Condenser Lavalier
Condenser Lavalier
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 Original New in box AKG CK55 L Lavalier Condenser Microphone with Clip CK55L  US $79.00
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 Countryman EMW Omni MEMWF05BTL Condenser Wireless Professional Microphone US $110.00
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 Shure WL93 Subminiature Condenser Lavalier Microphone w Mic Clip US $49.95
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 Countryman E6 Omni Earset E6OW6T2SR for Sennheiser US $319.00
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 Tram TR50 TR50BSET Omnidirectional Lavalier Condenser Microphone sennheiser US $150.00
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 YPA M1 LAVALIER CLIP ON MICROPHONE FOR SHURE RADIO MIC US $34.99
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 Audio Technica ATR3350 Condenser Cable Microphone US $5.00
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 Audio Technica AT803a Condenser Lavalier Microphone US $50.00
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 Shure PGX4 Wireless Mic Receiver PGX1 Transmitter WL93 Lavalier Microphone US $200.00
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 Shure PG30TQG Cardioid Condenser Headset Mic US $30.00
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 Sony ECM 77B ECM77B ECM 77B Condenser Lavalier Omni Directional Microphone US $78.00
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 Shure L4 Wireless Microphone System Marcad Diversity US $80.00
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 New YPA ML2 C4SE Omni directional Lavalier Lapel Microphone FOR SENNHEISER Beige US $39.95
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 B88 New Audio Technica ATR 3350 ATR3350 Lavalier Omni directional Microphone Mic US $23.99
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 Shure PGX14 85 Lavalier Wireless System US $299.00
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 Shure WL185 Lavalier Condenser Microphone Black Cardioid US $79.99
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 Shure WL93 Omnidirectional Condenser Miniature Lavalier Microphone Black US $69.99
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 Shure WL51B Subminiature Lavalier Microphone Black Cardioid US $139.99
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 Shure WL50B Subminiature Lavalier Microphone Omnidirectional US $129.99
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 Shure PG1288 PG185 Vocal Lavalier Combo Wireless System H7 US $500.00
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 Audio Technica Wireless clip on mic for battery pack new opened box US $90.00
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 Shure PG188 PG185 Dual Lavalier Microphone Mic Wireless System K7 PG188PG185K7 US $584.95
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 Shure PGX14 185 Lavalier Wireless Microphone Mic System H6 PGX14 85 H6 US $449.00
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 Shure Performance Gear Wireless Handheld Lav Mic Microphone System PG 1288 PG185 US $579.95
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 Shure PGX14 185 Lavalier Wireless Microphone Mic System J6 PGX14 85 J6 US $449.00
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 Shure WL93 Black Micro Lavalier Omni Mic Black US $21.50
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 SHURE WL183 Cardioid for Shure wireless TA4F US $25.00
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 Shure Performance Gear Wireless Mic Microphone Lavalier System PG 14 PG185 US $339.95
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 Shure PG14 PG185 Wireless Lavalier Microphone Mic System H7 PG14PG185H7 US $344.95
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 Shure PGX Lavalier WL93 Wireless Microphone Mic System H6 PGX14 93 H6 US $419.00
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 Shure PG14 PG185 Wireless Lavalier Microphone Mic System K7 PG14PG185K7 US $344.95
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 Shure PGX Lavalier WL93 Wireless Microphone Mic System J6 PGX14 93 J6 US $419.00
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 Shure Performance Gear Wireless Mic Microphone Lavalier System PG 188 PG185 US $579.95
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 YPA M1 TIE CLIP LAPEL LAVALIER MICROPHONE FOR AKG TA3F US $29.99
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 HEADSET MICROPHONE YPA MM1 BLACK FOR SENNHEISER EW G2 G3 MIC US $29.99
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 YPA ML2 C4SE Omni directional Condenser Lavalier Lapel Microphone FOR SENNHEISER US $39.95
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 New YPA ML2 C4A Omni directional Lavalier Lapel Microphone FOR AKG Beige US $29.99
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 Shure WL51 Lavalier Mic 4pin type Connector Shure case US $237.03
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 Sony ECM44B Omni Electret Condenser Lavalier Microphone US $125.00
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 Azden WMS PRO Wireless Mic Lavalier Microphone WMS PRO US $157.95
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 SONY ECM 66B CONDENSER CABLE PROFESSIONAL MICROPHONE PARTS ONLY US $14.99
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 Wireless Lapel Microphone YPA M1 FOR SENNHEISER G2 G3 lavalier mic US $29.99
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 SHURE 65BA8451 Screw On Battery Cup For Shure PGX SLX Series Mic Transmitter US $13.99
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 Sennheiser Wireless Kit G3 EW 112 with FREE Micro Cat US $599.00
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 SHURE SLX 4 WIRELESS RECEIVER RANGE W ANTENNAE POWER SUPPLY NR US $9.99
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 Samson Airline Micro Wireless Camera Lav Mic SystemN6 Band Zoom H4n Recorder US $449.00
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 6mm 9mm DIAMETER LAVALIER MICROPHONE FOAM WINDSHIELD US $3.95
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 Shure UC UC14 93 UHF Wireless System with Lavalier Lapel Mic SHIPS FREE US $169.99
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 Audio Technica ATR 3350 Omnidirectional Pickup Lavalier Condenser Microphone New US $26.79
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 Azden WMS PRO VHF Wireless Microphone System NEW US $152.97
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Beyerdynamic Mini Condenser Lavalier Microphone Black $179 The Beyerdynamic Mini condenser lavalier microphone is an excellent choice for applications where speakers require clarity and accuracy. Particularly for film and theatre applications including vocals and speech, the MCE 55 is an extremely small clip-on condenser microphone to suit all applications which call for high quality, low-profile and unobtrusive design. The omni-directional polar pattern reduces popping and handling noise. The capsule is water resistant also against sweat; it can be attached to clothing, hidden in the hair or in make-up for performance work. It requires 1.5 - 9V power or is used with a wireless body pack or a pre-amplifier. The MCE55.18 has a cable with 4-pin mini-XLR connector for TS 100 Mk II, TS 300, TS 800(M) and pre-amplifier CV 18.Mini condenser lavalier microphone (omnidirectional)Discrete black finishWaterproof4-pin mini-XLR connectorFor all OPUS pocket transmitters and CV 18Legendary Beyer soundWater resistant microphone capsuleTie clip included |
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Audio-Technica At831b Lavalier Condenser Microphone $179.99 The Audio-Technica AT831B Lavalier Condenser Microphone clips on to provide crisp, full-sounding voice or instrument pickup. Mic operates on battery or phantom power. 6' cable to power module. The Audio-Technica AT831B has a cardioid pattern. 40Hz - 20kHz frequency response. On/off and roll-off switch.Clip-on Lavalier mic also excels in acoustic guitar applications Provides crisp, full-sounding voice and instrument pickup Operates on battery or phantom power 6' cable permanently attached between mic and power module Cardioid polar pattern 40Hz-20kHz frequency response Open circuit sensitivity: -44dB (phantom), -45dB (battery) Low frequency roll-off: 80Hz, 18dB per octave Signal to noise ratio: 65dB, 1kHz at 1 Pa Includes foam windscreen, clothing clip, instrument adapter, power module, battery, and protective case |
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Used Audio-Technica At831b Lavalier Condenser Microphone $163.79 The Audio-Technica AT831B Lavalier Condenser Microphone clips on to provide crisp, full-sounding voice or instrument pickup. Mic operates on battery or phantom power. 6' cable to power module. The Audio-Technica AT831B has a cardioid pattern. 40Hz - 20kHz frequency response. On/off and roll-off switch.Clip-on Lavalier mic also excels in acoustic guitar applications Provides crisp, full-sounding voice and instrument pickup Operates on battery or phantom power 6' cable permanently attached between mic and power module Cardioid polar pattern 40Hz-20kHz frequency response Open circuit sensitivity: -44dB (phantom), -45dB (battery) Low frequency roll-off: 80Hz, 18dB per octave Signal to noise ratio: 65dB, 1kHz at 1 Pa Includes foam windscreen, clothing clip, instrument adapter, power module, battery, and protective case |
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Audio-Technica At829mw Cardioid Condenser Lavalier Microphone $88 The Audio Technica AT829cW is a cardiod condenser lavalier microphone that has been part of the professional presenter marketplace for many years. It terminates with a locking 4-pin connector for A-T UniPak body-pack wireless transmitters and comes with a 55" cable, a foam windscreen, and an alligator-style tie or lapel clip.The AT829cW is a tried-and-true, trusted buttonier microphone that has seen more auctions, bingo games, business presentations and church services than almost any other microphone in the marketplace.The microphone is intended to be worn on the clothing for excellent yet unobtrusive sound pickup. The wide-range capability of the microphone ensures clean, accurate reproduction with high intelligibility for speakers, presenters and other performers.The microphone's cardioid polar pattern provides a 120 angle of acceptance.For use as a lavalier, attach the microphone about six inches below the chin. Anticipate movements that may cause the microphone to rub against or be covered by clothing, and position the microphone to avoid it.Ideal for professional business presentations, public speaking, theater performancesProvides crisp, full-sounding voice pickupExcellent gain before feedback and suppression of background noiseRugged design and construction for reliable performance |
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Audio-Technica At803 Omnidirectional Condenser Lavalier Microphone $159.99 The Audio Technica AT803b provides excellent yet unobtrusive sound pickup for lecturers and stage/TV performers. Designed for clip-on lavalier and musical instrument use, it features an integral 80 Hz high-pass filter that provides easy switching from a flat frequency response to a low-end roll-off. The microphone operates on battery or phantom power.Designed for clip-on lavalier and musical instrument use Small size is ideal for applications requiring minimum visibility Operates on battery or phantom power 6' (1.8 m) cable permanently attached to mic, TA3F connector at power module |
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Shure Pg185 Tqg Condenser Lavalier Microphone $39 This Shure Performance Gear PG185 is an electret condenser cardioid microphone for clip-on use with a wireless bodypack transmitter. The PG185 TQG has an acoustic windscreen that minimizes wind noise in outdoor applications and a clothing clip for secure placement. Shure microphones deliver legendary sound quality, stage-proven durability and hassle-free setup for worry-free performance.Clothing clip for secure placementAcoustic windscreen minimizes wind noise in outdoor applicationsReliable at temperature and humidity extremes |
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Audio-Technica At831r Cardioid Condenser Lavalier Microphone $179.99 The AT831R also excels as an instrument mic, especially for pickup of acoustic guitar with the included AT8444 guitar adapter. The mic is ideal for higher SPL applications, such as pickup for horns with the included AT8418 UniMount microphone instrument mount. Excellent gain before feedback and suppression of background noise. Operates on phantom power only.Clip-on lavalier mic also excels in acoustic guitar applications Provides crisp, full-sounding voice and instrument pickup Excellent gain before feedback and suppression of background noise Operates on phantom power only 13' (4.0 m) cable permanently attached to mic, TA3F connector at power module |
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Audio-Technica At898c Unterminated Subminiature Cardioid Condenser Lavalier Microphone $119.99 The Audio Technica AT989C is an unterminated version of the AT898 Subminiature Condenser Lavalier Microphone. Designed to be worn as a lavalier or hidden in clothing, Audio-Technica's discreet-design cardioid AT898c offers maximum intelligibility, accurate voice reproduction and unobtrusive appearance for use in houses of worship, broadcast studios, theaters, etc. Its switchable low-frequency roll-off reduces sensitivity to popping. Includes a 55" unterminated cable and an accessory kit. Requires phantom power.Maximum intelligibility and clean, accurate reproduction for lecturers, stage and television talent, and houses of worship Low-profile design (a mere 5 mm in diameter) is ideal for applications requiring minimum visibility Extensive array of provided accessories includes a clothing clip, viper clip, magnet clip and lanyard (black models only), windscreens, interchangeable single and double mic holders |
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Used Audio-Technica At898c Unterminated Subminiature Cardioid Condenser Lavalier Microphone $109.19 The Audio Technica AT989C is an unterminated version of the AT898 Subminiature Condenser Lavalier Microphone. Designed to be worn as a lavalier or hidden in clothing, Audio-Technica's discreet-design cardioid AT898c offers maximum intelligibility, accurate voice reproduction and unobtrusive appearance for use in houses of worship, broadcast studios, theaters, etc. Its switchable low-frequency roll-off reduces sensitivity to popping. Includes a 55" unterminated cable and an accessory kit. Requires phantom power.Maximum intelligibility and clean, accurate reproduction for lecturers, stage and television talent, and houses of worship Low-profile design (a mere 5 mm in diameter) is ideal for applications requiring minimum visibility Extensive array of provided accessories includes a clothing clip, viper clip, magnet clip and lanyard (black models only), windscreens, interchangeable single and double mic holders |
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Used Audio-Technica At803 Omnidirectional Condenser Lavalier Microphone $145.59 The Audio Technica AT803b provides excellent yet unobtrusive sound pickup for lecturers and stage/TV performers. Designed for clip-on lavalier and musical instrument use, it features an integral 80 Hz high-pass filter that provides easy switching from a flat frequency response to a low-end roll-off. The microphone operates on battery or phantom power.Designed for clip-on lavalier and musical instrument use Small size is ideal for applications requiring minimum visibility Operates on battery or phantom power 6' (1.8 m) cable permanently attached to mic, TA3F connector at power module |
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Used Audio-Technica Pro 70 Cardioid Condenser Lavalier / Instrument Microphone $90.08 Natural and articulate vocal reproduction when clipped on with the included Lavalier clip and equally impressive guitar reproduction when used with the included instrument adapter. Cardioid polar pattern reduces pickup of sound from the sides and rear. Switchable low-frequency roll-off minimizes rumble and boominess. Gold-plated XLRM-type connector resists corrosion and provides faultless signal. Operates on battery or phantom power. 6' cable permanently attached between the mic and power module.Condenser element Cardioid pattern 100 - 14,000 Hz response 123 dB SPL, 1 kHz at 1% THD AT8411 clothing clip AT8444 instrument adapter Windscreen Power module (attached) Battery Protective pouch |
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Audio-Technica Pro 70 Cardioid Condenser Lavalier / Instrument Microphone $139.99 Natural and articulate vocal reproduction when clipped on with the included Lavalier clip and equally impressive guitar reproduction when used with the included instrument adapter. Cardioid polar pattern reduces pickup of sound from the sides and rear. Switchable low-frequency roll-off minimizes rumble and boominess. Gold-plated XLRM-type connector resists corrosion and provides faultless signal. Operates on battery or phantom power. 6' cable permanently attached between the mic and power module.Condenser element Cardioid pattern 100 - 14,000 Hz response 123 dB SPL, 1 kHz at 1% THD AT8411 clothing clip AT8444 instrument adapter Windscreen Power module (attached) Battery Protective pouch |
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Shure Wl183 Lavalier Microphone $109.99 The Shure WL183 Lavalier Microphone is designed for use with a wireless body-pack transmitter. 4' cable terminates with a miniature 4-pin mini connector. The furnished tie clip can be rotated in 90 intervals for placement flexibility. Omnidirectional pickup pattern. This condenser microphone is recommended for general-purpose sound reinforcement, recording, or remote monitoring applications. Low handling noise. Pickup angle is 360.Use with a wireless body-pack transmitter 4' cable terminates with a miniature 4-pin mini connector Furnished tie clip can be rotated in 90 intervals for placement flexibility Omnidirectional 360 pickup pattern |
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Shure Mx183 Microflex Lavalier Microphone $159.99 The Shure MX183 is a wired Lavalier electret condenser microphone designed for speech and vocal pickup, general purpose sound reinforcement, recording, and remote monitoring applications. It can be clipped to neckties, lapels, and other articles of clothing. The MX183 Lavalier microphone has a omnidirectional polar pattern and low handling noise. Includes belt-clip preamp, rotatable tie clip, dual tie clip, and snap-fit windscreen.Flat frequency response across the vocal range for uncolored soundInterchangeable cardioid, supercardioid, and omnidirectional cartridges that provide optimal choice for each applicationSleek, low-profile design for unobtrusive appearanceBalanced, transformerless output for increased immunity to noise over long cable runsAdvanced RF filtering |
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Shure Mx185 Microflex Lavalier Microphone $169.99 The Shure MX185 is a wired Lavalier electret condenser microphone designed for speech and vocal pickup, general purpose sound reinforcement, recording, and remote monitoring applications. It can be clipped to neckties, lapels, and other articles of clothing. The MX185 Lavalier microphone features a cardioid microphone cartridge and provides good rejection of ambient noise. Includes belt-clip preamp, rotatable tie clip, dual tie clip, and snap-fit windscreen.Flat frequency response across the vocal range for uncolored soundInterchangeable cardioid, supercardioid, and omnidirectional cartridges that provide optimal choice for each applicationSleek, low-profile design for unobtrusive appearanceBalanced, transformerless output for increased immunity to noise over long cable runsAdvanced RF filtering |
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Shure Wl93 Subminiature Lavalier Microphone $89.99 This economical, omnidirectional, subminiature, condenser Lavalier mic is designed for general speech applications where visual unobtrusiveness is desirable. The Shure WL93 Lavalier Microphone comes with a mounting block with attached tie bar, a sew-on mounting bracket, and a windscreen to minimize wind noise. It also includes a cable terminated with a 4-pin mini connector which plugs directly into a Shure wireless body-pack transmitter. 50Hz-20kHz. Requires phantom power.Subminiature sizeCondenser typeOmnidirectional50Hz-20kHzFrequency response tailored for speechIncludes mounting block with attached tie bar, a sew-on mounting bracket, windscreen, and cable with 4-pin mini connector |
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Audio-Technica ATR-3350 Lavalier Omnidirectional Condenser Microphone List Price: $39.95 Sale Price: $19.85 Used From: $21.59  |
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Audio-Technica's newscaster-style omnidirectional ATR3350 lavalier is engineered for intelligible, accurate voice reproduction. This high-quality condenser is ideal for video use, and is a favorite choice for aerobics/dance/sports instructors... |
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Ezprogear Tcm-148 Omnidirectional Condenser Lapel (Lavalier) Microphone 3.5" Lock Screw for Sennheiser Sale Price: $19.99 |
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TCM-148 Omnidirectional Condenser Lavalier (Lapel) Microphone for Wireless Mic. 3.5mm Locking Screw for Sennheiser, Audio 2000, Hisonic, V2GO |
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PYLE-PRO PLMC15 Lavalier Electret Omnidirectional Condenser Microphone List Price: $33.99 Sale Price: $9.99 |
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Never miss a word with the PLMC15, a lavalier mic from Pyle Pro. Pyle Pro equipment is designed with the professional in mind -- that’s why this mic has an electret condenser element to pick up your voice clearly and noise-free... |
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Shure PG185 Condenser Lavalier Microphone, QG List Price: $49.00 Sale Price: $38.99 Used From: $28.95 |
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Condenser lavalier microphone for use with PG Wireless Systems |
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Shure WL93 Series Subminiature Condenser Lavalier Microphones,WL93- Black, with 4-foot (1.2 m) Cable List Price: $90.00 Sale Price: $68.54 Used From: $49.95 |
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Model WL93 Microphones are economical omnidirectional, subminiature, lavalier, condenser microphones designed for general speech applications where a visually unobtrusive microphone is desirable. All WL93 models are supplied with a mounting block with attached tie bar, a sew-on mounting bracket, and an acoustic windscreen to minimize wind noise in outdoor applications... |
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Audio Technica Pro Series Cardioid Condenser Lavalier/Instrument Microphone List Price: $199.00 Sale Price: $79.99 Used From: $76.48 |
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This miniature condenser microphone achieves full-sounding pickup and is known for outstanding consistency and dependable performance. Supplied with both a clothing clip and guitar mount, it provides natural and articulate vocal reproduction when used as a clip-on lavalier and excels in pickup of acoustic guitar. |
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AUDIO TECHNICA ATR-3350 OMNIDIRECTIONAL CONDENSER MICROPHONE (LAVALIER) List Price: $39.95 Sale Price: $44.23 |
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OMNI PICKUP PATTERN OFFERS FULL COVERAGE; CONDENSER ELEMENT & OMNIDIRECTIONAL POLAR PATTERN; FREQ RESP: 50 HZ 18 KHZ; IMP: 1000 OHM +/-30% ; INCLUDES LR44 BATTERY & 1/4 ADAPTERS; LAVALIER MICROPHONE; INTEGRATED 6M 20 CABLE WITH 3... |
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Audio-Technica ATR-35S Lavalier Microphone List Price: $26.99 Sale Price: $38.99 |
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Engineered for intelligible, accurate voice reproduction, the Audio-Technica ATR-35S high-quality condenser lavalier microphone is ideal for video use, and its low-profile design assures minimum visibility... |
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Audio-Technica AM3 Omnidirectional Condenser Lavalier Mic List Price: $119.00 Sale Price: $99.00 |
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Ambient omnidirectional condenser lavalier microphone terminated with a right-angle 3.5 mm connector (compatible with Audio-Technica M2 & M3 Wireless Monitor Systems). Includes clothing clip and windscreen. |
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Audio-Technica Lavalier Microphone List Price: $84.00 Sale Price: $48.13 Used From: $43.43 |
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Audio Technica's AT829cW is a cardioid-pattern condenser lavalier mic that's perfect for professional business presentations, public speaking, theater performances, and other event use. These microphones' small size allows them to be worn as a lavalier, or hidden in loose clothing... |
10 Tips for Capturing e-Learning Audio
Using audio in your online course is an extremely important factor in engaging your audience. Studies have shown that courses without audio are less compelling and memorable than courses with audio. Either used as a narration or for directions, audio – done the right way – can greatly enhance your e-learning materials.
Help with Audio for Online Course Developers
Audio engineering and the knowledge it takes to adequately capture, edit, and clean up audio to achieve a quality output is a task that is typically beyond the skill set of most online course developers. The average course developer has little if any knowledge of sampling rates, frequencies, modulation, compression schemes and other audio engineering concepts.
The goal of this article is to provide you information on how to get the audio in a format suitable for an e-learning course-authoring tool. The article will focus on capturing and editing audio at the basic level and certainly, the 10 tips listed below should help get you moving in the right direction.
1. Microphones
For narration, you’ll need to use a microphone to capture the voiceover. Sure, your laptop or PC might have a built-in microphone, but you probably don’t want to end up sounding like the broken drive-thru speaker at your local fast food restaurant. There are several microphones to choose from and they are made specifically for different purposes.
Dynamic Microphones are the ones you commonly see being used by rock stars in concerts. They have a ball-like shape as the head. These mics are omni-directional, meaning that they can pick up sound from a wide area. The Shure SM-58 microphone is an example of a dynamic microphone and has a consistent quality and dynamic range that makes it useful for all types of applications.
Condenser Microphones, unlike dynamic microphones, have a capacitor inside that requires them to be powered by a source – either battery or A/C. These microphones are often found in recording studios, used in live concerts, and are commonly found in lavalier mics (the kind you attach to a shirt or lapel). These mics are uni-directional, meaning that they capture a more narrow area of sound. Because of their power requirements, their voltage output can vary. The Neumann KMS-105 is an example of a condenser mic.
You may also find a Headset Microphone, which plugs directly into your computer’s input source and output source, so you can hear what you say as you are recording. Most of the microphones on these headsets have a noise cancellation function built into them. This causes unnatural sounding silences between phrases. The audio quality from these types of microphones tends also to sound blown out as the microphone position is very close to the mouth. That makes higher frequencies tend to sound noisy and lower frequencies sound poorly.
Built-In Microphones have the tendency to pick up any noise generated by your computer during use. This means any hard-drive motion, cooling fans, operating system sounds, and room ambience. These microphones are usually engineered to pick up the widest area of sound for situations like web conferencing and chat room sessions. The audio quality is usually poor and the microphones do not have sophisticated features like noise canceling or balancing. If at all possible, you should avoid using the built-in microphone for your audio input source.
2. Distance from Microphone
I’m sure you’ve all seen the rock videos or American Idol, where the rock stars have the microphone jammed up against their mouths as they are singing. So most people feel they need to do the same when recording narration. What the rock stars have to their advantage is a sound limiter that cuts off frequencies above a certain range. The maximum output is policed by this device to prevent any unwanted feedback or squelch, because the frequency is automatically limited. Most likely, your simple setup won’t have this capability.
One thing you can do to prevent any unwanted sounds in your narration, is to position your mouth about 6 to 12 inches away from the microphone and speak directly into the microphone, not away from it, to either side, nor in front of it. The best audio signal will be a direct path from your mouth to the microphone. If you start speaking into the microphone and then tilt your head downwards to read from a script, you’ll be able to notice the drop in the audio signal. If needed, hold your script up next to the microphone. Another tip: when reading from a script, don’t read across pages that you are turning or moving from one hand to another. Most microphones are sensitive enough to pick up all of that paper moving. If possible, have each page of the script segmented and keep them separated, not stapled or kept together with paper clips.
3. Use a Windscreen
A consistent frequency helps to produce the best audio. If you are looking at an audio waveform for the first time, you won’t be able to decipher it, but the peaks and valleys of each frequency can visually tell a lot about that sound. One thing that often happens, especially during narration recording, are pops that occur when saying words that begin with P or B. These pops go above the dynamic range and therefore, don’t sound anything like a P or a B but more like a popping sound.
A simple solution to this problem is a windscreen. Some engineers will wrap a wire clothes hanger with nylon stockings and place them in front of the mics in order to act as a low budget windscreen, but you can also buy them for less than ten dollars at your local music store. These are constructed out of a foam material and fit over your microphone.
4. Interfaces
So far, I’ve spent a lot of time talking about microphones but a majority of the mics recommended here won’t even plug in to your computers without adapters. Professional mics have an XLR connector, which has three pins. Most computers are made with eighth inch connectors. You can use Dynamic Microphones with an adapter connected to your computer without much of a problem. Condenser Mics, since they require power, won’t work even with an adapter.
There are interfaces specifically built for this purpose and they come in two flavors: USB and Firewire (IEEE 1394). Most PC manufacturers are including either USB 1.0 or 2.0 ports on their hardware. Firewire is more commonly found on Apple computers however, you can purchase Firewire cards for PCs. Firewire is faster than USB in certain applications and therefore is more desirable for audio input. There’s less latency on a Firewire connection than on a USB connection because of the performance speed.
Firewire comes in two flavors, there’s Firewire 400, which can transfer data at a rate of 400 MB per second, and Firewire 800, which doubles the speed to 800 MB per second. There are a wide range of musical digital interfaces out on the market today, and you can use either of these technologies to interface with a computer. M?Audio has a line of both types including the ProFire 610 and the FastTrack USB.
These devices can run off of their intended connections and act as an audio input/output source for your computer to provide a professional recording result. At SyberWorks, we use an M-Audio Firewire 410 audio interface connected to two Shure-SM 58s for all of our narration. The 410 is a powerful choice because it offers multiple inputs and all of the audio controls necessary for level/gain and limiter/compressor. It also has XLR inputs and quarter inch inputs for microphones and instruments, and two headphone outputs. Connected to the 410 are two M-Audio BX8a monitors, which offer a much higher quality output sound than any built-in computer speaker.
5. Software
There are so many options for audio editing software, from the simple shareware/freeware to the professional level, that the determination of what to use might lie somewhere within your budget constraints. The basic audio recording tools that come with any Windows-based machine do not generate quality audio. Any Apple computer comes with GarageBand which is an excellent mid-level audio recording application. GarageBand is the step child of Apple’s Logic Studio and offers some pretty sophisticated tools for recording, editing, and delivering audio recordings on any platform.
Adobe has an audio recording/editing application called SoundBooth, which offers a variety of tools for cleaning up audio files and saving them in different formats. SoundBooth comes with the Creative Suite Production Premium or Master Collection. I recently used SoundBooth to record old cassette tape tracks as MP3 files so that I can burn the files to CD. I was able to use SoundBooth to clean up all of hissing sound on tapes and the audio quality was excellent.
Bias, Inc. has been in the audio production area for over a decade now and their flagship audio editing software, Peak Pro, is an award winning application. With a simple interface and a variety of effects and controls, Peak makes audio editing simple. I’m a long time user of Peak Pro and can say that it’s a stable, professional application that offers all of the tools that I need to edit the audio that I record. Combined with SoundSoap Pro, an audio cleaning application, Peak Pro can reduce noise, hiss, rumble, cracks and pops, and other unwanted sounds from any audio recording.
Here at SyberWorks, we use Peak Pro to record any narration for podcasts or courses and GarageBand to stitch together podcasts and teasers. GarageBand comes with some preset stingers and effects which are great for podcasts. It’s ridiculously easy to use. Once the file has been put together, it’s output as an AIFF file to iTunes. I then use iTunes to convert the sound to the MP3 format for delivery.
6. Normalize
During recording, audio levels can be mismatched creating undesirable results during playback. For example, recording from two different sources might produce two different volume levels. When played back, one source sounds softer and the other might sound louder, even though they were recorded in the same room on the same computer with the same hardware. This can be attributed to vocal style or audio input levels not being properly monitored.
To adjust audio levels across the board so that the volume is relatively consistent, most audio editing software offers some normalization option in which the audio levels are examined and a maximum and minimum range are then determined. Softer sounds are increased and louder sounds are decreased so that the overall sound level is more consistent.
If there is a stark contrast between the two input sources, then sound normalization might work against you. Softer sounds might have more sound introduced in them when the gain is increased. Be sure to check your audio input levels before recording. Try to get both sources to come up to the same decibel level prior to recording. If possible, show the input meter in your audio software to the speakers and try to get them to speak at a gain level about ?5 decibels.
7. Ahh’s and Uhm’s
For some people, speaking into a microphone can be a little intimidating. You might hear a lot of Ahhh’s and Uhmm’s during a recording session. Some people naturally put these in their phrases because they are thinking about what they are going to say next. Others put them in out of nervousness. Others have lisp’s or emphasize S’s and Z’s. Still others smack their lips or breath heavy before talking.
When editing audio, the tendency might be to remove all instances of Ahh’s and Uhm’s. When separated from the rest of a passage, this is easy to do and is an effective way to make the entire sound file shorter. However, there are times when the Ahh’s and Uhm’s are rolled into other phrases and are difficult to separate.
The rule of thumb when editing audio is to remove whatever is bothersome, but keep the tempo of the original sound source and make it sound as natural as possible. Some people also take deep breaths between passages or have nasal sounds that are picked up by the microphones. Sometimes these can be removed and other times they can’t. Remove what you can, but try as much as possible to make the overall recording natural.
8. Cleaning Audio
Depending on how clean your input source is, you may have an audio track that is laced with hum or noise coming from a variety of sources, like an overhead fluorescent light, A/C noise, and other ambient sounds. SoundBooth and Peak Pro both have tools for eliminating these types of sounds from your audio input sources. As mentioned above, the rule of thumb still applies.
Some of these tools can end up making your audio sound very metallic and unnatural, more like a computerized version of the original. When using SoundSoap Pro, for example, the default settings for removing noise keeps all of the highs recognizable, while the mids and lows suffer from a dense computerized sounding quality. SoundBooth’s noise correction tools have the same issue, so if too much is applied, the result isn’t worth the effort.
There’s a balance to how much correction is applied to a sound versus the quality of the output. Sometimes, here at SyberWorks, we have to record voices over the phone. Sound quality from a phone line is always problematic, so invariably that sound will need to be cleaned up. Too much correction though, and the integrity of the voice is compromised. On the other hand, no correction will keep a lot of hiss and noise in the sound, which is undesirable.
9. Audio Formats
Depending on which authoring tools you are using and which platform you are on, you’ll need to know which audio formats to use. The major audio format for the PC platform is .wav, on the Mac platform it’s .aiff. Adobe Captivate and Microsoft PowerPoint both use the .wav format.
The most popular internet audio format now is .mp3, which has greater compression and better sound quality than other internet formats. Captivate uses MP3 compression in sound files for the final output. This makes the files smaller but they can suffer in quality, depending on the settings in Captivate. Native .wav files embedded in PowerPoint files can make those files enormous. Using iSpring, a PowerPoint to Flash converter, you can significantly reduce the file size of presentations and course materials intended for internet delivery.
SyberWorks Web Author has an additional tool called SyberWorks Web Audio which allows you to add streaming audio to courses that anyone can hear using just a web browser. Playback is accomplished through a small Sun Java applet that downloads automatically and quickly. It requires no additional plug-ins or server software. It has no firewall issues and can play in the background, without any visible controls on course pages, or with a small set of basic audio controls displayed.
SyberWorks Web Audio tool takes an audio file of the format .wav and compresses it into the SyberWorks audio format (.sa). It is then easily inserted into the word document by using the Add SyberWorks Audio template.
10. Compression
Depending on which tool you used during recording, you probably have an original audio source with a near CD quality (44 KHz) output. That quality is diminished as soon as the file is compressed. Too much compression and the sound quality is something like R2-D2 behind a large, metal door. Too little compression and the sound files become too large to transfer and play.
The factors involved in compression include bit rate and quality. The bit rate is the data stream target for your intended audience. The typical internet connection these days is at least DSL speed (128 KBps), but there still may be users at modem speeds of 56 KBps. Tools like Captivate will allow you to set the bit rate and quality for all the audio in your course. Therefore, when you save your files out of SoundBooth or Peak Pro, never add any compression. Let Captivate or your other e?Learning tool do the compression for you.
Quality settings can also alter the file size. Lower quality files have higher compression and therefore are smaller, but sound worse. Higher quality files have less compression, sound better, but are larger in file size.
One tip is to try different compression levels and settings and listen to each output to find the one that is just right. It may be time consuming, but in the end, your e-learning product will be better for it.
Summary
We touched on a number of technical concepts in this article and there’s a lot more. Whatever tools you decide to use, incorporating better-sounding audio in your e-learning development is a great way to take them to the next level. Recording high quality audio can be challenging and fun. It may take some time to get used to, but it’s a skill that’s worth looking into.
About SyberWorks
SyberWorks, Inc. (http://www.syberworkis.com) is a leader in the custom e-Learning Solutions and Learning Management System industries for Fortune 1000 corporations, higher education, and other organizations. Located in Waltham, Massachusetts, the company serves the multi-billion-dollar e-Learning market. Since 1995, SyberWorks has developed and delivered unique and economical solutions to create, manage, measure, and improve e-Learning programs at companies and organizations in the United States, Canada, Europe, and other countries.
http://syberworks.com/articles/10tips-capturing-elearning-audio.htm
About the Author
Al Lemieux is a Senior Designer at SyberWorks, Inc. SyberWorks (www.syberworks.com) is a custom e-Learning solutions company that specializes in Learning Management Systems, e-Learning solutions, and custom online course development. Al is also a frequent contributor to the Online Training Content Journal. The Online Training Content Journal blog looks at best practices, techniques, and trends in online training development and e-Learning instructional design.