Is there a 4 to 2 field mixer under $1000 you would recommend? Or would recommend I get a six to two or eight to two, in case I want to add in the future? I have never dealt with phantom power, how far will it go on xlr? Since I only have two inputs I will need something.I would expect 4 inputs would to be enough for the foreseeable future. And transmitting phantom power will be no problem over balanced cables of any practical length - several hundred meters is not at all uncommon in broadcast applications.

If it is a static set-up and you don't want to spend too much money just get one of these behringer battery operated mixers: Behringer XENYX 1002B - Battery Operated 10 Channel Audio 1002B

Not a traditional eng type field mixer but it has lots of facilities and is cheap as chips.

P.S yes I have one too and use it a lot, for static set-ups I rig it under my tripod on a box so it is easy to see and control.

The directionality of a shotgun mic is also frequency dependent and low frequencies off-axis are not as well attenuated, which tends to favor a line gradient mic like the BP4071. Since I would expect the thump sound of the ball to be a pretty low frequency that might be a factor in mic selection for this particular scenario.

The BP designation was given to the revised AT series after making some type of change to comply with new Euro standards, so an AT4071 should be very close to a BP4071. There is also a BP4071L which has an even narrower pattern, but very long ca. 21".

Also research soundscape recording.

Few and far between but I've seen pre-owned Sound Devices 302s for around $900, which is arguably the best 3x2 field mixer available. But since you're not dealing with close mic'd dialog and w/o a equally high-end mics, There's plenty of other choices that would work for far less.

Thanks Gary, so you had good success with that mixer in the field? Will it be an issue connecting it back to my camera, going 1/4" phone plug to XLR?

Jim, I have looked closely at the 4071. Do you think it would be an issue mounting on or near my camera on the top of the Hi-Pod? Since it is so directional that would be my only way of aiming it, since I don't have a sound man. I have some brackets and other mounting gear, so surely I could get it out of the frame.

Vincent, I don't have to worry about foul language. I was at a match today and the keeper loudly expressed his dismay with some colorful language and was promptly red carded. Apparently there is no foul language allowed in Texas high school soccer, punishable by red card. Didn't realize that until today.

No problems going 1/4" to XLR the line outputs are balanced so you just need two 1/4 inch TRS (tip ring sleeve) to XLR leads. My output leads have right angled XLR's fitted to it keeps the cables tidy.

I have used it on live sat broadcasts and it works very well, I use the limiters in my camera to keep levels legal and having aux outputs to feed other sources can be very handy on location too.
Here is my older one in action mixing three sennheiser radio mics for a live broadcast on SKY racing TV UK:
http://img.photobucket.com/albums/v62/GaryNattrass/RacingUK_zps0123d25c.jpg (http://smg.photobucket.com/user/GaryNattrass/media/RacingUK_zps0123d25c.jpg.html)

If you are after a more traditional ENG style mixer then I would think that this would fit the bill without breaking the bank: http://www.ebay.co.uk/itm/WENDT-X5-5-CHANNEL-FIELD-MIXER-FOR-TV-AND-FILM-LOCATION-APPLICATIONS-6-/331102702404?pt=LH_DefaultDomain_0&hash=item4d17424b44

I've never tried mounting a large mic on a camera so couldn't say how practical that might be. I have a BP4071L which is definitely too long for that. I have a small tripod for it, and the audio I'm interested in doesn't tend to move around much. I suppose a tripod head would facilitate such movements.

Gary thanks for all the help. I need to start get some of this equipment ordered. I noticed you had your mixer in a hard case. Did you just set it in or block it in with foam? The Wendt mixer is nice, I have never bought that kind of equipment used is it pretty safe to buy that level of equipment used because it is built so tough to begin with? I know I buy used Toughbook computers all the time with no worries, because there isn't much you can do to one. I looked at all your pictures. I noticed the Citronics DeeJay console. I use to have several of those many many years ago when I ran a mobile DeeJay company. I read the articles you had pictures of, you certainly have a rich background in audio and video.

Any product you like better than others for wind protection on the AT875r? Should I use some kind of shock/isolation mount on the cameras and stands,if so is there one you like?

Thank you again for all your help, I am sure I will have more questions as I go along.

Yes my behringer 1002b is in a case and I think it was an old laptop carry case so it fitted very well. The Wendt mixer will be more useful but you will pay a bit more for even a second hand one but at least those listed are from a recognised supplier so should be OK.

For my AT875R mics I use the rode PG2 pistol grips and the WS/6 softie and they seem to do a good job at a reasonable cost.

I have been around the block a bit and this is my 35th year in TV and Film mainly with the audio dept but also with cameras and editing now.

I started as a DJ in the 70's and ashamed to say I still have my 12 inch disco single collection.

Next stop Sochi on Friday for seven weeks of fun looking after the world's commentators at the winter olympics!

Does the WS6 softie go over the foam windscreen or directly on the microphone? So you think the used Wendt is worth the additional dollars over the Behringer?

Funny, I still have all of my 12" singles and all my 45's about 15,000 of them.

Have fun in Sochi. Thanks for all your help.

"Does the WS6 softie go over the foam windscreen or directly on the microphone?"
- My Rycote Softie slips directly onto the mic. The Rode WS6 (knock-off) appears very similar. FWIW, I also have a secondary Softie Windjammer for moderate wind conditions. Smaller/lighter easier than a Zeppelin system. The Softie/Windjammer is still inadequate in strong wind though.

So you think the used Wendt is worth the additional dollars over the Behringer??"
- IMO Yes. Never cared much for Behringer gear. Second rate construction, mediocre sound and unreliable in my experience. I wouldn't consider the Behringer a EFP/ENG mixer either

Behringer kit has always had a bad reputation, that sadly, is rather unfairly applied. They have upgraded their service facility worldwide, and their acquisition of Turbosound and Midas show a commitment to upping their game. For what it's worth, the quantity of Behringer equipment I have owned over the years, vs the problems I've had makes me firmly PRO Behringer. Their service record years ago was shaky - but that seems long gone, and here in Europe, 3 yr warranty is standard, and complaints mainly made by people with historic rather than contemporary memories.

For the price - around $100 - that mixer is very good value!

I never said the behringer was an ENG/EFP mixer but it still has it's applications in the same way as an audio developments or similar mixer that is mounted on a cart or used in static situations.

I agree with Paul the behringer quality is very good these days and for around $100 you get a very useable and useful product.

We us their mixers all the time in broadcast and whilst not the best sonically they are ideal when you need to be mixing coms or FX mics together.