$200 XLR Lav Mic Suggestions

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[TD="class: alt1"]The USA made (NJ) Oscar SoundTech mics are also highly regarded by many.. The 801 & 802 are nearly identical to the Tram but priced for much less. The OST TL-40 is an end-fire lav and slightly smaller than a Countryman B3.
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There are two more that should be on your list:

Countryman EMW
Rode lavalier

The EMW is very durable and moisture resistant, and Countryman is a great company with equally great service. The Rode is a bit more money, but has the advantage of adapters for phantom or non-phantom power which is really nice.



Grant
 
The Rode Lav (and headset mic and "pin" mic) is anything you want, including XLR. There are TEN different output connector options.
And the VERY NICE thing about the Rode is that you can swap output connectors yourself, in the field, whenever you wish.

And the cable is also detachable, so you can use a longer or shorter cable and replace the cable if it fails in the field.

+1 on the OscarSoundTech Earlier this year, I use the Rode Lav, two of the OST-801 mics, and a $40 MXL mic on a TV series.
Check out the first episode here, and guess which guy was wearing which mic. Good luck.

 
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Mickey Mic might be one to look at in your price range. They've used it on boardwalk empire.
 
"Mickey Mic might be one to look at in your price range"
- I forget which model (if there is another one), but the 'Mickey Mic' is allegedly close in size to the B6 and sounds very good.
I have been prompting OST to build a B6 type/size mic and is.. "under consideration", whatever that means.
 
Just emailed a guy at OST. You can get the 801 plus power supply to turn it into a hardwire mic (so you can go wired or wireless) for $85 for each component so $170.
 
We have the rode, with XLR adapter. Works great and very happy with the sound it provides. I like cables, wireless makes me nervous :)
 
Hello Richard, I've lurked on here for quite awhile and have found your posts very informative. Thanks for taking the time to offer great advice/info.

I have been considering getting a Rode lav mic, but have read a lot about the connectors being unsuitable for heavy use/easily damaged. I also have a friend who seems to feel the same way. You don't share that concern? Is the Sony 44B a good (budget) choice if your primary intent is to go wired (I like the idea of future-proofing for wireless use, budgeting is on the horizon...but have no trans/rec system currently)?

FYI, looking to supplement an NTG-2 + Tascam DR100 MKII for use in no/low budget documentary. To record a single subject exclusively, recording the interviewer separately (and thinking about the Rode lav for smartphones for them).
 
Hello Richard, I've lurked on here for quite awhile and have found your posts very informative. Thanks for taking the time to offer great advice/info.

I have been considering getting a Rode lav mic, but have read a lot about the connectors being unsuitable for heavy use/easily damaged. I also have a friend who seems to feel the same way. You don't share that concern? Is the Sony 44B a good (budget) choice if your primary intent is to go wired (I like the idea of future-proofing for wireless use, budgeting is on the horizon...but have no trans/rec system currently)?

FYI, looking to supplement an NTG-2 + Tascam DR100 MKII for use in no/low budget documentary. To record a single subject exclusively, recording the interviewer separately (and thinking about the Rode lav for smartphones for them).
 
I don't know what "unsuitable" and "easily damaged" mean? IMHO, the Sony 44B is more delicate and less "suitable" for heavy use. As for easily damaged, the Rode features a cable that you can replace yourself in the field with no tools. The Sony 44B is difficult to repair even under ideal conditions with an experienced technician.

I think the interchangable cable and interchangable connector scheme on the Rode is a killer concept that is hard to beat. I wouldn't even put it in the same category as the decades-old Sony design. Now, I am a big Sony fan-boy, both audio and video, but this is the 21st century and we have better designs, materials and construction than those old Sony things.
 
As a user of Sony ECM77, 50, 55, 88's in their day they worked well.... the Rode lav is MUCH better.
My only negative comment on the Rode is the clips are poor and they don't do a double clip for live to air broadcast standby mics, the Sony clips were great with the many variations they did.
 
If you're not certain what kind of wireless you will buy, the Rode is a no-brainer. A specific connector can easily be screwed on after the fact.
The Sony lav mic's cable is flexible and seemingly robust and I've never had any problems with them. The ECM 44 is OK.. but not great.. I've always liked the sound of the 55.. however it's huge size is an issue.
PS.. The dual diaphrameECM-88 is not that old and allegedly is less prone to cable and rubbing noise than previous models.. though I have never used one.
 
I went with the Rode lav... I'm just now getting ready for my first use of it... I am running it into the Beachtek unit... do I need to turn the phantom power of the Beachtek on or does the RODE not require phantom?
 
Any condenser mic needs power from somewhere.... with the micon5 (XLR adapter) yes you will need phantom power turned on.
The other micon adapters use power from the radio mic TX units or recorders that deliver 'plug in power' for external mics.
Some beachteck models have phantom power other don't.
 
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