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JBraddock

Lavalier Microphone for Interview

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Hi guys, 

I am in the market for a lavalier microphone for interviews and vblogging. I have a Tascam DR100 Mark II recorder and as far as I know 3.5mm input in this recorder does not work with microphones without built-in power. So I am looking for something with XLR connection to fully utilise the recorder.

So far I have come across Audio-Technica PRO70, which appears to have good reviews and is a cardioid microphone which can come handy in noisy environments.

I also noticed that Audio-Technica ATR3350 has a built-in battery and I was wondering if I can use this with Tascam DR100 Mark II? 

My plan is to purchase a wireless kit in the near future and that's why I don't want to spend too much at the moment. My budget is around £100.

Thanks,

 

 

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If you are cool with wired mics and since you don't want to spend much money how about getting a polsen wired lavalier? I bought this one from BH under $20~ and I run it to my Tascam DR-07MKii. I'm sure if your recorder is much higher end than mine it should work the same. Then I just sync in premiere but you could run a line out to the camera. Audio quality on this mic is great, I've used it on several projects. Just my suggestion since you're not trying to spend much!

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I believe mine is a higher end model. 

That mic seems like a good option but here in the UK it costs as much as the Audio-Technica ATR3350. I'll have look at this mic as well.

Thanks for the suggestion.

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5 hours ago, photographer-at-large said:

Better than using a commonplace Zoom H1 (or even worse a bulky Tascam DR100 or similar), which is what their target market is, all the many wedding videographers and other low budget shoots who use a Zoom H1 with a lav to get audio.

But using wireless and monitoring it will be so much better.

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I've been on shoots with cheap wireless and lots of problems. Even the Sennheiser G3s can get the occasional interference.

My personal rule is "wireless only if you absolutely need wireless". 

If you want a really high-end lav solution for mid-level bucks, get an OST lav (they have a tiny button lav you can hide in a tie knot, and two side-address omnis, one has a treble bump that's nice under clothes) and their XLR barrel converter that takes phantom power from your recorder and converts to mic power, so you can use your lavs direct-wired, powered, and all-balanced XLR from mic to recorder. It's especially handy if you use a hyper on a stand but also want a lav, you don't need a mic power solution while using phantom (or if a shoot is going from lav to stand to lav, no messing with mic power settings). $200 or so and the OST stuff sounds like mics three times the price.

 

 

17 hours ago, photographer-at-large said:

There's one of those in my future for sure - it's a great idea, and I'm really pleased that (a) it has a headphone jack for initial level checking and (b) it's sennheiser wiring, so I can dump the (probably pretty cheap) included mic and use something nice. if there's a level control for the headphone out, it would likely be easy to run that into a wireless transmitter to get a synch track, for times when the talent is far from the camera. Two bodypacks on the talent (the recorder and the transmitter) and a short 1/8 jumper, but that's really not a huge issue, especially since the synch track doesn't need to be stellar quality. I've run music video synch from mixing boards to a G3 system with no issues.

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3 hours ago, Tiago Rosa-Rosso said:

You can also use this one with a zoom h1 in the end it's less expensive than the tascam dr-10L.

I've made a similar setup for a friend and the result is really good. In my case, I have a Tascam DR 100 Mark II and want to fully utilise it. Otherwise, it is a good combination.

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6 hours ago, M Carter said:

I've been on shoots with cheap wireless and lots of problems. Even the Sennheiser G3s can get the occasional interference.

My personal rule is "wireless only if you absolutely need wireless". 

If you want a really high-end lav solution for mid-level bucks, get an OST lav (they have a tiny button lav you can hide in a tie knot, and two side-address omnis, one has a treble bump that's nice under clothes) and their XLR barrel converter that takes phantom power from your recorder and converts to mic power, so you can use your lavs direct-wired, powered, and all-balanced XLR from mic to recorder. It's especially handy if you use a hyper on a stand but also want a lav, you don't need a mic power solution while using phantom (or if a shoot is going from lav to stand to lav, no messing with mic power settings). $200 or so and the OST stuff sounds like mics three times the price.

 

 

 

are those? http://www.pro-sound.com/c/oscar-soundtech-lavaliers.html

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5 hours ago, Tiago Rosa-Rosso said:

You can also use this one with a zoom h1 in the end it's less expensive than the tascam dr-10L.

But the Tascam has a safety track level, and 3.5mm locking connection, that is a very good feature!

5 minutes ago, Dan Wake said:

Yes, OST = Oscar SoundTech

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8 hours ago, M Carter said:

Even the Sennheiser G3s can get the occasional interference.

Occasional?  

I scan channels on my G3 before every shoot, set my frequency, and I still get interference often.  Been in the city a lot so I guess that's the issue.  Lots of radio waves flying' 'round.  The spectrum is only going to get more crowded into the future.  How viable is wireless in these environments, really?

Here's the thing, the work I do, if something is going bad I really can't do anything about it in the moment, so ultimately (and god help you if you're an audio guy reading this) monitoring a wireless system does nothing but tell me what I'm getting might be dropping out or squelching every once in awhile.  So, that's nice to know, but again, I can't really interrupt the moments and do anything about it... and, since that's the case, why not just carefully place a wired lav on my subject and hope for the best?  After all, that's what I'm doing with my G3 wireless anyway.

I'm one guy with a camera following my documentary subject.  Yes, there's the "right" way to do audio, and then there's the "actually-productive-on-a-shoe-string-budget-way."  

Poo-poo that if you must.  I'd love to be able to monitor and fix all my audio with whatever problems arise, but there are times I just can't.  Wireless that's monitored is usually the best solution.  Maybe in other situations it is not.    

Audio solutions are like video solutions.  I'm not shooting 8-bit on a GX85 because it's the best camera. I'm using it because I think it's the best solution for my particular job.  Similarly, unmonitored wired solutions like the DR10L is a viable tool for certain gigs.  I kinda feel like it's deserving consideration.

 

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 I too getting so much interference with various Sennheisser kits, recently I am only monitoring my 416, as I am certain that I am getting interferences(hair/touching/clothes noises) with them.

I do too wonder how the Rode fares with intereferences, I do not mind the size.

Can one use the Aputure lav with phantom power on the DR100? This is my main issue with this recorder, I can't use mic/line and phantom power signals. Only one at the time. Does anyone have more comments about the Oscar and the Apeture lavs.

Thank you.

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56 minutes ago, Kisaha said:

 I too getting so much interference with various Sennheisser kits, recently I am only monitoring my 416, as I am certain that I am getting interferences(hair/touching/clothes noises) with them.

 

Learning more about lav placement and having the right accessories does wonders for improving the quality of your lav recordings. 

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On October 5, 2016 at 4:50 AM, Kisaha said:

Can one use the Aputure lav with phantom power on the DR100? This is my main issue with this recorder, I can't use mic/line and phantom power signals. Only one at the time. Does anyone have more comments about the Oscar and the Apeture lavs.

Thank you.

With the Dr 60D, it's either phantom or mic power. OST makes an XLR barrel-extension type thing that drops phantom to mic power for about $100. One of the big names (AT? Rode? Senn?) makes one but it's like $175; there's also an eBay seller from Britain that makes one for about $65 (bought one, works great). Need to make sure that what you get is wired for your mic though.

On October 5, 2016 at 7:16 PM, fuzzynormal said:

Occasional?  

I scan channels on my G3 before every shoot, set my frequency, and I still get interference often.  Been in the city a lot so I guess that's the issue.  Lots of radio waves flying' 'round.  The spectrum is only going to get more crowded into the future.  How viable is wireless in these environments, really?

Here's the thing, the work I do, if something is going bad I really can't do anything about it in the moment, so ultimately (and god help you if you're an audio guy reading this) monitoring a wireless system does nothing but tell me what I'm getting might be dropping out or squelching every once in awhile.  So, that's nice to know, but again, I can't really interrupt the moments and do anything about it... and, since that's the case, why not just carefully place a wired lav on my subject and hope for the best?  After all, that's what I'm doing with my G3 wireless anyway.

I'm one guy with a camera following my documentary subject.  Yes, there's the "right" way to do audio, and then there's the "actually-productive-on-a-shoe-string-budget-way."  

Poo-poo that if you must.  I'd love to be able to monitor and fix all my audio with whatever problems arise, but there are times I just can't.  Wireless that's monitored is usually the best solution.  Maybe in other situations it is not.    

Audio solutions are like video solutions.  I'm not shooting 8-bit on a GX85 because it's the best camera. I'm using it because I think it's the best solution for my particular job.  Similarly, unmonitored wired solutions like the DR10L is a viable tool for certain gigs.  I kinda feel like it's deserving consideration.

 

I feel ya, if you're one-man it's tough to deal with wireless with confidence. I tend to skip it whenever possible, an XLR-to-lav power solution is a great thing to have.

I like the idea of using that Tascam belt-recorder and feeding the phones jack to a wireless to send synch to the camera though, seems like that could work very well when you just can't use wires and the camera is too far away for confidence in catching synch. I'd really like to have an assistant in charge of shutting the tascam on and off though, vs. having an hour-long audio track. But Plural Eyes doesn't give a flip about that sort of synch issue, it'll deliver the goods just fine regardless of audio track length.

On October 5, 2016 at 4:50 AM, Kisaha said:

 I too getting so much interference with various Sennheisser kits, recently I am only monitoring my 416, as I am certain that I am getting interferences(hair/touching/clothes noises) with them.

Interference and handling noises are two drastically different things. Interference has to do with how crowded the spectrum is where you're shooting. Pro-level wireless has methods to check for empty frequencies before you begin shooting, which can help a great deal. Handling and clothing noise is about technique vs. user error.

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6 hours ago, M Carter said:

Interference and handling noises are two drastically different things. Interference has to do with how crowded the spectrum is where you're shooting. Pro-level wireless has methods to check for empty frequencies before you begin shooting, which can help a great deal. Handling and clothing noise is about technique vs. user error.

Well said. 

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On Monday, October 03, 2016 at 8:13 AM, photographer-at-large said:

I have almost exactly this.  The Tascam DR-10CS with the Senn ME2.  Its pairs really well.  Very clean and loud.  Gets the job done.  But overall if you're an audio snob there its more of a utility mic than a mic for someone looking to capturing the endearing nuances in someone's voice.  

If I were to vlog like Casey Neistat, I would do it with a Oktava MK 012 with a hypercardioid capsule powered by a irig pre with a Rode SC3 adapter straoght into the 80D.  And for interviews on a budget I'd get a cheap boom for the Oktava and and a XLR extension for the same setup.  It may look a little wonky, but it would sound a million times better than a Rode VideoMic.

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