> For the complete documentation index, see [llms.txt](https://secondwavedigitaltheatre.gitbook.io/flinders-phd-research-project/llms.txt). Markdown versions of documentation pages are available by appending `.md` to page URLs; this page is available as [Markdown](https://secondwavedigitaltheatre.gitbook.io/flinders-phd-research-project/tools-required/hardware/microphones.md).

# Microphones

<figure><img src="/files/xi99yObCmTZFSSc5wiNt" alt="" width="296"><figcaption></figcaption></figure>

Clear audio capture is equally important as high-definition video capture. [Grant Dodwell said](/flinders-phd-research-project/appendices/research-participant-information/interviewees/grant-dodwell.md): ‘Every actor is miked, every singer is miked, because the opera is generally recorded without mics, and they just have shotgun mics. We found that we had a lot more mixing capabilities with the mics. … And we mic the audience. So, the live audience is part of the show as well’. Grant Knutson of [Minion Productions](/flinders-phd-research-project/appendices/research-participant-information/field-research/minion-productions.md) noted that he keeps one shotgun mic attached to his main cameras at all times and adds ‘multiple Zoom audio recorders (2 H1n & a H4n)’. \
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[Matthew Jameson](/flinders-phd-research-project/appendices/research-participant-information/interviewees/matthew-jameson.md) said that The Space uses ‘two shotgun microphones to capture everything that we need with a stereo sound’ but added that he was interested in getting lapel or lavaliere (‘lav’) mics for performers. This would increase individual sound fidelity and reduce ambient noise.