As much as I LOVE my Rode NT1 I think all of the Rode mics are only for studio use.
I'd really stick to dynamic mics for this kind of application unless the manufacturer specifically rates the condensor mic for the type of use you're interested in.

Bob.

The AT 804 is a good mic, so is the Shure SM 58, but not the 57. I'd stick with the more tough, street mics rather than looking at esoteric and condenser mics if it's a general interview use/handheld. SM 58 is VERY common, tough as hell. So is the RE, but I hate the way they sound by way of personal opinion.

The strange thing aboutt the Sure is that their specs say the 58 is only for loud vocals on stage and the ENG/Interview mics are the SM63 and the VP4A. I'm begining to wonder if anyone can really tell the difference between any pro mic. Note everyone who replies to my suggestions has a different personal favorite. I read a blind review by an Audio mag this week who said six experts could not tell the SM58, AT804 and the Neauman U87 apart. They all chosse diferently!!!! May be I am giving too much of a dam?

I will probaly end up going into an XLR slot at the mic and not linesetting so maybve a high output dynamic is best but so many people here say small condenser, small condenser, small condenser......

Still confused I am afraid

May be I am giving too much of a dam?

Ummm, I'd say so. I've followed all of your threads here, the Vegas Audio and the Sound Forge forum. You simply can't go wrong with what you want to do, your level and budget with the SM 58. There are probably more SM 58s in service than all other mics put together. As stated they are incredibly durable, have excellent sound are very versitile, flexible and are cheap at around $80.

Is it the best mic in all situations? No, is it the best mic for most at a very low cost? Probably.

If you can't get very good recordings with it, it will not be the fault of the mic.

MJ

I just bought a Sony ECM-MS908C handheld stereo condenser mike that seems decent. It has a stereo mini-plug and delivers pretty good sound for speech or even singing. Requires one AA battery I think it lists for $119, I've seen it online for $69, I got a refurb from a Sony outlet store for $49. FWIW.

Don't sweat it. Dynamic mikes are cheap and indestructible and virtually foolproof. Even if you have an expensive small condenser that you love, you'll still find lots of uses for a decent dynamic mike. Ever need a mike to record very loud noises, like heavily amplified music, gunshots or explosions? Dynamics are the only thing that will work, since condensers will overload and distort. Ever need to put a mike in a situation where it might get dropped onto the sidewalk or run over by a car? Most of the dynamics will survive a fall from head height or higher, and if they don't , you're only out 80 bucks. Drop your Rode condenser mike, and you'll be considerably more upset.

Start out with an inexpensive quality dynamic (any of the ones mentioned so far will probably do the trick). Then if you find the need for pricier gear, add it later.

Lots of fine feature films have been made with an EV 635 or a Shure SM58.

Just my two bobs worth.
I'd agree dynamics would seem the way to go. Condensor mics need tender loving care. One issue I've had with dynamics though is they don't seem sensitive enough to drive the preamps in cameras. You should be able to get close to 0dBFS with the 'AGC' on but I've found some dynamics just will not achieve that with say the PD150 and with the mic at around chest height and typical speech.

Other thing I'd look for is internal shock mounting, nothing worse than getting the sound of the mike moving in the talents hand into the audio.
Lastly make certain you use the XLR connectors with the rubber inserts to stop the connector jiggling around, the mic will pick up the noise.

The EV 635 now comes in a neodymium high output version - EV635N/D at about $120. The RE50N/D neodynium is better but at $170 a bit high for my pocket. The EV635N/D shoull drive the "mic in" of a good camera so I can forget a preamp and phantom power when on the road. I think this is what I shall do. Thanks for all your great help.

I note in this thread no one compared cardiod unidirectial to omnidirectinal. Do most of you think this not a factor in a street interview mics?

.....The EV 635 now comes in a neodymium high output version - EV635N/D

I have the EV635N/D microphone and it works great as an interview mike and yes you don't need a preamp. Works fine through my beachtek to my VX2000.

I have used a couple of EV635's for years (not the new N/D kind) with my VX1000 and VX2000, connected to either a Beachtek or Studio 1 -- they work great for interview mics, no need for an external preamp with these cameras. I especially like the compact size and ruggedness of these mics, and the frequency range is good for ENG/EFP type of work.

I note in this thread no one compared cardiod unidirectial to omnidirectinal. Do most of you think this not a factor in a street interview mics?

Yes, it is absolutely a factor for two reasons. Directional (cardiod) mics are extremely sensitive to placement. The frequency response and level changes "off axis", so pointing them directly at the source and maintaining a consistent distance is important. But more importantly, directional mics have what is called "proximity effect" which means the closer they are to the source, the more low end they produce, this cause the sound to become somewhat "thick" and "muddy." (By "closer", I mean within an inch or two from the mouth.) This is great for a singer on stage with a loud band, but neither of these effects are desirable for interviews. Omnidirectional mics, like the EV635, maintain their frequency response regardless of how they are pointed and they don't "bass-up" when someone gets right up on the mic. Basically, all that will change (if you keep the mic within a reasonable distance to whomever is talking) will be the level and that can be dealt with in post. Of course, the closer the mic is to the person being interviewed, the less extraneous sound, like "street noise", will be picked up.

However, if you will be doing interviews in really noisy locations, then perhaps a supercardiod mic like the EV RE-16 may be the ticket, it is highly directional, which will cut down on the street noise, but also has what EV calls "Variable-D", which is an acoustic technology EV uses to greatly reduce "proximity effect" on directional microphones. It works really well.

Anyway, I think your decision to go with the EV635N/D is a good one. I have two 635A mics that are at least 40, if not 50, years old, they have been through hell and still work perfectly.

John

Can't add much except for some advice one of the audio guys gave me some time ago about mic placement. In general don't worry so much about pointing it at what you want to pickup, rather focus more on not pointing it at what you don't want to pickup.

As to the question of omni versus cardiod, without knowing where you'll be doing the interviews it'd be impossible for anyone to give a simple answer. 'Interviews' can be in a studio to on the side of a busy road. In the first case you could use a studio condensor, in the latter I'd be going for a shotgun mic!

Bob.

I like the EV nd 767a for near $110 at full compass. (800-346-5844 x1179) It sounds much better than the sm58's (clear mids, and nice highs!). For under $200 it's the best hand held in my opinion. You see mics in this series used at concerts in place of the 58's. The sennheiser line is nice too.

Or try to find an mkkh416 in a pawn shop :)