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June 25th, 2009, 04:28 PM
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#31 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Andy,
For your "other" vocal mic, try a Senneheiser 431, 441. Regards, Ty Ford |
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June 25th, 2009, 08:31 PM
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#32 |
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Regular Crew
Join Date: Jun 2004
Location: SF & LA
Posts: 195
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I do own a senn wireless kit i'm very happy with. But already bought the shure which i'm very happy with. A nice deep rich sound it produces for voices.
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June 25th, 2009, 09:26 PM
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#33 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Andy,
I'm talking about live sound vocal mics of specific model numbers. Most of the companies make a number of different mics in their lines to be competitive. Saying that you own a Sennheiser (or other brand) doesn't really tell us much. Regards, Ty Ford |
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June 26th, 2009, 11:46 AM
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#34 |
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Regular Crew
Join Date: Jun 2004
Location: SF & LA
Posts: 195
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It's the g2 kit - granted now I need to upgrade the lav, thats for another discussion.
Wow, those mics you mentioned were up there! i'd imagine those are more for studio sessions. When I made my short film my friend worked in a recording studio, for my VO section, he brought out this $5000 mic, it sounded amazing. But then again, I wonder how many could tell the difference between that and my SM58 :) |
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June 30th, 2009, 10:51 PM
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#35 | |
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Trustee
Join Date: Apr 2006
Location: United States
Posts: 1,158
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Quote:
CMC64 is my main boom mic these days. no its not a shotgun, but it does sound nice. since it is less directional, it does make you work a bit more to really get it into the right place. I still have a sony 672 for when I really need to be directional, but I only really use it when there is no other choice. can't say I like it, but for now.... not to say I don't plan to get a CMIT5 some time soon. |
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July 1st, 2009, 05:06 AM
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#36 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Steve,
If the cmc64 (not cmc641) is your reference, then I understand better. I don't think I'd call the MKH 416 thin, but it does have a peak that the cmc64 and cmc641 don't have. As regards the bottom of the MKH 416, I frequently need to roll it off a bit due to various ambient noises, that's why I was asking. Regards, Ty Ford |
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July 9th, 2009, 09:27 PM
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#37 |
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New Boot
Join Date: Jun 2009
Location: Portland
Posts: 13
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What I bought and why
Hello everyone,
I poured myself over every message board to see what I could find out about which was the best microphone buy for my new X1-A1 (well, new to me, I bought it used on Craigslist). I was innitially looking to spend a small amount of money (200 US dollars). But after doing some research over the message boards I discovered a few themes that most experts seem to agree on. 1.) You normally get what you pay for and the law of diminishing returns generally applies. So the more money you spend, the better sound you get, but at a reduced rate. 2.) Placement of the microphone is more important to the sound than the quality of the actual microphone. A well place cheep microphone will sound better than a poorly placed expensive one. 3.) There is not one microphone that is suited for all situations. 4.) Because audio is so important, you should always spend up to your limit. Do not skimp on the audio. After I doing some analysis of what my own needs were, I decided that it would be best if I got a Hyper-Cardioid and a Shotgun mic. This raised the price on what I was hoping to spend, but I considered every option I could. Since a Schoeps was clearly out of my budget I looked for everything that was under the $1000 range. Here are the microphones that I compared: AKG Blue Line SE300b with the ck93 and ck98 shotgun capsule Audio-Technica AT4053a Hypercardioid Studio Condenser Microphone Audio-Technica AT4073A Shotgun Condenser Audio Technica AT-897 Sennheiser ME-66/K6 and ME-62 Sennheiser MKH-416 Rode NTG-2 Rode NTG-3 Oktava MK012 First I would like to thank Ty Ford and all the other kind audio experts that have shared their opinions and expertise with the on-line community. It was valuable for me to hear their comments to other people's questions. After hearing various microphone comparisons that were posted on the internet, and re-adjusted my price range, I decided on what to buy. I bought the 4073a and the 4053a from Audio Technica. Now while I was reading reviews and peoples feedback, the AT had less than overwhelming support. There were a few vocal advocates of it though, but the majority of people had different favorites to recommend. I chose the 4073 and 4053 combo because I read that mics from the same manufacturer sound better as a combo than mixing two different brands. That seemed to make a lot of sense to me. I am planning to use both at the same time so that I can record each on a different channel. For this reason, I decided not buy the K6 or the Blue Line because of the interchangeable modules. It would be another expense to have to buy an extra power module to get the both microphones to work. I also discovered that the majority of people that posted dissatisfaction with the 4073, were posted a long time ago, and the price of it has dropped considerably since then. Price always affects opinion. I bought both the 4073 and 4053 from B&H Photo. The 4073 came with a camera mounted shock mount and short xlr cable for $569.95. The 4053 didn't have any extras and was purchased for $400. In the end I paid for $970 for the pair. In the end I went way over budget but I should have adequate audio for most situations for my small video productions. The bad news is I have no money left over to buy a Rycote Softie, Zeppelin, and Boom Pole. That purchase will have to wait for me to save up the cash. I am thinking broom handle and a modified fuzzy pet or childs toy. Any suggestions there? Sorry for the long post but I hope this post might help others that are in the same boat I was. I empathize with any of you that maybe as confused as I got while trying to decipher the best bang for the buck. For $200, get the NTG2 and be done with it. If you are like me and want more, then happy hunting and listen to the experts. Thank you for reading this and best of luck capturing great sounding audio. -Eric Vecchi |
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July 9th, 2009, 09:56 PM
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#38 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Eric,
Thanks for your kind words. Best of luck with your new acquisitions. I'm sure they'll serve you well. Regards, Ty Ford |
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July 9th, 2009, 10:19 PM
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#39 | |
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Inner Circle
Join Date: May 2006
Location: Camas, WA, USA
Posts: 5,513
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Quote:
BTW, a great first post here. I'd expect no less from somebody in Portland. :) Cheers, from Camas...
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Jon Fairhurst |
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July 9th, 2009, 11:23 PM
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#40 |
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Regular Crew
Join Date: Mar 2009
Location: Taipei
Posts: 63
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For low cost boom pole, I've read someone from UK (??) suggest a pole for the fishing landing net. I bought a 18' carbon fiber pole for landing net at $40, and paid $10 for a custom made aluminum bolt that thread one end to the pole, and a 3/8" thread for the microphone shock mount.
This 18' pole is kind of too long, that I did not ever fully extend it. Another problem with this, is the pole will flex when extended. Something good and bad. Good thing is the microphone will come down at the end which is prefered, but difficult to control.
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Got 3 'S': Schoeps, Sound Devices, and Sony. |
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July 10th, 2009, 04:58 AM
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#41 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Eric,
What you're getting here is the nod to "go McGyver." It's from the TV show in which they had to improvise a lot to get the job done. While problem solving is certainly part of the fun, you do have to look at yourself the way others see you at some point. If you only work by yourself, there's less of a chance that others will see your creativity as some sort of Rube Goldberg behavior affliction gone horribly wrong. Regards, Ty Ford PS: You'll probably get more slack for strange gear in Portland, Maine than in Portland, Oregon. |
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July 10th, 2009, 10:36 AM
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#42 | |
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Inner Circle
Join Date: May 2006
Location: Camas, WA, USA
Posts: 5,513
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Quote:
Portland doesn't seem to have high standards for audio. I called around the top video rental houses looking to rent some nice mics (Schoeps, 416...), and the ME66 is as high-end as it gets around here. If you were to paint the painters pole, few locals would notice the difference. For sure, when people buy gear, they need to consider the client/customer/audience. If people you care about only see your work through the lens, you can get creative with your choices - only the end result matters. If your client works behind the lens, presentation, industry standards, reliability, and reputation are as important as the finished product.
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Jon Fairhurst |
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July 10th, 2009, 01:31 PM
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#43 | |
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Major Player
Join Date: Sep 2006
Location: Virginia Beach, VA
Posts: 656
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Quote:
That was such an amazing deal on the 4073a, that I got one too for my audio kit. It's a nice mic. The included foam windscreen is somewhat effective, you can live with it for now. Be sure to do some experimenting with the low cut switch. It cuts out a lot of wind rumble/handling noise you don't need. You can also use the EQ to cut back rumble in post. The 4073a is super sensitive, I have captured some really great stuff with it. I would be interested in your thoughts on the 4053 when you get a chance to use it awhile. Jeff
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Panasonic HMC150/Canon A1/JVC HD1/Sony Vegas 8.0c |
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July 13th, 2009, 10:20 PM
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#44 | |
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New Boot
Join Date: Jun 2009
Location: Portland
Posts: 13
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Quote:
I have a shoot lined up at the end of this month. I plan on posting to the web, audio clips of both the 4073 and 4053, from the shoot. I have not experimented too much with either of these mics yet. I will post my recordings of both in this forum. What will be interesting for me to compare to see how much the sound improves/falls off with distance and placement between the two. The 4073 will be mounted to the camera and the 4053 will be out of frame on a mic stand (1.5 feet away). I also have my old Fostex MR-8mkII, 2 - channel recorder that I may use as an external recording devise so that I can still record with the on board camera mic. The mkII can use Phantom Power which is nice/essential. I also bought a Sony ECM-HW1 Wireless as an impulse buy after I heard the sound quality of one. It uses Blue Tooth and I guess it would be classified as a lavaliere but when I tried to use it while clipped to someone's body, there were way too many pops and body noise. If it is placed on a table or hidden in a prop, it sounds great and has a good transmission range back to the camera. Unfortunately, the ECM-HW1 doesn't work with my camera, as far as I can tell. When I looked up the documentation, it had specific, consumer camcorders that it works with. Bummer, but I think I can either buy an older model of one of those cameras pretty cheep and keep it handy to use in a pinch when I need to place a mic 40 feet away. Or just sell the thing and buy and actual wireless lavaliere system. It is not an immediate need at this point. Sony ECM-HW1 - B&H - $95 w/shipping Eric PS Thanks for everyone's thoughts and ideas on the make shift boom. |
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