Shotgun Condenser Microphone
Difference between shotgun and handheld condenser microphones for film making?
I and a few friends are making a short film and the last aspect we have to cover is audio. I want to get the audio equipment that was made for film making (shotgun mic, boom pole, etc.), but they want to get a handheld condenser mic to save money, saying we don't need crystal clear sound because it's a low budget film.
Are they right that there won't be much difference in sound quality if we use a handheld condenser mic instead of a shotgun mic? As in would a handheld mic pick up more unwanted (ambient) sounds than a shotgun mic, and could accessories like a windscreen be bought to change a handheld mic into an improvised shotgun mic? Finally, if so, what inexpensive handheld condenser mic would you suggest?
Here's some things to consider. A shotgun microphone is preferable in film making because of its ability to be mobile and out of the frame. So a hand held condenser qualifies for one of the benefits in its mobility. As far as pick up pattern, you can purchase a condenser ( losing the term hand held ) that would have a similar pattern as a shotgun. But can you get enough gain while keeping the microphone out of the frame? That depends allot on the recording path and device. The use of a good preamp will allow for the needed gain. The trick will be to EQ the microphone for a natural sound given such a condenser would lack gain at low frequency's. The EQ would be best done upon after the capture or in production. The microphones ability to provide enough natural sound to work with is a big consideration.
One must also consider the scope of the project and importantly the system that will reproduce the program. If the playback is going to be on a PC or typical TV sound system, I'd question the cost effectiveness of the expense for a high quality shotgun.
Have a look at these guys.
http://www.sennheiserusa.com/private_microphones_wired_evo600_009895
http://www.audio-technica.com/cms/wired_mics/5ba440a1ecab4982/index.html
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Audio Technic AT815R condenser shotgun microphone $108.57 (29 Bids) |
Nady SGM12 Shotgun Condenser Microphone Shotgun Mic New $24.99 Buy It Now for only: $24.99 |
AV JEFES AVL800 On Camera Directional Shotgun Condenser Microphone $59.00 Buy It Now for only: $59.00 |
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Shotgun Mic Suspension Shock Mount Pencil Clamp Condenser Holder Thin Clip 0019 $12.49 Buy It Now for only: $12.49 |
Rode NTG 1 Shotgun Condenser Microphone NTG1 NTG 1 $199.99 Buy It Now for only: $199.99 |
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Nady SGM 12 Shotgun Condenser Microphone $29.99 Buy It Now for only: $29.99 |
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Rode NTG 1 Shotgun Condenser Microphone Used Free US Ship NTG1 Mic $197.99 Buy It Now for only: $197.99 |
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Mic Shock Mount Small Condenser Shotgun AT8410a Symmetrical Clip Holder Pro0018 $17.49 Buy It Now for only: $17.49 |
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Sennheiser ME66 Super Cardioid Short Shotgun Condenser Microphone BRAND NEW $209.95 Buy It Now for only: $209.95 |
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Sanken CS 1 Short Condenser Shotgun Microphone Pro Mic CAMERA MOUNTABLE Durable $680.00 Buy It Now for only: $680.00 |
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RODE NTG 2 Shotgun Condenser Video Camera Boom Pole Microphone Mic NTG2 $269.00 Buy It Now for only: $269.00 |
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SENNHEISER MKH416P48 SHOTGUN CONDENSER MICROPHONE WITH ORIGINAL CASE XLR CABLE $629.16 Buy It Now for only: $629.16 |
Sennheiser K3U + ME80 Shotgun Condenser Microphone $15.50 (6 Bids) |
Philmore DC200 Electret Condenser Shotgun Microphone with Shock Mount $62.99 Buy It Now for only: $62.99 |
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Audio Technica ATR 6550 Video Camera Condenser Shotgun Microphone Normal Tele $59.95 Buy It Now for only: $59.95 |
SENNHEISER MKH416T SHOTGUN CONDENSER MICROPHONE INCLUDING CASE AND XLR CABLE $461.16 Buy It Now for only: $461.16 |
Sennheiser MKH 416 P48 Shotgun Condenser Microphone KIT w Foam Windscreen $850.00 Buy It Now for only: $850.00 |
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MXL 10 inch Camcorder Shotgun Condenser Microphone Mic $139.99 Buy It Now for only: $139.99 |
Variations of Microphones and Stage Arrangement
Using different types and manufacturers of microphones can make all the difference in the world when setting up a stage for your band. If you use the wrong one, you battle with feedback all night. Even if you use a feedback "eliminator", you will suffer very poor frequency response, because it is being "eliminated" as feedback, instead of the desired freguencies that make your music full and enjoyable.
Here are some things you should know, from the school of hard knocks, about microphones and their uses.
Types: There are many types of microphones available but they generally divide into three groups: dynamic, condenser and ribbon.
Dynamic microphones are the most common and the most basic types of microphones. They consist of a diaphragm attached to a coil that moves through a magnetic field inducing a small electrical signal. They operate using similar principals to a speaker and tend to have a limited frequency response, but are very rugged.
Condenser microphones have become more popular over the years because they have a very wide frequency response (tone) and are not as delicate or as expensive as ribbon microphones. They are, however, more delicate than dynamic microphones. They require a power source that can be an internal battery, an external power pack or phantom power that is provided by the mixer. They work by supplying a charge to a fixed plate that creates a capacitor. A thin diaphragm is mounted adjacent to the plate and induces voltage changes in the plate when subjected to sound vibrations.
Ribbon microphones produce sound by stretching a thin metal ribbon across a gap of a strong magnet. Sound moves the ribbon across the magnetic field creating electrical impulses. They have an excellent frequency response (tone) but tend to be very delicate and expensive. Since they are rarely used in basic P.A. systems, nothing more needs to be said about them.
Polar Patterns: This refers to the directions that the microphone will pickup sound from. Polar patterns tend to be divided into two types: omni and uni-directional.
Omni directional microphones are rarely used because they pick up sound from all directions and often pick up sound from directions you don't want to have sound picked up from. Can you say...
... "FEEDBACK"...
Uni-directional microphones are the most common and probably total more than 95% of all microphones sold. They range from the shotgun, picking up sound from only straight in front of the microphone, to the cardioid, picking up sound from in front
of, or somewhat around the front of, the microphone in a heart shape pattern.
Knowing the pattern of a microphone is VERY important because it affects what area of sound that the microphone picks up from, as well as its susceptibility to feedback.
Sensitivity: This refers to the level of "hearing" that a microphone possesses.
The higher the sensitivity, the quieter the sounds that it will pick up. This is an important specification, especially dependant on your stage volume.
Impedance: This is important to know so that you buy the proper microphone to match your particular mixer. Although many mixers have inputs for both high and low impedance microphones, some only have one or the other. Generally speaking, if the microphone's impedance is above 1,000 Ohms (1k Ohm) it is considered high impedance, otherwise it is considered low. Most professional microphones are low impedance and come with a cable with XLR connectors. High impedance microphones generally come with a cable with phone (1/4") connectors. You can purchase matching transformers for 1/4" connectors that change the impedance of high level inputs, like guitars or keyboards, to low level, balanced inputs, to help eliminate ground loops and noise.
As you can see, chosing the correct microphone for your application can solve and enhance your performance and overall sound field from the stage. After all, your music, as represented by great sound, is what its all about.
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