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SA-568 Dual-Mode Shotgun Microphone System

Schriber Acoustics, an NRG company ( www.schriberacoustic.com ), introduced a new line of microphones designed for event videographers.

The model that we received was the SA-568 Dual-Mode Shotgun Microphone System and brought back memories of the old Azden "Zoom" mic, but upon opening the box, I knew this was different. First, the mic comes with its own storage/carrying case, a miniature version of the aluminum attaché case popular with small camcorders and tools. Nice touch, but if you are like me (having a number of mics), the case ends up in the storage closet. But it also has a nice, lined zippered pouch to store the mic itself in. Next, as you pick up the mic itself, it has a bit of heft (9.2 oz). The weight is due to the solid brass casing (provides better electrical shielding). Also, there was a number of cords, adapters and other accessories included in the case. Another plus is that this is an XLR mic for professional camera use. But not to worry, it does include a cable that terminates in a 1/8" phone plug and an adapter to convert that to a 1/4" phone plug, so that all bases are covered and can be used in virtually any audio application. Now for the important aspects of the mic, how it sounds and how well it picks up. In its cardioid mode (normal setting), it performed well and had good frequency range (although, as in most condenser mics, the bass response is marginal) being advertised as 60Hz to 14kHz, but starts showing bass roll-off at about 90Hz....... Still pretty good for this type of microphone.

The pickup pattern is a conventional cardioid, showing an approximately 180 degree pickup pattern with a sensitivity of-45 (+/-3) dB. In the hypercardioid mode ("tele" setting), the mic really changes its characteristics. It does become more directional, narrowing the pattern to about 120 degrees and it's sensitivity increases to -32 (+/-3) dB, meaning that it "hears" more and becomes more directional. A by product of this switch in modes is that the bass roll-off becomes more pronounced, starting to roll-off at 300Hz. But don't let this worry you, that is not bad. You see, higher frequencies are more directional than low frequencies and by increasing the sensitivity for those higher frequencies; it makes the mic more directional. Conversely, the lower frequencies (bass) are omni directional and is not necessary to have a directional mic to pick it up. (why you only need one sub-woofer in a home theatre system). Plus, the lower frequencies have a higher energy level and do not require the same sensitivity to capture the same levels. Still don't understand? Trust me, it works.

Just a few more numbers to throw at you. The signal to noise ratio is greater than 60dB (very respectable) and the maximum sound pressure level (SPL) is 136 dB. Very good for a condenser mic. How good is that, you could stand next to those refrigerator-sized DJ speakers and still pickup good audio without clipping or distortion. You, however, will probably loose some of your hearing.

The mic is good sized at 11 inches, but is marginal for use on smaller cameras. I mounted it on my PD150 and it fit the stock mic mount, but to balance it in the holder, the selector switch ended up in the mount. You could either slide it forward or back a inch or use the included hot-shoe mount and place it on top of the camera.

The bottom line: The suggested retail for the SA-568 is $139.95, which is a fair price for such a versatile mic. The performance is good, the quality is good, and the packaging is good. To tell you the truth, there isn't much bad that I could say about this product. The highlight is the ability to switch between two different modes on the fly and saves the cost of a second microphone. In that light, it is a bargain.

For more information, check the NRG website (www.nrgresearch.com) or call 800-753-0357 or for purchase, see your NRG reseller.