The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

Specs:

• Pick-up pattern - super-cardioid/lobar
• Frequency response 40 Hz to 20 kHz
• Sensitivity with P48 phantom power 21 mV/Pa
• Sensitivity with battery power 19 mV/Pa
• Max. sound pressure level with P48 132 dB SPL
• Max. SPL with battery power 126 dB SPL
• Equivalent noise level with P48 15 dB (A)
• Equivalent noise level with battery power 16 dB (A)
• Power supply 48 V ± 4 V (P48, IEC 61938) via XLR-3 or
• AA battery/rechargeable battery (1.5 V/1.2 V)
• Current consumption with P48 4.4 mA
• Operating time with battery approx. 150 h
• “Low Batt” indicator < 1.05 V; approx. 8 h remaining operating time after initial indication
• Diameter 20 mm
• Length 256 mm
• Weight 128 g (without battery)
• Operating temperature –10 °C to +60 °C

The MKE 600 will be available from IBC 2012.

VP83/VP83F LensHopper™ are camera-mount condenser microphones and the VP83F with integrated flash recording/ playback (MicroSDHC) that enables WAV file capture at 24-bit / 48kHz sampling rate.

• Highly directional supercardioid / lobar polar pattern
• Isolation suspension system to mount via standard-size shoe mount with a 1/4" threaded base
• Dedicated headphone audio output for real-time headphone monitoring
• Micro SD card slot allows “pop-out” card access
• Back-lit LCD screen features activity monitoring from home screen, including indicators for audio and battery metering, track information, headphone volume, mic gain, low-cut filter, and remaining recording time
• Five-position joystick provides controls for headphone monitoring, low-cut filter and mic gain adjustments, track management, and playback support (Play, Pause, Forward, and Rewind)
• One-touch Record button
• Adjustable user gain (up to 60 dB in 1dB increments)
• 10 Hours of battery life from 2 AA alkaline batteries
• Price is $350 (see, for example, B&H and Amazon)

http://www.shure.com/americas/products/microphones/vp/vp83f

VP83 Users Guide - PDF

== Preview: ==

I'm not gonna get into Lavalier mics for now - simply can't afford them (unless I find some worthy cheap deals to experiment with). But when I do, (if I'll really need to get Lavs for some wide-shot dialogues) I'm thinking to have a cheap setup like this http://www.danmccomb.com/posts/678/zoom-h1-as-wireless-lav-4x-cheaper/ with Tram TR-50 plugged directly into Zoom H1 (yes, you can't monitor, but hey it's a cheap solution). From one of the comments on that post, someone mentioned Oscar Sound Tech OST 802 lavs, which seems to be 1/3 of the price of TR50 (circa $120).

Here's a comparison/test with Sennheiser ME2

Have you ever heard of these OST802 lavs??? Someone even did a comparison between Tram TR50 and OST802 here http://proaudiocoalition.com/index.php/cdolan-pac/story/my_lav_mic_has_a_first_name_its_o-s-c-a-r/ (Tram TR-50 in the right ear, and OST802 in the left ear). OST802 indeed sounds very very similar to TR50 (although OST802 sounded a tiny bit "flatter", but nevertheless a whole lot more pleasant than Sanken COS11D or Sennheiser ME2).

What's your opinion?

Specs:

Lightweight Design At only 2.6 ounces,
the VideoMic GO is ideal for run-and-gun HDSLR recording without the additional weight of larger on-camera microphone options.

Integrated Rycote Lyre Shock Mount
Constructed from a single piece of hard-wearing thermoplastic, the Lyre provides superior acoustic suspension to traditional elastic solutions, and won't wear out, sag, snap, or require any rethreading to maintain its effectiveness.

No Battery Needed
The VideoMic Go does not require batteries for operation, but instead uses the plug-in power supplied via your camera's 3.5mm microphone input. Simply plug in, and you're ready to record.

• Foam windshield
• Integrated shoe mount with 3/8" thread
• 3.5mm TRS mini-jack audio output connection
• $99 price

Available at:

• http://www.bhphotovideo.com/c/product/1012003-REG/rode_videomic_go_videomic_go_on_camera_shotgun.html

The microphone will be mounted on the camera rig/cage above the camera and plugged either directly into the camera or into a fiio pre-amp then the camera body. I am really hoping to avoid latency issues, so please keep that in mind. I am seeking microphone and cable suggestions as well as your preferred options for that setup.

Options:

1. Microphone plugged into Camera
2. Microphone plugged into Pre-amp then camera.
3. External recorder (Zoom H1/Tascam DR-05) used as a line pass through.
4. Your ideas.

Price: about $13-14

Specifications:

• Comes with 1m or 3m cables
• 3.5mm male connector
• Unidirectional
• Diameter: Φ6.5*5.0 mm
• Sensitivity:-47dB±2dB
• Frequency Range: 20-20KHz
• Output Impedance: ≤680Ω
• SNR >58dB

http://www.ebay.com/itm/UltraDisk-4016Pro-1-3-metre-3-5mm-Unidirectional-Lavalier-Interview-Microphone-/330651746768

Also good, sturdy mike for very affordable price.

http://dx.com/p/kingma-directional-stereo-microphone-for-3-5mm-mic-jack-dv-camera-dslr-black-2-x-sr626sw-168206

Price: $105 shipped

Thanks for any help

First of all, sorry for my english but I'm italian, so maybe I'll do some mistakes during the topic.

Now, that's the question. I am a videomaker and I decided to record a low-budget movie, after 3 years' experience with short-movies.

I have the screenplay, I have the cast (almost all), I have the camera (gh2) and I have a problem with the audio.

As long as I want to produce a professional (or semi-pro) work, I can't be satisfied with the internal mic's quality of GH2. The problem is that the budget is limited (300-350 €), so I can't spend a lot of money.

Surfing on the internet, I have found two solution: the H4N Zoom and the Rode Videomic Pro.

Now, many say that for obtain a good quality is necessary to combine the two microphone and so attach the RVP to the H4N and record the audio track on it.

But, it's possible to have a good quality of sound by using only one of this two microphone? If yes, wich?

Or there are other choices (considering the budget) that can provide a good quality audio?

Thanks for reading and for any replies :)

I won't make some big marketing push for why mine would be better than anybody else's - in the last decade and a half of working with software FX I've learned there are a lots of ways to make things sound great. I also won't make any money off of this so there would be no point. :) But I do want to make it as easy as possible for people that aren't used to dealing with EQ to get a good sound.

Now here's the part where you come in. The tricky part of making presets is that they have to be widely usable. I'll be making these on a Windows machine (I spend more time in Windows than OS X) so whatever plug-in I make them for will need to work in that environment. I am thinking I would like to use the free ReaPlugs suite from Cockos, but my question is whether people would prefer that I use those or the ones native to Reaper itself?

If I use the ones internal to Reaper, then I seem to remember they may also work on OS X. But if I use the ReaPlugs suite, they will work in any host but Windows only.

Here are the links to each: http://www.reaper.fm/ http://www.reaper.fm/reaplugs/index.php

So, which version would you guys prefer? Feel free to suggest other free plug-ins or other microphones you would like covered. I'm open to doing the same thing for the GH3 if there's sufficient interest.

Compared to it predecessor (which is now sold as a lite version) the interference tube has grown a bit (its still slim compared to the Videomic Pro) and there is a new switch to enable a 20dB gain. The microphone is sold as part of the „Q DSLR-Video PRO Microphone Kit“ (1) and the „Q Sniper PRO Microphone Kit“ (2).

I'm especially interested in the latter kit, since the idea of a super compact booming kit intrigues me. Another advantage of this kit is that it includes an XLR adapter which enables a true balanced connection. This gives me the option to upgrade my VDSLR setup with a powered XLR adapter like the JuicedLink RM333 later on. But I want to make sure the microphone has a good quality justifying the hefty price tag of 450$ for the Sniper Pro Kit. Videomaker published a very positive review of the kit (3), and there is also a video review (4), but both of them didn't seem very substantiated. Has anybody made experiences with this microphone? How does it compare to the Videomic Pro or the Sennheiser MKE400?

1. http://queaudiousa.com/Portfolio%20Items/q-dslr-video-pro-microphone-kit-2/
2. http://queaudiousa.com/Portfolio%20Items/q-sniper-pro-microphone-kit-2/
3. http://www.videomaker.com/article/15833-que-audio-q-sniper-pro-microphone-kit-review
4. http://oliviatech.com/que-audio-sniper-pro-dslr-shotgun-microphone-kit-with-boom-pole-and-mic-stand

Price: $93 with free shipping

Manufacturing quality seems better than cheap shotguns. Plus it comes with mount.

Description is completely off, as it is copied from different mike page.

http://www.ebay.com/itm/SG-209-Shotgun-DV-Stereo-Microphone-Equipped-DSLR-Niokn-Canon-Olympus-Panasonic-/130802546079

Read my topic about using this microphone on the GH2: http://www.personal-view.com/talks/discussion/4450/akg-c747-premium-quality-mini-shotgun-works-on-gh2

• Three-position gain switch
• Bass roll-off (high-pass filter)
• Standard hot shoe mount
• Up to 500 hours per AAA battery
• Integrated foam windscreen

More Info: http://www.mxlmics.com/microphones/field-recording/FR-310/

Available for about $129 at:

• http://www.ebay.com/sch/i.html?_trksid=p4340.m570.l1313&_nkw=MXL+FR310+&_sacat=0
• http://www.amazon.com/Marshall-Electronics-FR-310-Shotgun-Microphone/dp/B0083HTJJ0/

Several people have asked me to make a video of how it was done, so I've finally got around to making it. I thought I'd post it here because some of you might find it interesting. Anyway, I'd like to know what you think.

The setup that I want to achieve is: Lav mic plugged directly into Zoom H1, which remains on persons body (hidden under clothes), and records clean sound directly - no wireless intervention. The problem with such a setup is that there's no monitoring. So for monitoring alone I'm thinking of getting dirt cheap wireless transmission system (for under $50, I don't even know what options are out there) that would plug into the headphone jack of the Zoom H1 and transmit to the receiver that is plugged into a cheap field mixer. From there I should be able to monitor the dialogue between several actors with lavs on their bodies. I don't know if it would work? Any expert advice?

So my question is: is it worth getting this "upgraded" version for extra £25? Is it worth the extra cash? All I want to do is to plug it into my Zoom H1 and get a clean dialogue sound.
So which one should I get? HT-81 or HT-81A ? Also any tips about good and cheap cables for the boom pole, would be greatly appreciated.

Does anyone here know any more about this?

But they have also good previous systems.

Sad thing is that they don't have models with mobile reciever.

Featuring 24-bit precision for a full frequency response of 10Hz to 20kHz and a wide dynamic range of up to 120dB (A weighted), the signal from an XD-V75 digital wireless system is so clear and strong that it sounds and performs as if you’re using a wired microphone.

Unlike analog wireless systems, XD-V75 digital wireless systems never use signal companding to compress and expand the signal, so you always have full dynamic range. XD-V wireless systems allow you to convey every nuance of your performance to the audience in the most natural way, with crystal clarity.

XD-V75 systems operate in the 2.4GHz ISM band, which is free from interference due to TV broadcasts, white space devices, cell phone towers and other transmitting devices.

Line 6 digital wireless systems use exclusive digital technologies to protect their signals from interference that can wreak havoc on analog wireless systems. Encoded DCL™ (Digital Channel Lock) technology distinguishes XD-V75 digital audio from any other third-party signal, including Wi-Fi, thus preventing reception of audio interference from other 2.4GHz devices.

More info: http://line6.com/xd-v75/features