Microphones Take Flight (page 2)

Shooting industrial or dramatic style videos, one can accept nothing less than a shotgun microphone, which can either be held aloft just out of frame by a mic-boom, mounted on a stand and tilted toward the subject, or even hand held close by. Because of it's dynamic range and flexible nature, the competition to make the best shotgun is fierce, with no one company really dominating the industry -- although Sennheiser is one of the best well known makers with the popular ME66/K6 ($479).

The image of the studio-style "ribbon" microphone is legendary. We see classic photos from Frank Sinatra to Harry Connick, Jr. cradling one as they croon, or Robin Williams delivering countless punch-lines in voiceovers for an animated classic. Ribbon mics are perfect for recordings that require a complete range of audio control for voiceovers, narration, and even audio effects. Most ribbon mics are extremely sensitive, capturing even the softest sounds, so users will often speak on the side rather than straight into the mic. And again, the Electro-Voice has a hand on the famous pulse of recording, providing microphones like the RE20 series to the TV show "Frazier" for his radio broadcasts.

Finally, for their total mobility factor there are wireless mics. But that convenience may outweigh the high maintenance required to keep the sound quality competitive with its wired cousins. And you really need to watch the distance to the subject for sound interference and listen closely for battery life.

In the end, the style of recording involved dictates the path the videographer must follow. And as such, a thorough understanding of needs should dictate the kind of microphone one should pick.

Hughes compulsion was legendary. However, there's no need to feel compelled, like Howard Hughes did, to reinvent the wheel. Sound, thanks to the microphone, has arrived. All you have to do is decide your flight plan, and gather your tools to take that journey into quality audio acquisutions.

James DeRuvo is producer and editor for a broadcast production company.

A whole article could be written about phantom power but the important thing to know is condenser mics need DC power (as opposed to dynamic mics that do not). Some condenser mics are battery powered, (ALWAYS carry extra batteries!), while others need phantom power, DC power from the camera or other source. Some cameras, usually the more expensive prosumer type can provide this phantom power, most camcorders do not.

Balanced cables, the three-pin XLR type, are preferred, due to their ability to avoid outside interference. This is especially true for running cable more than five to ten feet (from a stick mic to the camera for example). Unbalanced cable (1/8" mini) is adequate for short runs such as from a shotgun mic mounted on the accessory shoe of a camera to the mic input of the camera. The longer the unbalanced cable, the more chance there is of receiving outside audio interference. Some mics come with balanced (XLR) connectors and others come with unbalanced (mini). Adapters cost between $50 and $300.

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