wireless microphone

Peter C. said:
Your Tascam DR40 has two XLR inputs. The following mics would work and fit your budget:

1. $149 Audio Technica AT803B
https://www.bhphotovideo.com/c/produ...i_Clip_On.html

2. $169 Sony ECM 44B
https://www.bhphotovideo.com/c/produ..._Lavalier.html

Get a couple of 6-10ft xlr cable to run back to you with the recorder (allowing you to monitor) and if desired run line out from the recorder to the camera.
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This 2 mic here in europe cost more than what you pay in dollars...might look for more options
What about the rodes?
 
Kust check...rode don t have xlr lavalier
anyway dr40 also can connext with the trs, big jack
for what i know i absolutely need a balnced connection, as i am planning to use long cable, and this requieres balnced connextion to avoid noise, right?
 
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Balanced is the most robust system, but unbalanced rarely gives grief to be fair. Lots of skewed understanding here because we use the word 'lav'. Most lavaliere mics are condensers, hence the talk of power, but you can get dynamics - they are physically bigger but don't need phantom and are often cardioid. Radio packs happily provide 5V power from their batteries, so mics normally used for radio tend to be able to run off this voltage. 48V phantom power gets converted to 5V power in those extra long XLR connectors with a 3 pin male on one end, and a 3.5mm socket (typically) on the other. 2 people = 2 mics is the simplest solution - radio or wired with an adaptor to fit the cameras or recorder if required. Just remember the first law of wireless systems. The mnore expensive they are, the more they tell you about the nasty noise they just provided. None tell you in advance, as the 2nd Law is that the more vital the audio is, the more chance there is of wireless wrecking it.
 
paulears said:
Balanced is the most robust system, but unbalanced rarely gives grief to be fair. Lots of skewed understanding here because we use the word 'lav'. Most lavaliere mics are condensers, hence the talk of power, but you can get dynamics - they are physically bigger but don't need phantom and are often cardioid. Radio packs happily provide 5V power from their batteries, so mics normally used for radio tend to be able to run off this voltage. 48V phantom power gets converted to 5V power in those extra long XLR connectors with a 3 pin male on one end, and a 3.5mm socket (typically) on the other. 2 people = 2 mics is the simplest solution - radio or wired with an adaptor to fit the cameras or recorder if required. Just remember the first law of wireless systems. The mnore expensive they are, the more they tell you about the nasty noise they just provided. None tell you in advance, as the 2nd Law is that the more vital the audio is, the more chance there is of wireless wrecking it.
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those 2 laws seems interesting :) ...but i cannot understand..english is not my language.Can you please explain in other words?thanks
 
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No radio system is as good as a cable - but the more sophistated and expensive ones often give details telling afterwards, what happened (which rarely helps you) The other sentence is just how life works - the more critical it is that a radio link performs flawlessly, the more likely it is to fail - or at least it seems like this.
Murphy's First Law: Anything that can go wrong will go wrong.



Murphy's Second Law: Nothing is as easy as it looks.



Murphy's Third Law: Everything takes longer than you think it will.



Murphy's Fourth Law: If there is a possibility of several things going wrong, the one that will cause the most damage will be the one to go wrong.
Corollary: If there is a worse time for something to go wrong, it will happen then.​



Murphy's Fifth Law: If anything simply cannot go wrong, it will anyway.



Murphy's Sixth Law: If you perceive that there are four possible ways in which a procedure can go wrong, and circumvent these, then a fifth way, unprepared for, will promptly develop.



Murphy's Seventh Law: Left to themselves, things tend to go from bad to worse.
 
Syn is rarely an issue if you make sure you shoot something to sync things up - a simple hand clap is enough. In fact you don't have to see it as you can use the cameras on board mic to record room sound - then in your editor you slip and slide the waveform to line up. It's very easy. The only real rule when lining up when you are limited to a frame forward or backwards as the smallest step, is that as long as audio follows video, its fine - its how we hear. Some cameras have very good audio. I switched from a Tascam to using the camera audio in my videos and nobody, including me, noticed! The only issue is simply that if the viewfinder is a way away, I cannot see the audio levels very well.
 
paulears said:
Syn is rarely an issue if you make sure you shoot something to sync things up - a simple hand clap is enough. In fact you don't have to see it as you can use the cameras on board mic to record room sound - then in your editor you slip and slide the waveform to line up. It's very easy. The only real rule when lining up when you are limited to a frame forward or backwards as the smallest step, is that as long as audio follows video, its fine - its how we hear. Some cameras have very good audio. I switched from a Tascam to using the camera audio in my videos and nobody, including me, noticed! The only issue is simply that if the viewfinder is a way away, I cannot see the audio levels very well.
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sync is the least of the problems for me!
Working with wireless can be problematic for transmission leakage and have general lower quality than wired, which have more trouble in monitoring and cabling. Also seems hard to find a lavallier to go with my tascam dr40. I have a rode videomic, which is way better than the hollyland lark 150..but of course that's defferent kind of mic. Bu ti think that going with lavallier wired i might get closer. Of course, better to remember, in the range of 300 euro for 2 mic/transmiters
 
talking about wired mic + tascam dr40. I am concerning about the cable. It happens i record interview to 2 persone speaking, that sit aside., and generally i take the whole ambient, so floor included. In this case where cable should go without being visible?Seems there is no soluioin..
 
Unless you're getting a wide establishing shot, that seems nontypically wide for an interview. Could you frame the interview as a medium shot, so that only the people's torsos and up are in the frame?


As long as your lighting doesn't change, you could shoot a plate without the XLR cable, and use it to paint-out the XLR cable in your compositing software. It's a bit of extra work, but the technique is fairly common for removing boom mics from wide shots. Here's a video that explains the technique.

If you had a couple more cameras, you could shoot a closeup of each person, and you wouldn't see the floor or the XLR cable.
 
Imamacuser said:
Unless you're getting a wide establishing shot, that seems nontypically wide for an interview. Could you frame the interview as a medium shot, so that only the people's torsos and up are in the frame?


As long as your lighting doesn't change, you could shoot a plate without the XLR cable, and use it to paint-out the XLR cable in your compositing software. It's a bit of extra work, but the technique is fairly common for removing boom mics from wide shots. Here's a video that explains the technique.

If you had a couple more cameras, you could shoot a closeup of each person, and you wouldn't see the floor or the XLR cable.
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i might change yes..normally i shot a longshot, and the cropping ( i record 4k and edit 2k or less) i also get a medium/close up, so i have 2 different kind of shot, might consider to change the long to medium so i can avoid cable..yes.

Watched the video...simple and great technique!This way it i spossible to use a boom, which is way better than all lavalier, wired or not!
 
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another possibility is to use also a dr05 tascam recorder. This way i will place a recoder for each talent so no wiring around (but also no monitoring..) I never had a lavalier mic, so i cannot estimate how much is better a common boom, let's say a rode videomic than the same rode, but lav mic
 
The best bang for buck boom mic options are a hypercardioid Audix SCX1 or Audio-Technica AT4053B for indoor interviews, and a Rode NTG3 for outdoor interviews.

As I said before, I don't know whether the DR-5's 3.5mm input is line level or mic level, or if it outputs 3-5v plug-in power or not.
 
It is mic input, no 5v out
those 2 mic are out og my range, budget is 300, 350 euro for recording 2 persons, so 2bmic for example
 
paulears said:
The DR-05 has 5V power the manual says??
"Supports plug-in power"
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really? i connect a holyland lavalier andit would not work..did not see in the option if there is something to enable 5v out though

edit

just checked the dr05

the input is stated as MIC/EXT IN
and yes, in the menu there is powermic on/off
 
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now what i am trying to understand is
will i have better recordin if using 2 rode lav mic (or even something better but in the limited range of 300 euro price) + tascam dr05/dr40 than if i use rode wireless go II system?
Will be enough better to justify the complication of cable and sync i will add ?

that's the question! :)
 
If you can live with the cables, then yes - every time. RF is never as good. Very, very close sometimes - but the microphone is the limiting component in the quality stakes, and if the mic is good, then everything is good. The same mic, through a radio channel is always less good, quality wise, but it is small - BUT - interference, batteries, obstacles and random radio related issues can really be annoying.
 
Buy two lav mics you can afford for your audio recorder or an inexpensive wireless setup like DJI or Rode. At this point we are talking in circles.
 
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