support suggestions for mic

[Ted Ramasola]

Any suggestions how you support a mic to get it closer to a subject, be it shotgun or otherwise for say, an interview?

Saving on weight and space, I use one of my light stands instead of a mic stand and mount my shock mount on it and place it slightly to his side out of frame and below his chest line, is there a better solution?

If I want to place it on boom for over the head position, is there a stand for holding up a boom mic instead of a person?

[Mark Koha]

I'm not really sure for what situations you are asking about so it's hard to recommend anything specific, but you can pick up boom microphone stands from any music store.

[Ted Ramasola]

Mark, was editing my post above when you replied. Any link to that stand you mentioned?

edit- got it. Guitar center is nearby, might check out good ones.

Thank you for suggesting this Mark.

[Don Bloom]

Ted, I use a fairly inexpensive boom stand from GC but I also have a sandbag (about a 5 pounder) in my kit as an extra insurance policy. Might want to think about something like that.

[Ted Ramasola]

That is sound advice Don! pun intended. :) I'll get one as well.

[Kevin McRoberts]

Ikan makes a small audio boom cradle that fits on any grip head... as for the grip head, Matthews MicroGrips are really nice for OMB kits. Add whatever boom pole and light stand/sturdy atachment you like and you're golden.

[Mike Watson]

I feel like this is an ignorant answer, but - why not a lav mic?

[Steven Digges]

I think guys might be talking about two different things here? In the Guitar Center world a “boom mike stand” is going to be a regular stage mic stand with a “boom arm” on it. Commonly used to mic instruments and the like.

In video land a boom mic is generally a microphone on the end of a large “boom” be it hand held (most common) or mechanical. I have a typical video style telescopic microphone boom pole. Most often operated handheld for run-n-gun by my audio guy. For stationary interviews (I often don’t have my audio guy) I use the same boom pole. I have what is referred to as a “fishing pole holder” made for booms that clamps to a stand. The stand IS ANCHORED with sand bags. This allows me to get the microphone into the exact place the audio guy would position it. A guitar center boom stand will not do that.

I have a couple of different mics I might choose for the boom mic. Most of the time it is a Sennheiser ME-66, I love that mic. Sometimes it is a Rode NT-1A, also a good mic. Neither one of them are cheap mics, but they are not crazy expensive high-end either.

Why not a lav mic? Most of my interviews are two heads. I also put a lav on both subjects. I record the boom mic and the lavs on completely separate channels. They are NEVER mixed on site. Once I am in post that set up provides simple and good options for me to mix. I do not go crazy in post. I want it to be as good as I can make it with the least amount of time. I have done this so many times I can tell you I am never sure which feed will get used the most, or both mixed together. It is usually a mix as they both have totally different characteristics. I get two good records to work with and my audio is backed up. This works for me, simple, cost effective, and good quality sound. I am not an audio expert, but audio is never an after thought in my productions!

Steve

[Don Bloom]

Actually I have used my GC boom stand for a number of 2 person interviews and it's worked fine, as long as they're sitting. If they are going to stand then I use an old very heavy duty light stand which can extend to 10 feet, use a studio type boom arm that will extend out to 8 feet, throw a few sand bags on the wheeled feet of the stand and even hook one to the end of the boom. For me it's a real PITA, I'd rather they sit so I can use the smaller, lighter, easier to setup CG stand. the arm on that extends to 4 feet which is plenty long for me and again I lay a bag on the back leg and one on the back side of the boom. It would ruin my day if someone got clocked by my microphone, not to mention what it would do to my microphone...or their heads!

[Bill Davis]

Just for clarity...

The term "boom" is used many ways in video and audio.

For this discussion, I think it's important to separate out two of them.

On a movie set, the "boom op" often works with a long extensible arm or pole positioning a sensitive mic just out of frame. There are huge mechancial boom arms that do this on a fixed stage. And it's also common in field work for a "boom op" to do this manually. If that's what's happening, then the boom pole itself and every other part of the recording chain from the mic mount to the holder to the talent of the operator are all very, very important. You need to isolate the mic as perfectly as possible from mechanical noise. The operator needs to be free to reposition the mic head without cable rattle or hand noise. So over time, lots of time and expense have been devoted to developing tools that are ultra-light weight, yet strong, quiet and dependable. (high tech carbon fiber is commonly used) And these specialized tools cost a bundle. Because they are relatively uncommon and extremely refined.

The "other" boom concept is to just find a way to position a mic that's NOT moving out of the frame in a fixed position supported by a stand. Since the mic doesn't have to be "operated" then the rigging can be much simpler and you can achieve the exact same audio quality while spending a fraction of the amount.

If you just need a "fixed boom" arrangement - really, just go to the local home center and find a painters pole. There are nice, extensible aluminum ones for under $20 bucks. Use any stand that is sturdy enough to handle the pole, rigging and balance. You can use a traditional C-stand - or you can use a mic stand - or you can rope the painters pole to a ladder - it really doesn't matter so long as you can point the mic where you want and have enough room to keep it out of the shot.

There's a gizmo called the Kasey Pole Adaptor that puts a standard 5/8" spud on a painters pole if you want to get fancy, but really, there are a zillion ways to adapt a mic to the end of a pole and again, since it's not going to move, any way you mount your mic to the pole - up to and including gaffers tape - will do fine.

It just needs to be positionable and to stay put.

So don't over think this.

[Mike Calla]

I should have taken pics in the photo mall here, but I saw a small little boom pole clamp assembly that fits on to your basic el cheap-o light stand, comes with a water fillable counter weight. 3m/9ft. for about 20$.

I have a shoot coming up with dozens of seated dialogues; it's dramatic style so no lavs possible.

I'm gonna pick up two of these boom assemblies and see how it works and have plan b in case it doesn't. I'm worried a static mic might not be able to adjust for the talent going off axis.