Camcorder with a Mic Input

MiniMike

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Hi all.

Im in the market for a camcorder that allows me to connect a microphone though a mic input or a USB connection but it seems to be quite limited availability as to what is on the market to purchase.

Because ill be doing interviews etc, a proper mic being used will give me a better sound quality than using the camcorders attached mic.

Any recommendations?

Thanks.
 
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Will a proper microphone with a 3.5mm jack work, like this for example? -Sony FV120.CE7 Vocal hand-held microphone: Sony: Amazon.co.uk: Musical Instruments

Yes -- but - (there's always a but) -- camcorder mic inputs are quipped with 'plug in power' designed to work with electret condenser mics, not dynamic mics like the one you linked to.
There are two disadvantages to using dynamic (moving coil) mics with this type of mic input.
1) Dynamic mics are less sensitive than electret mics, and require more 'gain' from the mic preamp. Result? --you will probably get a bit more 'hiss' than you would with an electret mic. But it should probably be OK.
2) The 'plug in power' feature of camcorder mic sockets will supply a small DC voltage, to power the internal amplifiers of electret mics.
This DC is not needed, or desirable, with a dynamic mic. It will probably just be ignored by the mic, but if the mic does not have an internal matching transformer (at that price, it may not have) then the DC will appear across the mic capsule, which may cause distortion, and in the worst case might burn out the mic coil (unlikely, but possible).

It is possible to buy isloating transformers to deal with this problem, but thay tend to be quite expensive. (£50+) so they don't get used much!

Ideally, you need to look for an electret condenser mic, to match the mic input, but the mic you've linked to will probably be OK......

They don't make this easy, do they? :) .....
 
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Yes -- but - (there's always a but) -- camcorder mic inputs are quipped with 'plug in power' designed to work with electret condenser mics, not dynamic mics like the one you linked to.
There are two disadvantages to using dynamic (moving coil) mics with this type of mic input.
1) Dynamic mics are less sensitive than electret mics, and require more 'gain' from the mic preamp. Result? --you will probably get a bit more 'hiss' than you would with an electret mic. But it should probably be OK.
2) The 'plug in power' feature of camcorder mic sockets will supply a small DC voltage, to power the internal amplifiers of electret mics.
This DC is not needed, or desirable, with a dynamic mic. It will probably just be ignored by the mic, but if the mic does not have an internal matching transformer (at that price, it may not have) then the DC will appear across the mic capsule, which may cause distortion, and in the worst case might burn out the mic coil (unlikely, but possible).

It is possible to buy isloating transformers to deal with this problem, but thay tend to be quite expensive. (£50+) so they don't get used much!

Ideally, you need to look for an electret condenser mic, to match the mic input, but the mic you've linked to will probably be OK......

They don't make this easy, do they? :) .....

You're definatly right there mate, they dont make it easy at all lol.

So it sounds like a electret condenser microphone would be the best bet by the looks of it. As most of my use for the mic will be for interviews etc, I think it will be the safest option going for one of them as if I went for a dynamic mic and I then had my recordings full of 'hiss' that would be a disaster.

Sorry to be a pain (im new to all of this mic malarky :D), I don't suppose you could recommend any electret condenser mics that I should go for?

Thanks mate.
 
Gari14, welcome . . .

Before you spend money, on mics (or camcorders), can you say how /what these interviews will be?
For example is this indoors, in a quiet room, or in the street grabing folks as they move about?
It also helps to know what experience you have with camcorders, interviews etc. as some replies may be way-off.

But here goes . . .


That camcorder has featured here before and the only downside I can see, is no earphone o/p - and sadly that's something you will need in "difficult" situations so you can be sure the audio is good. Noisey music/drumming in particular requires this . . and the headphones need to be good sort with closed-backs, something padded about £50 should be comfortable, although you can easily spend more than double this. Cheap headphones won't do, as you can still hear the room noise.

rogs is right about that dc power, but it will be very little, so should not affect yr choice . . . . if it's speech then get something rugged and cheap to start with - like 2x karaoke mics(~£9 ea), these are usually moving-coil and are more robust than electrets.
Or choose a tie-clip mic - but ideally you need a 2-ch mixer to balance the interviewer and interviewee. This is much more difficult in Edit - far better to get it right beforehand...IMHO.

Even for a budget set-up, I think a separate solid-state recorder is better - very flexible and have level-meters (and headphone o/p) . . . . But you have to be comfortable with the Editing process. Also your interview technique needs to adapt to the situation so there is enough material to give the right impression to the Audience and the interviewee . . . Have a look at YouTube, although some postings are woefully short of professional.

Good luck.
 
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Hi mate.

Thanks for the reply.

The interviews that we will be doing will be inside and the noise levels in the room as well will vary due to each interview being in different places so unfortunately, its hard to tell for certain until we arrive for the interview.

I had a bit of good news this morning regarding getting a camcorder as our revenue from ads has helped my boss decide that we can use money from that to get a high-end camcorder. Great news for me as it means that I don't have to skimp while looking for a camcorder with a mic socket.

I've been looking at the Canon XA10 as the one to go for as it has 2 microphone sockets attached to the handle and a lot of options for adding boom mics etc if needed.

What's your thoughts on the Canon XA10 and using a microphone with it?

Thanks.

Gari.
 
It's bound to be an excellent camcorder, but with those pro-addition will come the need to really learn how to use it.


However, whatever - it should be good at about 5x the cost...based on XA10 (£1500 typically).
Probably worth checking if the audio levels can be set (for L+R) independently, as that removes the level-difference for interviewer and interviewee. Those big sockets are XLR - like pros use = quality and rugged.

Whilst "indoors" may seem good, you'd be surprised the noises some rooms have, Lifts, Yard outside, fans and building workers drilling holes in the ceiling. For this reason try to budget for at least a couple of tie-clip mics - I'm not sure that many are XLR, so you may need some fancy adaptors too.

I have to say it's odd to up the Budget x5 and for basic interviews you could use something equally suitable at lower cost . . . . many here like the 3-sensor(better for colour some say) Panasonic 900 series (with mic and headphone skts) - - - - and I'm leaning towards Sony CX730 which is a bigger 1-sensor, likely to be better indoors where lighting is "variable". The price-difference would mean you could build-up a decent kit of accessories without having to get more-budget. You will need a pro tripod to look the part and a £2 jacket marked "Crew" for any outside sequences, for example to set the location for the interview . . . this can be taken a few days prior, when you sus out the rooms and note the kit you'll need.

As this is for work, you should check the insurance-cover situation, too.

You'll need to get used to manual-focus and adjust the white-balance to allow for the variable room lighting. Practice on friends/family, so you're off to a good start. Don't forget at least one extra battery (& charger) and spare memory.
Always take a notebook and two pens.

Whoever said video was easy.?

Good luck.
 
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I agree with what you are saying as it is a lot of money but at the same time, the options (audio) that are achievable with the Canon are very good and although a lot of our interviews will be done inside, there will be others that will be made outside as well at some point so to sort out the proper sound levels for outside recording, this camera (and im sure many others) are equipped for what we need.

The good thing about the Canon is that if we are ever in need to improve audio due to being in a noisy environment etc, we have good options to improve it. I know that the camcorder is expensive but from what ive read about it, it sounds like its a fantastic piece of kit. If I was paying personally, I probably would not of gone for it (due to the price) but thanks to our ad revenue, this will be paid for through that.

By the looks of it (from the pic below) it looks like each mic channel can be adjusted.

I was looking at the Panasonic 900 the other day and although it sounds and looks like a very good camcorder, the issues with the fan noise that have been reported put me off.

At the moment, im not sure 100% which ill be going for as I still need to do some more research before deciding.
 

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It looks like you are heading in the right direction for what you need, and while you could do what you want on the budget side, if you have the funds and want the best results, well, you pay for what you get. We started doing our videos 6 years ago on consumer HDV camcorders and had nothing but trouble with audio capture as the cameras were not designed for it. By choosing to go the semi-pro route with the camera and audio you should avoid most of the issues trying to do this with budget gear (that is not to say it cannot be done well, it is just not as easy and straight forward on consumer gear).

With you going for a good quality camera I would recommend some good quality mics that will cover you for what you need. There are a few companies that do ENG style mics that would fit the bill. We use Sennheiser G3 ENG kits which are wireless and very good quality. I would spec two sets of lapel style EW122 packs. You get two receivers with XLR connectors, two transmitter packs and the mics. Plus they run on standard AA batteries so easy to maintain. You have lots of flexibility in frequencies, can set the levels correctly at the mic end as well as on board the camera and I have been very pleased with the results. I have done interviews on busy trade show floors, offices and all sorts of other venues and have never had any issues getting good quality sound. Also remember to spec good headphones and monitor sound at all times as you record your interviews.

If your budget can stretch I would also spec one handheld G3 mic so you have flexibility in interview style. No point paying big bucks for the camera and not going for quality mics. This is a lesson we learnt the hard way, so just passing on our experiences. Don't forget that no matter how well you record your audio, you may still need to clean it up further in post within your NLE or a program like Audition/Soundbooth or similar.

If you want examples of what we have achieved with this set up (we use a Panasonic AF101 AVCcam and HVX200 P2 camcorders) you could look at recent videos of interviews on the site
Panasonic PT-AT6000/PT-AE8000 3D LCD Projector launched | AVForums.com - UK Online G3 lapel
DATASAT RS20i - Bringing real cinema sound into the home | AVForums.com - UK Online G3 lapel
Sony 84inch 4K TV and VPL-HW50 3D Projector AVForums Event | AVForums.com - UK Online G3 Handheld

Now, once you have the audio sorted you need to start thinking about lighting... (First two videos used a two light approach (soft box to left, hard light to rear), third is standard room light, with an annoying 60Hz ceiling LED light to add to the problems).
 
Thanks so much for the advice. Much appreciated.

Your are so right about going for a semi-pro camcorder as in the long run, it will be the best option as I dont really see the point of spending £800 on a camcorder with poor audio and then spend a shed load trying to get the audio right on it. It will be like going backwards in some ways and also a few years down the line, I dont want to find myself needing to splash the cash on another camcorder. At least with the Canon XA10, im future-proofed.

Ive just checked out the Sennheiser Wireless Mics system (I take it, you mean these - Sennheiser ew 122-P G3 E-Band Wireless System: Amazon.co.uk: Electronics and it looks likw a really good system. Not sure if our budget will be able to stretch that far at first but we will see. Are there any other options you would reccomend? maybe decent handheld mics for example, just in case we dont have the outlay for the Sennheiser's straight away.

Thanks again for your input mate.

Gari.
 
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That's the mic we use. You could have a look around the various pro sites and see if you can get them any cheaper. Remember that sound is 50% of your video and people will switch off if the sound is not good. Other options are to get a good quality hand held mic and hard wire it using XLR cable to the camera if you are not moving. Or you could go with a shotgun mic, like a Rode NGT2 or similar on a boom pole (if you have someone to do this) or attach to a mic stand just out of shot, again wired to the camera. That's why I like radio mics as you have more flexibility for interviews and how you put together your shots. Lot's of options available and all vary in budget. I would however say that if you are going for that quality of camera, you put aside some budget for good quality mics. Good luck and let us know how you get on.
 
I'm not sure about those comments re Pana "Fan noise" - although this was one reason I discounted the camcorder - I concluded I wanted interchangeable lenses. and at under £400 the NEX5 does this.

Pana:700/800/900 fans.
The fan is there to cool the internals - and as most camcorders will run for far longer than DSLRs (and my NEX), that energy has to go somewhere. This may be partly due to the use of 3-sensors, creating "more data" - but as Mfrs are unable to "tell-us-like-it-is" we have to guess.
There have been a few (very few) complaints about Pana 900 fan-noise....well over a year ago (that's 2010), and recently: Nothing.
One Poster tried to give us a flavour of the problem, but frankly it was only very little and needed a very quiet room to show it.
Is it a problem, or just an annoyance?
I think you can get round this 2010-model (even in a quiet room), simply by "rubber-banding" the audio tracks. You fand the level down during quiet passages and turn it up when there is a sound you do want. This is called "Volume" in Vegas Studio, I believe...but not available in WLMM.

However, as there have been no complaints, I suspect Pana has changed the AGC setup - in the past it just kept increasing the gain, but this is silly. It would be easy enough to have a preset that copes with Loud, Average and Quiet. When it's quiet, check the temperature....cut the fan.

. . . . If anyone else knows the answer - do let it be known . . . .



I do hope OP gives us feedback on their Canon XA10 experience - and how they overcome any project issues . . . .
 
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That's the mic we use. You could have a look around the various pro sites and see if you can get them any cheaper. Remember that sound is 50% of your video and people will switch off if the sound is not good. Other options are to get a good quality hand held mic and hard wire it using XLR cable to the camera if you are not moving. Or you could go with a shotgun mic, like a Rode NGT2 or similar on a boom pole (if you have someone to do this) or attach to a mic stand just out of shot, again wired to the camera. That's why I like radio mics as you have more flexibility for interviews and how you put together your shots. Lot's of options available and all vary in budget. I would however say that if you are going for that quality of camera, you put aside some budget for good quality mics. Good luck and let us know how you get on.

I will definitely have a look around for the Sennheiser set to see if I can find it slightly cheaper elsewhere. We might be able to stretch our budget in the end but at the moment, its hard to say.

For starters, we might just go for wired XLR microphones and see how we get on. Most of our interviews will be taking place either seated or standing in the same position so wired microphones wont be a problem. Any recommendations for wired mics?

Thanks again.

I'm not sure about those comments re Pana "Fan noise" - although this was one reason I discounted the camcorder - I concluded I wanted interchangeable lenses. and at under £400 the NEX5 does this.

Pana:700/800/900 fans.
The fan is there to cool the internals - and as most camcorders will run for far longer than DSLRs (and my NEX), that energy has to go somewhere. This may be partly due to the use of 3-sensors, creating "more data" - but as Mfrs are unable to "tell-us-like-it-is" we have to guess.
There have been a few (very few) complaints about Pana 900 fan-noise....well over a year ago (that's 2010), and recently: Nothing.
One Poster tried to give us a flavour of the problem, but frankly it was only very little and needed a very quiet room to show it.
Is it a problem, or just an annoyance?
I think you can get round this 2010-model (even in a quiet room), simply by "rubber-banding" the audio tracks. You fand the level down during quiet passages and turn it up when there is a sound you do want. This is called "Volume" in Vegas Studio, I believe...but not available in WLMM.

However, as there have been no complaints, I suspect Pana has changed the AGC setup - in the past it just kept increasing the gain, but this is silly. It would be easy enough to have a preset that copes with Loud, Average and Quiet. When it's quiet, check the temperature....cut the fan.

. . . . If anyone else knows the answer - do let it be known . . . .



I do hope OP gives us feedback on their Canon XA10 experience - and how they overcome any project issues . . . .

I have a NEX5 and its a superb camera for both stills and video but the biggest downside for me with it is the fact that its so limited with its audio capabilities.
 
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re NEX5
It's only on-camera audio and they are Electrets. But I've been very pleased with the audio I get - and most friends have pro-gear which I'll agree has that extra "Clarity" when good . . . . but as a BBC engineer once said "..the wider you open the door, the more dirt blows in..."

The answer for me was to buy a portable SDHC recorder (now discontinued PalmTrack model), this is similar to the Zoom range(daft name!) with built-in electrets, or external i/p and headphone o/p as well as level meters (indeed its meters are better than some expensive pro-gear I've seen, since mine has -dB scale printed).
This extra- source (somewhat a "drag") syncs using the internal mic, provided you include a "Clap" at the start of the shot. Pros are good at this, and I sometime Forget, - but the recorder is used for music capture, foley and making audio (voiceovers) where I don't need to drag the PC about. Effectively it's a "Radio Mic" without radio issues (like Range, interference ), as you (or assistant) can be some distance away. I paid £60 which is a fraction of Radio Mic - which still needs to be recorded. SDHC Recorder give you a Stereo Back-up....It accept tie-clip mics and larger m/c handhelds.
Oh yes and has nasty 3.5mm sockets =Arrgh . . . . Yet, goes 1-day on 2x AA.
But I hardly ever use it as the camera mic is so good (now I've fitted a Fluffy), only twice have I had to scrap the Audio - both were Music venues, where the audio was too loud . . . the Second time I take headphones, to move about the Band without wrecking hearing, whilst looking dead cool.
NEX5 does have an add-on mic (also electrets!) but it's only 2" away from the internal ones...and at the price you can buy a very decent SDHC recorder . . . which IMHO is the better "pro" way to go.

What's yr "take" on the 3:1 zoom?
BTW I would have suggested NEX5 as yr Camcorder "Buy" - but your Budget (then) was too low.
+ Keep us up-to-date with the Canon . . . . a tinge of green here . . .
 
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Gari14 said:
I will definitely have a look around for the Sennheiser set to see if I can find it slightly cheaper elsewhere. We might be able to stretch our budget in the end but at the moment, its hard to say.

For starters, we might just go for wired XLR microphones and see how we get on. Most of our interviews will be taking place either seated or standing in the same position so wired microphones wont be a problem. Any recommendations for wired mics?

If its wired handheld microphones your looking at then a Beyer Dynamic M58 is pretty much industry standard for "man in the street" style when you can get the mic in nice and close to the mouth.

I got 2 of them and they are almost bomb proof, so much so you can trust them to non-tech folk (journos/reporters) to get useable audio with little instruction.

The long barrel makes it great for interviewing as your reporter will have less arm movement when moving from Q to A......
 
Thanks for the reply. Ill have a look online for them later and see what the score is.
 
Turbo Dragon . . . you appear to be using this(Beyer Dynamic M58 ), "for real" so I wonder if you can resolve an issue (for me)...? How do you deal with the different voice-levels?

(you said: "....as your reporter will have less arm movement when moving from Q to A.....".).... I interpret this as a sinle mono mic beings used to capture both Q&A. One huge advantage of this ttechnique is that the interviewee has to shut-up when the mic is taken away....thus giving the Interviewer greater "power to control."

Earlier, I had suggested that for their Studio (well, Room-based) Interviews, where the setting is "fixed" then I'd suggst a simple mixer, level-meters and headphone o/p. That way the L&R channels are more-or less the same, as the levels can be adjusted should it be wildly "out" - for eample if an awkward Q is asked and the interviewee shouts a reply.

Fixing levels in Edit is a big Ask . . . when it can be almost "clean" before Recording.
Thanks in anticipation.
 
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I interpret this as a sinle mono mic beings used to capture both Q&A. One huge advantage of this ttechnique is that the interviewee has to shut-up when the mic is taken away....thus giving the Interviewer greater "power to control."

The other end of that scale is where you want to capture the whole of a conversation between 2 people, without moving the mics at all.
I have found that a tie clip on each person (which they soon forget about!) solves that one.
And so as not to have to cart about a separate mixer, just for two inputs, I made up a little 'splitter' box, which allows two separate mic jacks in, and one out.
Means you can input both mic jacks, and wire the splitter box so that one mic is connected to each channel of the single (stereo) mic input jack of the SDHC recorder.
Separately recorded channels for the 2 way conversation, for only a cost of of a couple of 3.5mm jack sockets...
 
rogs, then I suppose the level-variations will be sorted in Edit?

Whilst I understand the simplicity, it seems to me that building a rudimentary mixer that would fit a tobacco-tin (Size) would take the batteries...like 4x AAA's? would be far better and If you'd bought the (5-pcs) cheapo electrets, you can power/block the power-feed as well.
But when I get round to it, I'm hoping to make a physically larger 4-ch mixer which includes LED Bargraphs. . . . . if only there was the time, eh?

(I bought the Case, a £8 "coincase" 200 x 150 x 60 and throw away the nasrtyt plastic trays.).
 
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12harry said:
Turbo Dragon . . . you appear to be using this(Beyer Dynamic M58 ), "for real" so I wonder if you can resolve an issue (for me)...? How do you deal with the different voice-levels?

(you said: "....as your reporter will have less arm movement when moving from Q to A.....".).... I interpret this as a sinle mono mic beings used to capture both Q&A. One huge advantage of this ttechnique is that the interviewee has to shut-up when the mic is taken away....thus giving the Interviewer greater "power to control."

Correct, i was using the example of a typical journo technique of a man in the street style interview. If your interviewing this way then mic discipline is essential, i cannot count how many times reporters questions have not been heard because they leave the mic pointing at the interviewee!

Re different audio levels, with a dynamic Mic that close to the subject, you will almost always get useable audio, reporter style mics like that one are very forgiving.

If the interview is a structured/planned one then personal lav mics recorded seperately would be preferable to a stick mic.

If your recording the lavs direct into the camera then any mixing will have to be done in post as you cannot set an audio level and expect it to remain constant throughout the interview, human nature sadly. :)

Best audio from a sit down interview: 2 shotgun mics on big stands above the shot and mix it live before it goes into the camera. No post production needed.
 
Best audio from a sit down interview: 2 shotgun mics on big stands above the shot and mix it live before it goes into the camera. No post production needed.


Very good option of course, but can tend to be expensive!

I find lavs (tie clips) quite good for interviews. As I mentioned in my last post, I use some home made splitter boxes, to give me 2 independent channels into a simple 2 channel audio recorder. 2 recorders? ... 4 independent audio channels! Use a clapper to sync, and the camera audio as a reference track.

I've recently been asked to do some audio recordings of older folk, discussing memories of earlier times, for a local history group. It was recommended that we use lavs, so that the participants don't 'play to the gallery' -- or worse, freeze up, which some older folk tend to do if presented with formal mics. Tie clips, they soon forget about!

Using the kit in the attached image, I have 4 independent audio channels.

Does mean mixing in post of course, but it does also mean no mixer (or power for mixer!) and it's much cheaper!

As I say, this is for audio recordings, rather than video, so the main equipment cost is the recorders, instead of a video camera.

Apart from that, the whole of the rest is less than £50. Mics are made using clips and holders etc from the really cheap Neewer mics we have been discussing. Capsules are Panasonic WM61A --which I find very good indeed. Cables, little boxes and jack sockets?--- a few quid from Maplin!

As an aside, I was watching an old repeat of 'Mock the Week' on Dave the other day, when I realised that (in the bit where the team members stand up and, tell short jokes about a specific subject) the hand held mic is just a dummy prop. The audio is still from their radio tie clips, which they wear for the rest of the broadcast.
I realised that this was happening, when they unclip the mic from the stand....no handling noise! OK, it could be that the mic is muted, until after they pick it up, but I don't think so....

I think something over 90% of studio broadcasting now uses lavs for their audio. It's only in very noisy situatons like, say, Formula 1, where they still use very close hand-held mics with pop filters, -- or the live broadcasts from the Olympic Stadium studio, where they used headset mics. (i.e. really close lavs!).

If you're filming drama, where visible mics are a 'no no', then overhead shotguns are the answer of course.

But if you don't mind small mics being seen?.....

And in the case of lavs, you can use capsules like the Panasonic, and get results pretty close to the Sennheiser or DPA lavs.
For a fraction of the cost...
 

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Apparently I don't have permission to view Rogs image!
Anyone else have this problem?
 
Rogs you are quite right about live broadcast, lavs are the standard. Normally either Sony (cabled) or Sennheiser (radio). Im at work at the mo using both.

DPA mics (the headset ones you mentioned) are fantastic in high noise enviroments like arenas etc. And DPA rifle mics are capable of handling such high noise, it is unbelievable!

Really like the set up you have got there and glad it does the job for you, would be interesting to hear your recordings some time.

Sorry for the slight thread jack!
 
I've never been keen on using external mic jacks on camcorders. Add to that the fact they are getting rarer (except on the top of the range models), then I think some of the other alternatives are really quite relevant.

Radio mics tend to be expensive, but SDHC card solid state recorders continue to fall in price, and can offer a very good (and cheap) alternative to the use of radio mics.
Of course, you do have to 'sync' any remotely recorded audio in post, but it's not that difficult (can't be if I can do it:))!... especially if you remember to include a 'clapper' reference at the start of the shot!

Linear PCM wave file recorders, like the ZOOM H1 PORTABLE DIGITAL VOICE RECORDER DICTAPHONE NEW: Amazon.co.uk: Electronics
are now down to less than £80, but some of the even cheaper 'dictaphones' can offer some surprisingly good results. Used at their best sample rates, the newer ones really can be very good indeed.

I've attached a test audio file made using one of these:

Sony model ICDPX312 Dictation Machine

Which has now been superseded by this model: Sony ICD-PX240 4GB Digital Voice Recorder: Amazon.co.uk: Electronics

.....Similar spec.....still excellent value, IMHO...


in conjunction with one of these:



Neewer 5pcs 3.5mm Hands Free Computer Clip on Mini: Amazon.co.uk: Electronics

I think you'll agree, not bad audio for less than £40?

(By the way, the track was digitally transferred via the USB connection on the recorder. No editing at all. You could probably tweak it to improve it further. Sorry about the voice! :))


You might prefer to look at this mic, which also gets good reviews, and, unlike the Newer mics, has a metal clip!:

Ultradisk 4016 Pro 1 Metre X 3.5mm Clip On Unidirectional Lapel Lavalier Microphone Electret PiP Condenser Mic for PC Laptop Skype VOIP Webcam Voice Recorder: Amazon.co.uk: Musical Instruments




By recording speech audio remotely, you can gain the benefits of close miking, while using your camcorder audio, not only as a sync reference, but also to add a bit of 'ambience' if you need to!!

And at that sort of price!..:)
 

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Arrgh that's darn annoying, I'm not allowed to download your demo.mp3 Rogs, what's going on?

Edit: Yet I use chrome browser and don't even have to log in????
Safely downloaded now :)
BTW thanks for the changing the 'attachment' to a picture in the post a bit further up.
 
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