OK, so here is what I currently have (or is on order for delivery within the next few weeks):

Sony PMW-EX3 cam (I'm upgrading from my much loved Sony HC1 - will still keep the beauty though!)
Rode NTG-3 (I'm hoping the VM deadcat below will fit it)...well I love their products and early indications are that this will be a great mic (need to get a short XLR cable too).
AT825 Stereo Mic with it's 5M XLR stereo cable....bought for a great price on eBay, lovely mic.
Fostex FR2-LE (on sort of permanent loan from a mate) - superb recorder, preamps a bit too low but super quiet noise floor so easy to boost in post.
Zoom H2...cheap and cheerful but sure has it's uses - very portable!
Rode Stereo VM (3.5mm minijack) and it's Rode dead cat...great budget stereo mic
Rode VM (3.5mm minijack) and it's Rode dead cat...almost a living legend
Rode suspension mount
Hama lapel mic (it was a cheap one...no further comments necessary!)

I edit in Vegas 7 (on a PC) and FCS2 (on a new Macbook Pro - soon to be supplemented by a new MacPro)

And here is what I'm also thinking of getting:

Sennheiser EW112 G2 radio mic system (about 350-400 quid in UK for the Transmitter with lapel mic and one Receiver pack with XLR lead for camera/Fostex)
Rode 3M boom pole with a(nother) Rode suspension mount and 5 Meter XLR cable (totalling about 115 quid)
Fully adjustable mic stand (not sure what yet - any suggestions for UK purchase?)

And here is what I will be doing:

Corporate (interviews/training/promo stuff), documentary and event video work (outside events, indoor live classical music etc.) for DVD and web delivery (and weddings.... but only if I'm pushed/really desperate!). Sometimes I'll need to work as a one man band, but mostly with at least one other video mate (where I'll be our team's sound man at times).

Now if I can squeeze another 500 quid ($1000 US) into my AUDIO budget on top of all this (and that's all I'm seeking advice on here, the audio aspect) then what exactly do you think am I missing? Maybe a better wind protection system for that new Rode NTG-3....or what? I'm listening! - suggestions and advice from you audio experts (and everyone else!) is much appreciated.

Thank you in advance for any suggestions.

Hi Andy,

I would recommend a decent field mixer for those times that you're not one-man banding. You can send the mixer's main outs to the camera and the aux out to your Fostex or Zoom for dual-system recording. Most decent mixers will have better mic pre-amps than the Fostex or your camera. You'll have a lot more control and options than recording directly through camera or trying to route through the Fostex.

Gary Nattrass mentions a pretty promising field mixer that should be in your price range in the "Rolls v Azden" thread (http://www.dvinfo.net/conf/showthread.php?t=125876). A 20'-25' ENG breakaway cable would be a good idea if you go this route. PSC, Canare and Remote Audio all make good ones that go for about US$200-$225 each.

Hi Andy,

I second Ngo's suggestion (I don't pretend to be an expert in sound, but for the money I think the ENG-44 is a really good mixer), and I would add a decent lav (I use a PSC Millimic and a Countryman, both preowned, and I'm pretty happy with them).
Good luck

Vasco

Andy, unless you find one the RODE boom is not in production at present.

The RODE VMs deadcat doesn't fit the NTG-3, it's too short. I use a Koala Mini-Max 190, seems Ok but when the wind gets up, at what point does any similar windjammer crap out.

So you'll need a zepplin for better wind protection. The AT822 might be better than the RODE SVM, it (and your 825) will fit in a zepplin, the SVM and VM won't. And they have XLR outputs versus the minijacks.

Rycote springs to mind, expensive but great. The NTG-3 and ATs will fit their kit 3. Maybe check out the S series and the Indian zepps, don't know 'em.

So you'd have a shotgun and a good stereo mic that'll fit your zeppo.

For the NTG-3 I currently use a RODE SM4 shock mount for a boom and I add a short extension to it for the Canon A1s shoe.

Cheers.

Long time no speak.

I'm curious about your choice of EW112.

My suggestion would be to instead go for the EW100 G2 plus an extra receiver (from memory, the second receiver does not come with a cable, you need to order the appropriate ones seperately).

This would allow you to run both a lav and the Rode "off camera", or even a decent second (mono) mic to accompany the Rode.

Having the camera "tether free" is sooo handy at times.

Much as a mixer sounds like a great idea, in practice I still haven't managed to figure out how to incorporate one into my "one man band", where I already don't have enough hands to do what's required.

Instead I use the two channels on the camera and the two channels on the Zoom H4 and sort the mess out later, if, indeed, it is necessary.

Check out the weight of the Rode boom pole, mine is a beauty, but aluminium and weighs a ton. In hindsight, I should have gone CF and bought a stand for it.

If the budget would stretch I would add a super long shotgun to the mix.

My Senn ME67 (not well loved here on DVinfo) actually does most of the heavy lifting, as urban wildlife doesn't give a monkeys about air con/ heatpump units, exhaust fans and motor mowers.

The sound system, unfortunately, does.

Last but not least, (you may already have this sorted), but a REALLY good set of cans.

Absolutely indispensible. Mine have saved me from more audio disasters than I care to think about.

Hmm, think I see a second mortgage on the cards.


CS.


PS: BTW, in case you don't know, there are cables/ adapters available that let you plug a standard XLR based mic into the Senn BodyPack transmitter (with the proper screw latching plug), and another that lets you plug a Lav into the Senn "buttplug" transmitter, giving you an amazing amount of versatility with these units.

Thanks for these thoughts everyone - great inputs and exactly the sort of information I was hoping to get (i.e. to point out the "holes" I still have/would have had in my audio gear). Gives me lots to think about! And Chris, I'll look into the Senny wireless model details now that you've pointed that aspect out. Great stuff.

I can already see that the "extra 500 quid" I'd planned probably won't be enough (!!!), it's already looking like a Grand - but at least I can spend it more wisely etc. over the coming months thanks to the (as always) superb input on DVinfo! I don't like the idea of a second mortgage though - took 20 years for me to clear the first one! (which is why I now have the opportunity to upgrade my kit).

If anyone else has any suggestions, keep them coming, and thanks again everyone!

I have pretty much the same kit plus an eng-44 mixer and two senn 112 radio mics with a sony diversity radio mic for allowing the mixer to be wireless.

One bit of advice if you buy a senn radio mic kit, get the eng kit as it will also give you an extra transmitter that can be plugged into a boom or mixer.

I recently got two 112's for a really good price here:www.digibroadcast.com I paid £669 inc vat for two sets.

And the eng-44 is available in the UK here:http://stores.ebay.co.uk/Pinknoise-Systems John at pink normally has them for £329

OK, thanks again. I've been looking at the EW112 ENG G2 wireless pack and it's the one I am interested in for sure. My video mate is also considering the same pack so between us we'll have a potentially good capability.

However, I can't see in the instruction manual (a download on the Senny site) anything about Phantom power for the XLR on the SKP100 G2 (the "butt plug" as Chris so aptly described it).....maybe I missed it somewhere but does this mean this transmitter only works with self powered XLR mics plugged into it? My new Rode NTG-3 needs Phantom!

http://www.sennheiser.co.uk/uk/icm.nsf/root/21418

Thanks!

Edit: A bit of searching around on DVinfo in this forum section led me to this 225-250 quid unit so I guess I know the answer to my own question now. The SKP 100 will only work with self-powered XLR mics (i.e. those that have an internal battery).

http://www.sennheiser.com/sennheiser/icm_eng.nsf/root/21640

Edit 2: OK, NOW I have another question!!!!!

The Senny brochure link above says the SKP 500 can be used with any of the 500 range G2's, but no mention of the 100 range. Anyone know if I bought mixed and matched items from both 100 and 500 G2 systems if they are compatible? (I suspect I know the answer).

That last question of yours is a corker.

I've been trawling the net and can't come up with a definitive answer even now.

It does seem that the 500 series transmitters send more status info to the receivers than the 100, tho' whether that renders them incompatible is a moot point.

I think that, failing an answer here, a quick e - mail to Senn themselves or your favourite Audio supplier is in order.

That the 100 series "butt plug" doesn't provide phantom is bizarre in the extreme and nothing I've ever even wondered about, as all my mic's are self powered.

Interestingly, I tried the bodypack transmitter with my special 3 connector 1/8" to XLR cable to mic and it isn't supplying phantom either - tho' I strongly suspect that is a wiring fault, the lav works fine (I'm assumng Lavs do, indeed, need power?).

Anyone know the correct tip/ ring/ sleeve to XLR pin connections?

Something I noticed on the Senn site BTW, the 500 series stuff doesn't seem to include things like the receiver camera mount plate in the package, think the price could climb pretty quick if all the necessary bits and pieces have to be bought as extras.

Oh, when you talk of the 112, I assume you're talking of the 112p?


CS

Hi Chris. Thanks for trawling the web for me trying to find an answer - I certainly couldn't find it and I appreciate your efforts!!!!

The kit (that both myself and one of my video mates - not the Kiwi one, this guy's a Cambridge bloke through and through) are considering is this one, as recommended by Gary. Actually, my post above has a direct link to the Senny website (for full details).

Sennheiser EW100ENG G2 Package Includes

1 EK 100 G2 portable receiver
1 SK 100 G2 bodypack transmitter
1 SKP 100 G2 plug-on transmitter
1 ME 2 clip-on microphone (omnidirectional pick-up pattern)
1 CL 1 jack cable
1 CL 100 XLR cable
1 camera adaptor
6 AA batteries
Operating instructions.......yeah but they don't tell me if it will work with a SKP 500!

Now IF the SKP500 works with this kit I'd get one of those on top. However, if it won't I'll still go for this 100 series pack as it's affordable (similar components in the 500 series would break my budget) but I'd need to borrow my mates Rode NTG-2 (has battery or phantom option).

Hopefully someone on here knows and can enlighten us all. Failing that I'll shoot an email at Sennheiser on Monday morning.

Yep, now I am.

I thought (no, don't think, Gary DID say 112, not EW100 G2), er, never mind.

I was the one suggesting the EW100 G2 (clot! - er, me, not you)

Given the Rode mic, which is not self powered (what a waste!) the EW100 G2 seems to be a non starter.

The "butt plug" transmitter which comes with it is bloody useless for the Rode, so what's the point?

Unless you're considering other self powered mono mic's?

In the light of this "dissapearing phantom" revelation, I could not recommend the EW100 G2 to anyone with an un- self powered mic.

Which leaves you right back at the 500 "butt plug" and the 112P (which is simply a EW100 "bodypack" transmitter, receiver and mic), always assuming they will talk to each other.

Have I had too many glasses of vino or simply missed something really important?

Yours Truly,

Confused,

Fairfield.


CS

OK, you are CORRECT and I see excatly what you're suggesting now! Link to 112p system below...but it seesm to me to comprise 100 units as you know, so it's down to whetehr or not the 500 and 100's talk to each other. Anyone???

http://www.sennheiser.co.uk/uk/icm.nsf/root/21411?Open&print=

I'm fighting heavy summer cold/bad headache (unfortunately not vino inflicted, did have the odd beer last night in the pub tho.!) I'll go through and check my details again once I'm clear of this nasty bug! Thanks again.

If you need phantom power, you will need to get the "500" series transmitters.

I use the "500" series "Plug-on" transmitters with the "100" series receivers. They work well together.

B&H used to sell a "B&H Kit" that had 100 series receivers with "500" series transmitters.

Brilliant! Thanks Dan for the speedy confirmation.

...
That the 100 series "butt plug" doesn't provide phantom is bizarre in the extreme and nothing I've ever even wondered about, as all my mic's are self powered.
Actually not so wierd. Buttplugs are primarily used to let you replace a hard-wired cable connection for a hand-held mic with a wireless hop for reporter's standups, interviews, etc - right? But most of the time dynamic mics are used for hand-helds because of their ruggedness, relative lack of handling noise and so so forth and dynamics don't use phantom.

Interestingly, I tried the bodypack transmitter with my special 3 connector 1/8" to XLR cable to mic and it isn't supplying phantom either - tho' I strongly suspect that is a wiring fault, the lav works fine (I'm assumng Lavs do, indeed, need power?).

Anyone know the correct tip/ ring/ sleeve to XLR pin connections?

Lavs do require power BUT NOT phantom power - that's why the DIY adapter didn't work, the bodypack doesn't supply phantom either. Lavs typically use 3 to 5 volts and there are several wiring schemes - lavs set up for hard-wired use have electronics in the belt clip-on XLR connector that transform the phantom sent to them into the power the mic actually needs - that's why the adapters are a couple of hundred bucks instead of the $20 or so you'd pay for a simple adapter cable.

For what it's worth, a conventional XLR to TRS adapter intended for a balanced mono connection at both ends would be wired XLR-2 to Tip, XLR-3 to Ring, XLR-1 to Sleeve. That one could theoretically pass phantom. But the Senny bodypack mic transmitter mic input is not balanced TRS. It's unbalanced on a TRS connector, using the tip for mic level signal hot, ring for line level signal hot, and sleeve as ground for both. To connect an XLR mic to it you'd use XLR-2 to tip, both XLR-3 and XLR-1 go to TRS Sleeve, TRS Ring also connects to TRS sleeve with a jumper shorting the ring to ground. Note that this wiring is NOT the model CL2 XLR/mini TRS cable from Senn - that one is designed to feed line level to the transmitter and connects signal to the ring instead of the tip. Note that you should also provide a "DC Blocking" capacitor in the signal lead to prevent the 5 volt mic power from the transmitter from going up the cable to the mic. I just found a reference to an accessory cable from Sennheiser, model CM1, that is built to do exactly that - plug a (self-powered or dynamic) XLR microphone into the bodypack transmitter that wired correctly incuding the blocking capacitors.

Thanks Steve for the input. I'll let everyone know what Senny say in this thread (I've already contacted them via their website) - if nothing else they ought to update their website product information so that audio noooobs like me can easily understand that a 100 series receiver can interface with a 500 series transmitter (as has just been confirmed by Dan).

I've "wasted" a few hours on this (nothing's wasted really, I'm now just a little smarter about Senny wireless kits/XLR mics etc.!)..... and I think Chris spent a bit of time on it too! (in between those glasses of vino)

Thanks everyone for the inputs on my Audio Upgrading ideas. Lots for me to consider (and buy!)

Hi Andy, just to confirm that the 500 Brick does work with the 100 reciever, I thought it did but wanted to check first and just did so, all was fine and the rain sounded lovely up in sunny Norfolk :-)

Thanks mate! We've just had yet another heavy shower here in Cambridgeshire...and guess which way it's heading.....lovely and sunny here now! (well nearly, gone cloudy again as soon as I typed it!)

OK, thanks to the advice this is what I'm now considering to go with the kit I already have/is arriving soon - see my 1st post on this thread (with the approx prices I can get from a variety of recommended UK suppliers that are showing availability right now). I might need this kit in 2 weeks time. For those that don't know VAT is 17.5% in the UK (gulp!)

Senny EW112P G2 Wireless Mic Kit - Basically 100 Series Transmitter and Receiver with a few cables and a bundled cheapo lav at (£279+VAT)
Senny SKP 500 G2 (48v Phantom Option) Transmitter (the plug-in mic "Butt Plug") £210+VAT
Senny HD280 64 Ohms Closed Headphones (£69+VAT)
Rycote S Series 330 Windshield Kit (£195+VAT)
Rode 3M (5 stage) Boom Pole (£49+VAT)
Rode SM3 Shock Mount (£19+VAT)
Audio Technica Heavy Duty Micro Boom Stand MS9701TB (£25+VAT)
Boom Buddy - basically a clever holder for a boom pole for on top tripod use (£58.74+VAT)
XLR (mono) cables (6M and maybe 0.5M...not sure how short I need to go with NTG-3 on the PMW-EX3 yet).

My current thoughts are that I may one day want to upgrade the boom pole to an expensive one made in carbon fibre (but at 49 Quid +VAT the Rode is worth starting off/learning with). I've chosen the SM3 shockmount as it's more versatile than the SM4, especially with other mounting adapters I already have. Very (VERY) soon I'd probably want a better lav mic for the Senny body transmitter and at some point I might add a Sony PCM-D50 digital audio recorder to supplement....I think superceed.... my Zoom H2. I'm not "ready" for a mixer yet - maybe in a year or so.

Have I got this about right/any potential horror stories with the above choice?

Andy I'd trade the Senn 280 cans for the Sony 7506. To be honest I don't think you'd hear a difference on location, but if you end up on site with some other pros, or a knowledgeable client the 7506 may go over better.

Cheers.

Er, a "knowledgeable client"?

Where, exactly, do you find one of them then?

Boy, must be in a different universe to me, that's for sure.

Haven't seen one in years, think they're an endangered species.

I haven't had one in 20 years had sense to come in out of the rain, and there's a lot of that in both the UK and NZ.

Back to "The List"...........

Can't see anything that stands out (other than the stands, that is, er.....) except the paucity of cables.

I'd throw in another 2 X 5 metre and 1 X 10 metre at least, tho' this is but harping, the rest looks pretty good.

Think you're good to go there, Andy.

CS


PS: Steve: Still trying to decipher your post, will get back when done.

Thanks Allan and Chris.

Just read a dozen or so on-line reviews of the the headphones mentioned above (Senny 280HD Pro's and Sony MDR 7506 Pro). I liked the design/foldability of the Senny's but it was clear as day that the Sony's are the ones to get if I want to hear every imperfection (and hopefully some perfection) in what I'm recording. This gets mentioned time and again by many people..... AmazonUK had the Sony's for 67 quid so I've just bought them/should have them by mid-week. Thanks for pointing me at them Allan - and you saved me 2 quid!!!! (nearly pays for a free beer when I'm better/over this cold!) - Norfolk Wherry (my favourite tipple) is £2.65 a pint in my local, in case you were wondering.

Chris, I agree it's a bit sparce on cables.... and will address that too so that I'm not relying on borrowing them from my video mates all the time!

Another vote for the sony cans from me I have two pairs of 7506 and two mdr-v700 which although are DJ cans have the same drivers, they are ideal for late night editing when I need to be quiet.

Note to group: The Audio-Technica ATM-M50 are quickly working their way into use. have a pair for location work and four pair for the studio.

I also own two pair of 7506 and have put the cloth fabric ear cosies on them. Much nicer on those hot days.

I am reviewing the NTG-3 and so far like it a lot, especially for the price.

I have samples of it compared to a 416 in my online archive.
http://idisk.mac.com/tyreeford-Public?view=web

use the download arrow on the right for this file:

TyFordNTG-3MKH416.mp3

Below is a shot of the NTG-3 and the 416 after I took them apart for a better look.

Regards,

Ty Ford

That's a cool photo Ty. Funny, I always thought that the interference tube section of a shotgun was essentially hollow.

Rode has gone to great ends to shield the sensitive parts from RF. Plus, this is an RF condenser; a design used by Sennheiser in their 416.

IIRC, the Sanken CS-3e element is actually at the tip and there are electronics and other capsules below it. The Pearl mics do something similar, I think.

Regards,

Ty Ford

Er, a "knowledgeable client"?

Where, exactly, do you find one of them then?

Boy, must be in a different universe to me, that's for sure.

Haven't seen one in years, think they're an endangered species.

I haven't had one in 20 years had sense to come in out of the rain, and there's a lot of that in both the UK and NZ.

No offence but you missed the point. A lot of work can come from commercials, and producers and directors will want to know the gear list. That's why I proposed Sony 7506 cans instead of Senn 280s

They might not know the exact differences but they recognise and like to see brand names/models that are pretty well industry standards and probably used by their other crews.

Repeat business is what Andy should aim for and being new he'll have to impress *clients* right from the get go.

Cheers.

Andy

If ever ya get the chance then head to the Woodfordes Brewery to drink Norfolk Wherry at source :-) It's a lovely pub and if ya go in the shop then the promo video in there was recorded using a AT835ST, a pair of Audio 2000's with TR50's and went via a Filmtech mixer to (if my memory serves me right) a Sony 570.

I really should go and watch it myself but I get as far as the bar in the pub there and seem to get no further :-)


As for headphones, well of late I have really got on well with Audio Technica, the ATH-M50's that Ty mentions are really nice, also found I get on really well with the ATH-PRO5's, they may be DJ headphones but seem to do everything I want on Location (also use the cloth cover thingys, keep me big ears warm on a cold Norfolk day :-) )

Thanks for the info. Yep, been to the pub brewery at Woodbastwick a few years ago - a birthday treat (and my wife drove of course!). Guess what, it's my birthday again this weekend..... We occassionally make the pubs on the North Norfolk Coast (Lifeboat at Thornham, Jolly Sailor at Brancaster Staithe, Hoste Arms at Burnham Market, Red Lion at Stiffkey.....I could go on but I bet you know the list I'd complete!). At one time I even found time to be a contributor to The Good Pub Guide. Since the kids came along visiting these pubs is less often than I'd like - but still occassionally happens!!!!

On a completely different note, I just spoke to www.jigsaw24.com about the expected delivery date of my new PMW-EX3 (whilst ordering some of the kit above). Second week in August is looking likely - but the'll know "with more certainty" in the next few days.

Well all my additional audio gear has arrived over the last week or so and I'm very pleased with it all. I have not had a chance to use the G2 wireless systems yet but it all looks very well made/designed. I really like the boom pole/boom buddy and Rycote system and when I get a chance I'll rig it all up and do some test shoots to confirm I've understood how it all works and understand the capabilities I now have before I need to use any of it 'in action'.

I did have a chance today to use my new Sony MDR7506 Pro studio monitor 'phones - on something I'd edited a few months ago. Wow! - I heard sounds (and alas quite a few faults!) that I never realised where there in the audio at all! I'm already convinced these were an excellent suggestion as was the other gear. Thanks again everyone.

Way to go Andy!! What boom pole did you get?

Cheers.

Got the Rode 3M one in the end as I can't go wrong with that as a starter pole at only £49 plus VAT...looks more "pro" than the price for sure - lovely! Just waiting for the PMW-EX3, extra SxS card and the Rode NTG-3 etc. to be delivered in the next week or so now....been drooling over the unboxing pics posted on another thread just now!

By the way, I sent feedback to Sennheiser last week on their website about the lack of information about 100 and 500 series radio mic units being able to communicate OK (see discussion earlier in this thread) but all I got was an "out of office" message and a request to re-post all the information again! B&*^er that, I send them feedback but I'm not doing that twice if there IT systems can't handle storing ideas from customers!

You must've got one of the last Rode poles, they've been outa production for some time. Other things on their plate.

Senn must have a small office, see if they read the discussion here. Let's know what you think of the NTG-3. Mine talked me into a 302 and now thinking about a 722...
watch out it's addictive :)

Cheers.

By the way, the Rode NTG-3 arrived yesterday (along with my EX3). This mic is beautifully engineered - the amazing case is quite something too! Much too early for me to judge it's sound quality but, from the build quality, it's clear Rode have paid attention to every little detail. I have high hopes for it. Looks blumming good on the EX3 too (although for good sound capture it'll rarely be on the cam of course, more likely on that new boom pole!)

Andy, seeing as you are in the UK, have you looked at the BB List for second hand gear? I've used them lots of times and it's good quality stuff at reasonable prices..and the range of stuff on offer is enormous. Have a look at www.bblist.co.uk

Thanks Nick!