Anyone have any thoughts on good lavalier mics that can hook up to a recorder on the person? Thanks
Quality wireless lavelier mics
- Thread starter CHamburger
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Quality lav mics start at about $180 or so.
Countryman B3 - $180
Countryman B6 - $290
Tram TR50 - $310
Sanken COS-11D - $450
These are the most popular lavs with production sound professionals. They will all require phantom power. They are all available in at least two colors (black & beige). They come with different connectors depending upon what they will be hooked up to.
Some more specifics about your situation would be helpful.
Countryman B3 - $180
Countryman B6 - $290
Tram TR50 - $310
Sanken COS-11D - $450
These are the most popular lavs with production sound professionals. They will all require phantom power. They are all available in at least two colors (black & beige). They come with different connectors depending upon what they will be hooked up to.
Some more specifics about your situation would be helpful.
When you say "recorder on the person," are you talking about voice recorders (like the ones used to record classes or to take verbal notes?). If you are, those don't have phantom power. There isn't much of a selection of lavs for those and I don't think any of them would qualify as being "good."
Thanks guys, nothing real specific to divulge just curious as I'd like to look into getting one and the one I saw on ebay were so cheap that it almost looked to good to be true. Yea thats what I figured about the voice recorder, how do they store teh sound then that the lav mic picks up? Alcove, what do you mean when it comes to phantom power? powered by something other then batteries? How does that work? Thanks again guys mucho appreciado
Basically something that will record the sound picked up by mic presumably worn on the top of a shirt. How does the lav mic work when saving the recorded sound?
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Condenser mics require an electric charge in order to work; this is called Phantom Power. Most condenser mics and all condenser lavs require an external phantom power supply.
Yea I just did a little googling on phantom power that told m e something similar. My question now is how does one hook up a lav mic to a recorder that is powered by phantom power without a lot of cords everywhere in the video?
When you use a wireless system you will have the mic and a wire
going to the transmitter. It sound like you are thinking about a
mic attached to a small audio recorder; is that right? So a lav mic
and a personal audio recorder for each actor?
No matter what, you will have some wires. That's one of the reasons
I only use lavs when I have no other option and only when I have an
experienced audio recordist.
Thanks Rik, thats basically what I was looking for. Would that option of a lav mic and recorder for each actor work in situations, I'm just curious how audio works. Kinda understand booming but lav mics seemed like a better way to get audio when boom isn't the best option. Thanks guys.
Some have in-line batteries, but are you going to by a lav that costs 4X the recorder? You have to have the right tip, too, as lavs have a bunch of different types.
You're right. There are times when a wireless system is the better
way to capture audio. All good recordists have then in their package.
I have never seen (or until today heard of) a lav mic and personal
recorder for each actor. Seems to me you lose all control. Typically
you will use a mic/transmitter combo witch send the signal to the
recorder which is being monitored by the recordist.
In my experience (which is limited) going wireless is expensive. A
cheap wireless system is considerably worse than a cheap shotgun
mic on a boom - more prone to interference - and mixing the audio
for three or more actors takes skill.
I'll make a prediction: clothing rub will make much of what you record unusable if you're trying to hide the lav there. The only way to possibly avoid this avoid this is to have the mic exposed so nothing is touching it, or hiding it somewhere (in a plant close by, etc). Without the audio being monitored in real time, you are at the mercy of the gods for luck.
Quality has a cost. Yes, you can buy low budget substitutes, but they often create just as many - if not more - problems than they solve.
When it comes to narrative filmmaking you are going to be hiding the lavs. The smaller the lav the easier it will be to hide. Because it is hidden it will need to be more sensitive. Both of those requirements increase their cost.
The transmitter will also have to be hidden. The same issues apply here as well; the smaller the TX (transmitter) unit is the easier it will be to hide, and a stronger signal to make it through layers of clothing have an additional cost.
Another issue is monitoring the audio. If you put the recorder on the talent you have no way of hearing the audio, that's why you use a wireless transmitter/receiver set-up. You attach the RX (receiver) unit to a mixer/recorder and listen to the audio through headphones.
Wireless systems come in two flavors, VHF (Very High Frequency) and UHF (Ultra High Frequency). VHF is less expensive, and has longer range and battery life. But VHF is extremely prone to interference of all kinds. UHF has better sound quality and is more resistant (but not immune) to interference.
Using lavs is difficult for the inexperienced. Besides the issues already mentioned, hiding the lav on the talent can be difficult. It must be placed for optimum voice pick-up. It has to be placed so there is minimal clothing rub and rustle. The lav and the TX unit also need to be placed on the talent so there is relatively easy access. Then you have to find the proper TX/RX frequencies.
Finally is the cost. At almost $900 per set ($600 for a decent TX/RX like the Sennheiser G3 and around $250 for a quality lav) you still need to get mole skins and other misc. accessories to use lavs to their fullest potential.
When it comes to narrative filmmaking you are going to be hiding the lavs. The smaller the lav the easier it will be to hide. Because it is hidden it will need to be more sensitive. Both of those requirements increase their cost.
The transmitter will also have to be hidden. The same issues apply here as well; the smaller the TX (transmitter) unit is the easier it will be to hide, and a stronger signal to make it through layers of clothing have an additional cost.
Another issue is monitoring the audio. If you put the recorder on the talent you have no way of hearing the audio, that's why you use a wireless transmitter/receiver set-up. You attach the RX (receiver) unit to a mixer/recorder and listen to the audio through headphones.
Wireless systems come in two flavors, VHF (Very High Frequency) and UHF (Ultra High Frequency). VHF is less expensive, and has longer range and battery life. But VHF is extremely prone to interference of all kinds. UHF has better sound quality and is more resistant (but not immune) to interference.
Using lavs is difficult for the inexperienced. Besides the issues already mentioned, hiding the lav on the talent can be difficult. It must be placed for optimum voice pick-up. It has to be placed so there is minimal clothing rub and rustle. The lav and the TX unit also need to be placed on the talent so there is relatively easy access. Then you have to find the proper TX/RX frequencies.
Finally is the cost. At almost $900 per set ($600 for a decent TX/RX like the Sennheiser G3 and around $250 for a quality lav) you still need to get mole skins and other misc. accessories to use lavs to their fullest potential.
This is what I needed to know. Thanks a lot guys. I think while it might be a suitable alternative its not in reach financially and practicality wise. I'll just stick to what I got for right now and hope it picks up what I need it to pick up and block out whatever needs to be blocked. I have an audio technica and a Z1(just wanted to have something to mess with as they might not be the best buys) but from what I've tested they seem to be okay. Both are powered by batt and I hook up the AT mic into the Zoom and play with the settings on the zoom as the mic only has tele and reg. settings. I'm pretty sure I'll be doing most sound work in the editing so as long as I have a good audio on the takes I can probably amplify it in Pinnacle(my dad's been sitting on an uninstalled copy I just found out about a week ago lol) It does seem that when I listen to what I recorded the sound seems a little soft, anything that can amplify the volume?
Hi guys,
Just after thoughts on the Sennheiser EW112p G3 wireless lavs?
I know nothing about sound but am looking for hire options for a set of wireless mics for my sound recordist.
We'll be using them for car interiors (moving) and wide shots of an interior room.
Thanks
Just after thoughts on the Sennheiser EW112p G3 wireless lavs?
I know nothing about sound but am looking for hire options for a set of wireless mics for my sound recordist.
We'll be using them for car interiors (moving) and wide shots of an interior room.
Thanks
The Sennheiser G3s are the current "standard" reliable low budget wireless system and quite a few lavs are available that have the proper connectors. If you're renting check to see if Lectrosonics are available.
You can use a condenser mic on a short boom or pistol grip in a car. It's also not unusual to hide or "plant" a condenser in a car - and on other sets as well. You can also plant lavs as well; in the visor is a popular place.
If you're going to lav for wide shots you can use that audio for reference and in audio post use CU boomed audio to replace the lav dialog.
You can use a condenser mic on a short boom or pistol grip in a car. It's also not unusual to hide or "plant" a condenser in a car - and on other sets as well. You can also plant lavs as well; in the visor is a popular place.
If you're going to lav for wide shots you can use that audio for reference and in audio post use CU boomed audio to replace the lav dialog.
I don't own them, but the stats look decent. I can't comment about reliability or build quality. Just make sure you search for clean channels on location and also do a walk through of exactly where your talent will be moving while someone monitors sound with closed headphones. That's 50% of the battle right there. The next battle is doing walk throughs with the talent checking for clothing rub. Be deliberate and patient and you'll get the best result. Don't rush this or risk nasty surprises in post or interruptions in shooting (it will be the best take, no doubt).
