Choosing Your Microphone

Figure 2.3 shows a good cross section of the types of microphones you will use on your shoots. Let's briefly identify them, and then cover the three characteristics of microphones you need to learn more about before buying.

Figure 2.3. An assortment of different microphone options.

On the bottom of Figure 2.3 is a handheld microphone, the Shure SM63 ($198 list), and similar to the mikes frequently seen on game shows and news broadcasts. As the name suggests, it's meant to be held in your hand during operation.

When you can use a handheld microphone, it's almost always the best alternative, with a great blend of quality and ease of use. It works well in many one- or two-person shoots, or when one interviewer is talking to multiple interviewees. You can also attach them to stands for hands-free operation in speeches, concerts, and conferences.

Just above the handheld microphone is a boundary microphone, the Shure EZB/O ($188 list). These microphones, also known as surface-mount mikes, are designed to be attached to desks or stage floors to pick up sound from multiple speakers and are typically used in conference rooms and theatrical plays.

Moving clockwise are two lavaliere microphones. These are designed to be attached to a single individual, and used hands-free. The Shure SM 11 Lavaliere ($175 list) is a "wired" lavaliere connected to the camera via a cable, while the Sony Wireless Lavaliere is part of the Sony WCS-999 wireless microphone system ($149.99 list) that sends the sound over a wireless signal to a receiver mounted on the camera.

Lavalieres are an excellent choice when you have one or two individuals speaking; they offer a great blend of quality and unobtrusive, hands-free operation. However, they're tough to transfer smoothly from person to person during the shoot. And, because they're smaller, lavalieres are less robust than handheld microphones, so they typically don't last as long.

To the right of the lavaliere are two microphones for mounting on a camera's accessory shoe. On top is the Sony ECM-HS1 ($69.99 list), which you connectvia an intelligent accessory shoe, and beneath it is the Sony ECM-Z37C ($149.99 list), which you connect via the attached cable using a 3.5mm adapter.

While the HS1 can only work on Sony camcorders with intelligent accessory shoes, the Z37C can work with any camcorder with an accessory shoe and a microphone port. If the camera's microphone port doesn't supply plug-in power, a small battery can power the Z37C.

These two Sony microphones share several characteristics. First, they are both "shotgun" microphones designed primarily to pick up sound from directly in front of the camera and eliminate sound from the sides and behind the microphone. Interestingly, in addition to "shotgun" mode, you can also switch the HS1 into "zoom" mode, where the pattern of sound picked up by the microphone mimics the current view of the camera's zoom lens. When the zoom lens is pulled completely back into a wide-angle view say, to show an entire stage the sound pickup pattern is also very wide. When the lens is zoomed in telephoto mode to focus on a single performer, the microphone pattern is similarly focused, eliminating all sound except that directly in front of the camera.

As we'll see, shotgun microphones produce better sound than most camcorder microphones, but are inferior to handheld and lavaliere microphones. While generally more flexible and easier to use than handhelds or lavalieres, shotguns aren't your best choice if quality is your primary goal.