mixer/recorder/camcorder).

The closer you get to the person speaking, the less you will hear reverberation/echo. Lavs, hear-worn and handhelds are usually within a matter of inches from the person speaking, boom mics tend to be feet away (to stay out of the image). Wireless systems avoid the tether and can work with handheld, head-worn, lav and boom. Lavs and head-worn can be relatively unobtrusive in the image. Handhelds work for several people and one mic situations.

Thanks guys. Sorry for not being overly specific.

The majority of my interviews are 1 subject seated in front of the camera. Interviewer is off-camera and doesn't need to be on mic.

It does not need to be a wireless system as the subject will usually be seated.

And usually I'm in relatively quiet environments, just possible air conditioning and traffic noises.

I prefer to use a mic on a boom pole (attached to a light stand) rather than a lav mic.

Hope this helps to clarify my question.

I get good results from an Audiotechnica AT4053 on a boom for interviews.

My goto mic for that type of work is an AKG Bueline SE300/CK93 Hyper usually on a stationary boom.

Cheers for the suggestions. That's exactly what I was after. Not a bad price range either.

Most indoor boom issues are simply down to accuracy of aiming, and the right positioning to remove the reflections coming in from the direction of axis. Pretty well down to looking down the barrel and if you can see a hard surface, then the mic will hear reflections coming from it. Realistically, it's up to you, but the lav mic will almost certainly sound better - the critical factor is simply distance from the mouth, and lavs are forgiving, shotguns aren't.

I've found the opposite. Lavs are prone to picking up sounds from the subjects clothing and movements. I've had much more luck using a shotgun microphone on a boom pole in the past. I've also had issues with interference when using wireless lav systems. Granted these issues could be down to operator error.

I am intrigued by Rode's new 2.4GHz wireless system that got announced recently though (RodeLink I think it's called).

http://www.bhphotovideo.com/c/product/1115091-REG/rode_rodlnk_fm_rodelink_wireless_filmmaker_kit.html

How many broadcast interviews on TV use booms? Very, very few. They pull out the lav pack, clip it on, turn on the thing and go! Rustles are usually just down to placement, and while wireless is never as good as a cable, the distances are usually very small, making them pretty good - and of course, you hear the noises and can reshoot.

How many broadcast interviews on TV use booms? Very, very few. They pull out the lav pack, clip it on, turn on the thing and go! Rustles are usually just down to placement, and while wireless is never as good as a cable, the distances are usually very small, making them pretty good - and of course, you hear the noises and can reshoot.

The ones I've done for national broadcast have used both a boom and a lav. Thats my standard setup.

I personally prefer the sound of a boom mic to a lav. Especially in an interview scenario where you won't be doing a lot of sound design. Lavs are so dry that I find it to be a less pleasant sound compared to a boom.

A hand held mic, for a staged interviews, also serves as a prop for visual effect. It lets the viewer know it is an interview from the first visual.

Lav rubbing noise is largely a result of placement, the fabrics worn, and any foam/muff on the mic. It can be minimized with proper setup.

But there is no one best for all situations. Do you want a studio-like sound, or ambient "field-like " background sound with some location reverb? Different mics and placements will give a different sound. It all depends on what you are trying to achieve sound wise. The lav may give a more intimate sound than the boom, if that is what you want.

What is right to me may not be to you, or other contributors to this thread. A lav may not be right for a nudest camp, and a boom difficult for a jogger on the run (maybe wireless there). A head-worn may be better if the speaker is turning their head to face different directions frequently. Another factor is how comfortable is the speaker in front of a mic, how experienced are they using a mic. Its what makes sound recording as much an art as a technology.

Not properly mounted... Lavs are "prone to picking up sounds from the subjects clothing and movements"... hidden or not. I usually double-mic folks with a boom and lav for sit-down interviews. of course this can be problematic if it's not going to audio post, as the editor will usually leave them on separate tracks, and panned L-R, then phase becomes a problem when summed to mono.

A lav may not be right for a nudest camp, and a boom difficult for a jogger on the run.
Gosh, what would you do for a nude jogger? It boggles the imagination.

The ones I've done for national broadcast have used both a boom and a lav. Thats my standard setup.

I personally prefer the sound of a boom mic to a lav. Especially in an interview scenario where you won't be doing a lot of sound design. Lavs are so dry that I find it to be a less pleasant sound compared to a boom.

Same here. I'm not a great audio guy, but this is my standard setup. In post I pick the track that "sounds the best to me". When conditions permit it is almost always the boom I pick.

Steve

Edit: I should say the boom is a shotgun, my "boom" records crappy audio ;)

How many broadcast interviews on TV use booms? Very, very few. They pull out the lav pack, clip it on, turn on the thing and go! Rustles are usually just down to placement, and while wireless is never as good as a cable, the distances are usually very small, making them pretty good - and of course, you hear the noises and can reshoot.

How many broadcast interviews on TV use booms? Actually, the formal ones (60 Minutes, et.al.) probably most of them.

OTOH, how many broadcast TV reporters (or news-readers) use boom mics? None of them. Or how many chat shows (or late-night variety shows, etc.) use booms? It was back in the era of Johnny Carson that they still used those big Mole-Richardson microphone booms on their own little trolley.

Quite a few of the sound recordists I've worked with put mics on a mic stand with a boom for interviews. This is an effective way of miking a sit down interview without the clothes rustling etc that can happen with tie clips. One recordist uses both boom and a tie clip and does a mix.

I also like the fixed boom and wired lav combo. Note that you don't necessarily need a lightweight mic like an AT4053b. You can use a big, heavy studio condenser if you have one on hand - and it can double as a voiceover mic.

Recorders generally have two inputs, so there's not much overhead. Redundancy is nice. If a cable or preamp goes bad, there are clothes rustles, or the talent moves around too much, it's nice to keep rolling, knowing that you have options.

Jody,

John just reminded me of my other setup. I have a Rode NT1A that I bought years ago for a large diaphragm VO mic. Then I learned how well it works on the end of my boom and started using it there indoors instead of the shotgun. It is worth taking a look at. It went out on me recently, this reminds me to send it in.

Steve

Wow, I did a Google search. Guitar center has a NT1A full kit on clearance for $229.99 list $369.99 That is a smoking deal.

Edit, it looks like they are $229.00 everywhere now, I am sure I paid more 8 years ago.

Thanks Steven.

I actually do have a Rode NT2A that I have mounted in a custom-made VO booth. I assume it's the same type of mic as the NT1A.

I might have to pull it out of my booth and figure out how to mount it on my boom.

Cheers.

Yeah, the NT2A is a step up from the NT1A. The NT1A has slightly lower noise as its a simpler design. The NT2A has two condensers so you can choose multiple patterns. It's still very quiet.

Both mics offer a cardioid pattern, which is good but not perfect. It will work well in a dry space but a super or hyper cardioid is better in a lively space. The NT2000 would be especially nice as you can dial in its pattern.

One nice thing about already having a studio mic is that it might allow the budget to go towards a nice lav. :)

Hey Jody,

If you already have the NT2 give it a try on a fixed boom. I use the same shock mount I use on the desktop stand for VOs. You might like it.

Steve