Best Extrernal Microphone Gives you Professional Video Sound Quality (page 2)
Electrical Characteristics
Independent of type or pattern, a microphone's element determines the quality and application of the mike. The dynamic element is a robust design, well suited to rough handling. Typically found in hand-held microphones, the dynamic element requires no external power supply and works well in a wide range of temperature and humidity conditions.
The condenser microphone is a bit more delicate and often finds its way into lapel mike designs. These mikes require a power source of some type, which can be anything from a AA battery to mixer-supplied phantom power.
Ribbon microphones are fairly rare, especially in the video arena. Ribbon mikes are prized for their smooth sound quality, but tend to be a bit fragile.
In addition to the microphone element, there is the issue of balanced versus unbalanced connections. The Balancing Act article in this issue of Videomaker has more information on the subject, but here are the basics. Unbalanced connections use two conductors, a signal wire and a ground to transfer the signal from the microphone to the camera. This system works fine in many situations, as long as the cable length doesn't exceed 25 feet and you aren't shooting near a radio station. Balanced connections use three wires: a positive signal, a negative signal and a ground connection. This method is far less prone to interference and allows for long microphone cables, 100 feet or more. Unfortunately, virtually all camcorders offer only unbalanced connections, usually with a simple 1/8-inch connector. Through the use of some readily available adapters, you can attach virtually any microphone to your camcorder, realizing the benefits of professional equipment.
Wireless Microphones
Wireless mikes are completely different animals. Not because they sound different or work different, but because they are different. Instead of a simple microphone and cable, you have to deal with transmitters, receivers, batteries and frequencies. A wireless transmitter couples a microphone (your choice) to a radio transmitter on a specific frequency, usually VHF or UHF. The wireless receiver picks up the signal from the transmitter and relays it to your camcorder.
Wireless seems convenient from the talent standpoint; no wires or cables to deal with. But things get more complicated on the receiver end. You'll need a place to mount the receiver, along with a power source (if it doesn't use standard battery power) and, of course, cables and adapters to connect to your camera. If this seems like a lot of trouble, it is. But the convenience of wireless may outweigh any extra inconvenience.
The Final Analysis
There's nothing like having the right tool for the job and microphones are no exception. Before you buy, consider how you will use the microphone, including the environment and the type of video. Weigh cost against convenience and quality. If possible, try various microphones with your camcorder. This will prove how simple they are to attach and manage. Record some sample audio with your camera and take it back to your editing system. Comparing the audio from each mike may help with a difficult decision. Remember, an investment in a quality microphone equals an investment in quality video.
Sidebar:Making the Connection
Some microphones are designed specifically for attaching to camcorders. Unfortunately, they are in the minority. However, a trip to your local electronics store will uncover a wide assortment of audio adapters to simplify hookup. Keep in mind, most (if not all) camcorders provide a stereo 1/8-inch jack for plugging in external microphones. If you're using a single microphone, this means not only adapting from the connector on the mike, but also adapting the mono output to a stereo connection. See Feed Me! in Videomaker's Oct. 2001 issue, for more information.
