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#16 | |
Regular Crew
Join Date: Sep 2005
Posts: 25
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#17 | |
Regular Crew
Join Date: Sep 2005
Posts: 25
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#18 |
Regular Crew
Join Date: Sep 2005
Posts: 25
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Thanks for the the suggestions guys!! Really helpful. I'm going to have a look at some mics tomorrow at a local audio shop.
Thanks again!! Shea |
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#19 | |
Join Date: Jan 2004
Location: Stockton, UT
Posts: 5,648
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#20 |
DVCreators.Net
Join Date: Oct 2001
Location: Seattle, WA
Posts: 892
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I would go with an Edirol R-1 24 bit compact flash recorder over a mini disc. The file transfers are quick and easy. If you get a small camera, you'll still have to capture the audio, and that is a time killer if you're doing a lot of these. The Edirol is also a lot cleaner than inexpensive cams.
For an inexpensive mic to hook into the R-1, if you can't take a feed off the board, or if there is no board, take a look at the $99 MXL DRK. It is a self powered, large diaphram condenser mic with a tripod - all contained in a case for less than $100. It has XLR out, but includes an XLR to 1/8 miniplug cable to feed into the Edirol. I've compared this mic to the RODE NT1A and it holds up fairly well for the price and the items it comes with. Here's a recent review http://www.digitalvideoediting.com/a...e.jsp?id=33810 Total solution cost $349 + $99 and the Edirol R-1 is simple, one button REC. Nice when you're running around performing multiple tasks....camera, sound, and lights. Just remember to always use fresh Duracell Ultras or Procells before each gig. If there is a board and you have access to it, I would get the Sennheiser Evolution G2 $499 wireless package. Why? It can do line or mic in. Then you don't have to worry about sync in post. I wouldn't worry about the interference of the Sennheiser wireless so much as a lot of the performers on stage are using the same system. If they can trust it for live output in front of an audience I'd say you can trust it too. Of course, no wireless system is perfect, hence the Edirol would still be great for backup. Last edited by Guy Cochran; September 29th, 2005 at 11:08 AM. |
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#21 | |
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Join Date: Feb 2004
Location: Suwanee, GA
Posts: 1,241
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The best part is that at parties, kids can be up near the front and it is still clear and loud in back (outdoors). And they have been loud. I should have a sample done by Monday. |
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#22 |
Trustee
Join Date: Feb 2004
Location: Suwanee, GA
Posts: 1,241
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OK (and OT - but in the thread topic sort of), follow-up on the live band using my mic and they are on the Bose system. I have a file up, but it is 60MB, so be forewarned. WMV at 640x480 for 7m45s. Rate is 1000k+ with DVD 1M, CD quality Audio. I have just done cuts and cross fades with no audio massaging. Mic is at center stage about 2' off the front. AT8202's set at -10db. The stereo pair runs into a Beachtek DXA-8 then into a VX2100.
http://versatilemediasolutions.com/Files/AllyX.wmv I am satisfied with the results, but my ear is not well enough trained for audio engineering (hey, but I am starting to learn what a 'dirty' drumline sounds like :D ) |
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#23 |
Fred Retread
Join Date: Jul 2004
Location: Hartford, CT
Posts: 1,227
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I enjoyed the clip, George. I'm pretty impressed with what you got using one mic--I've been thinking about an 835ST and that sold me. As always, I'm also imprressed by the VX2100's ability to handle difficult lighting.
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#24 | |
Trustee
Join Date: Feb 2004
Location: Suwanee, GA
Posts: 1,241
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#25 |
Trustee
Join Date: Aug 2003
Posts: 1,483
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I have used the 3032 around bar bands and find
that 30dB of attenuation is necessary to avoid clipping the PD. You lose about 3dB (give or take) when you face the mic away from the band as compared to when it's pointed at the band. Is that about typical for an omni? I would think so. I've also noticed that the 3032 is pretty flat sounding. I guess that's a good thing, right? I haven't side-by-side compared but my gut feeling is that some of the Rode small-diaphragm condensers (NT5) are more musical sounding than the AT mic. |
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