Plug in transmitter
 

I've always relied on my trusty Senn EW112 tieclip radio mic.

But recently, I've been borrowing a handheld radio mic (like a singer would use) from the same Sennheiser series as my tieclip. Could be the 300?

I LOVE IT!! For interviewing people in the street, and holding it just out of shot, it really sounds fantastic! (Considering previously, I've either used a shotgun mic or the tie clip)

I'm pretty sold on the variety of possibilites of the SKP100 plug in transmitter,

So if I bought one, what mic should I buy for walking around the street, doing interviews with the public and shoving it into people's faces? -)

Please, I know sound is important, but don't say "it's a waste of time to use any mic under £10,000" :-) I'd like to pay around £50-£100 max for a mic! ($100-$200)

The SKP100 does not supply phantom power so you'd need to use it with a mic that has an internal battery or with a dynamic mic that does not need power. A good dynamic made for handheld use is the Sennheiser MD46.

If you want to use non-self powered condensor mics, consider the SKP500 transmitter instead - it does supply phantom for the mic it's plugged on to.

I have a SKP500 plug in transmitter which seems to work well with the Sennheiser e835 mic I bought for the reasons you also seem to want. The combo is quite heavy for extended arm holding but that's rarely an issue. Note that the SKP500 locks onto the mic so it won't just drop off. Speakers need to be in fairly close proximity to the mic to get good sound with this mic.

I went this route to supplement my Senny 112 radio mic kit (which I too think is excellent) as I wanted the flexibility (the SKP500 allows you to switch 48V Phantom on or off as indicated). The Senny all in one radio mic is nicer and more compact than my solution above but just make sure they don't drop it though as it's fairly pricey! Model numbers etc. on their website.

When I feel rich I'll buy a second Senny receiver then I'm all set.

I just used my two EW100 systems last Friday for a shoot.
One system was using a simple lav mic, and the other system was using the SKP500 plug on transmitter, which ws going to a soundboard for a DJ.

He was using an AT PRO31 Audio-Technica | Pro 31 Cardioid Handheld Microphone | PRO31 condenser mic.

This was his mic.
Later in the day I was using a Rode M3 Condenser mic Rode | M3 Condenser Microphone | M3 | B&H Photo Video which works great for loud micing situations (it has a switchable 0/-10/-25 db pad built into the mic.

This mic isn't used for interviews, as it's too substantial a mic to hand hold.

For interviews I would generally use my Sennheiser MD-42 mic Sennheiser | MD-42 ENG Handheld Microphone | MD42 | B&H Photo

or a SURE SM86 Shure | SM86 - Handheld Microphone | SM86 | B&H Photo Video

"So if I bought one, what mic should I buy for walking around the street, doing interviews with the public and shoving it into people's faces? -)"

On this side of the pond, most networks use the Electrovoice RE-50 for the on-the-street TV reporter. The RE-50 is a Omni dynamic that stands up to the abuse of camera ops., reporters, unruly crowds and weather from tropical hurricanes to sub-zero blizzards.

I'm curious why one should use an omni directional mic, when I would imagine that you'd want to pick up the interviewees voice, and remove all the traffic noises around?

I haven't tried both, so I don't know the pifalls though - why not a unidirectional?

Up here in Canada, the Sennheiser ME66 with K6 power unit is the ubiquitous news mic.

One answer - the RE50 works, and has worked for broadcast tv handheld interviews, for over 40 years. Same mic as the EV635, only with built-in shock mounting and wind/plosive filters, it is rumoured that you can hammer nails with one. Starting with the jungles of Viet Nam in the 60s, and through the present day, this mic continues to work for people.

The other answer is that *when* you are working the mic close, directionality of the pickup pattern can be a disadvantage. Use an omni, keep it close, rely on proximity for isolation, a directional pickup pattern can result in the talent or interviewee being off-mike, especially when held by non-experts or when the interviewee speaks at an unexpected time. When one mic covers two people, omni helps smooth the levels.

I'm curious why one should use an omni directional mic, when I would imagine that you'd want to pick up the interviewees voice, and remove all the traffic noises around?

Cardioids are subject to proximity, plosives/wind and other off-axis sound degradation (head turns ect)
Omnis' have a much more consistent sound. In some loud situations a card' could be better, for instance a skilled reporter doing a stand-up, but generally people on the street tend to back away and move around when a mic is shoved in their face.

[QUOTE="I'm curious why one should use an omni directional mic, when I would imagine that you'd want to pick up the interviewees voice, and remove all the traffic noises around? [/QUOTE]

Cardioids are subject to proximity, plosives/wind and other off-axis sound degradation (head turns ect)
Omnis' have a much more consistent sound. In some loud situations a card' could be better, for instance a skilled reporter doing a stand-up, but generally people on the street tend to back away and move around when a mic is shoved in their face.

Here is one mic that works well. The short version $110 and the long version is $125 at B&H:
A-T Has AT8004, AT8004L Omni Mics for ENG, Sports

The long handle is better for putting in front of people, since the human hand holding the mic can be farther from the person talking. This mic is hotter than the RE50, so it doesn't have to be so close to get a decent signal. The RE50 has a very low output, which may or may not be an issue depending on the camera/recorder you are using. As said before, the RE50 is a news standard. I once read that some stand-up, on-scene news reporters are unable to think or speak without an RE50 in their hand. (There is a slightly hotter version also available.)

I have an Audio Technica ATM63HE dynamic cardioid mic which sounds good. But it's more expensive than the AT above, and as pointed out in other posts, for your uses an omni would probably be much better.

Some other mics used by professional news people are:
BEYER DYNAMIC M58 omni (long handle)
AKG D 230 omni
SENNHEISER MD 42 omni
SENNHEISER MD 46 cardioid

A shotgun mic that you can handheld that works well with a plug on is the Audio Technica 835b. (I believe the AT8035 is the replacement for the now discontinued 835b)
http://www.bhphotovideo.com/c/produc....html#features

The 835b has been a standard low-cost documentary mic. It runs on a battery, so an plug on transmitter will work (phantom power not required, but the new 8035 will also run off phantom power-the discontinued 835b needed a battery). It can be pointed at someone from 2-4 feet away and get a very good sound. It has very, very low handling noise, so it works great handheld, with the firmly closed hand working as a shock mount. But it needs to be handled by a sound person, since it needs to be pointed with reasonable accuracy. But it's perfect for getting good sound when you can't get the mic 5 inches in front of the person.
Audio-Technica | AT8035 - Shotgun Microphone | AT8035 | B&H

The best mic. for this is the Sennheiser MD 42 (omni) or MD 46 (cardioid) reporter mics.

They match the transmitter perfectly and are specifically designed for hand-held reporter use.

Personally the omni is probably the better choice.

I hope this helps.

Another vote for the Sennheiser MD46 for use with the SKP 100 plug on transmitter. If you'd like to hear it, here is an example from a few years back. NAB2005 Hoffman on FCP