Recommendations for microphones for a soccer match

[Greenlee Brittenum]

I have pretty specific needs. The only video I am doing is soccer matches. Typically I video from 20' to 30' behind a goal using a Hi-Pod set at 20' to 30' depending on wind conditions. I use a Canon XA-20 and the internal microphones are not bad, but I know the audio could be better. I have done quite a bit of research and know a parabolic might be the best way to go, but I do not have a second person nor will I be getting one. Also at this point in time they are outside of my budget. Also time is a huge factor, especially during a tournament if I have to move from field to field. So I don't have time for an elaborate setup. If I need to provide more information I can.

My question is do I just stick with the camera internal microphones or is there a better solution? Preferably on camera, but I am open to suggestions.

[Vincent Oliver]

A radio mike at ground level may be the best solution, although you would need someone near it to avoid it going AWOL.

[Greenlee Brittenum]

What type of microphone would you suggest at ground level?

[Vincent Oliver]

The obvious one would be a shotgun, although this may be too directional to leave in a fixed position. Maybe an omi-directional one would be better suited, with a windshield fitted.

[Greenlee Brittenum]

So you think an omni mounted on a tripod with a windscreen would work? Would you set it up behind the goal just in front of the camera?

[Vincent Oliver]

That's what I would use, so yes I think it should work, try it.

[Gary Nattrass]

We tend to use sennheiser 416 and 816 mics on soccer/football matches in the UK although a soundfield mic is also used on 5.1 mixes!

[Oren Arieli]

If you're delivering in stereo, you would benefit from recording in stereo. I would go with two (matched) cardiod microphones mounted on a stand near the camera position. The audio queues of whistles, shouts, and cheers help anchor the visuals in 2D space. Think of a good movie, when a helicopter comes in from screen left, so does the audio. If you were to close your eyes, you can still paint a picture of the action in your minds eye.

Windscreens (foam AND fur) are a must. The last thing you want to deal with is rumble and wind distortion. There are mic holders that will allow you to place the heads in an XY configuration.
Stereo Microphone Techniques

You can also employ a Mid-Side recorder like the Zoom H2n, which allows you to adjust the stereo 'width'. But you'll have the added step of syncing the audio in post.

[James Kuhn]

Greenlee Brittenum...I don't mean to be dense, but what are your expectations? Do you expect to get individual player's voices?

Please tell us a little more about what results you would like to get. If, 'Nat sounds' is your goal a good omni set a high on a tall stand (10-ft or higher) would be my recommendation.

Although, not ideal, even an auxiliary camera mount that gets a shotgun MIC away from the axis of camera might be an alternative.

Regards,

J.

[Vincent Oliver]

The other thought is that viewers may not want to hear some of the language that footballers are shouting to each other.

[Paul R Johnson]

What do you want to hear - the big sound of the crowd, or the thumps and bumps of the players, with their grunting and groaning? I used to do quite a bit of football, but haven't for a couple of years now, and I'd record ambient audio to the camera mic, and have a couple of radio miked shotguns on short stands facing across the pitch. One mic to one camera, one to the other, and blend them in the edit.

[Greenlee Brittenum]

All great input which I expected from this forum. My expectations are to improve sound quality over the internal microphones. I would like hear to be able to hear the thump of the kick. These are high school games so not huge crowds. Yes, there may be colorful language between players. But I am looking for more the sounds of the game. To me when you watch a soccer video and don't at least hear the sound of the foot hitting the ball, it is like watching a Bond movie without the explosions. I am NOT a sound guy, all I can go by is what I have read and the wonderful input you have given me.

What would you guys that have shot soccer or football recommend in a cardiod or an omni microphone? I thought shotguns didn't perform well at distance? So if I set them up at one end or even one side, play could be 50 to 100 meters away. Also if I am already shooting from a Hi-Pod would that be too high to put an Omni on my camera's hot shoe or in the microphone mount on the XA-20? I agree some left to right or right to left movement in sound would be great, i just wasn't sure that was possible with some simple setup.

[Greenlee Brittenum]

Based on the stereo suggestion would something like the Audio-Technica AT8022 work? Or would it better to have two separate microphones? Would you mount the Audio-Technica AT8022 on the camera or on another stand closer to the ground? On camera would be fast when I am having to go from one field to another. Or could you use two Shure SM58s?

[Rick Reineke]

"would something like the Audio-Technica AT8022 work? Or would it better to have two separate microphones? "
-- If you looking for ambient stereo, a single-point stereo mic would be faster to set up and more foolproof. If you want the option of another mic to mix in when needed, two mono mics aimed accordingly.

"Or could you use two Shure SM58s"
-- SM58s are primarily designed for close mic'd vocals and such, their sensitivity/output is low for that type of work.

[Greenlee Brittenum]

What would be a good mono microphone to use for that purpose? It is all new to me, so model numbers help.