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Old January 22nd, 2009, 03:31 PM   #31
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me66 / ntg3

I used the me66 on an indy movie shoot and the producer was very happy with the sound. It might as well be new, and I still hear/read about lots of people who think they are great.

But, I bought the NTG3 because the price was right and it was recommended here. The aluminum tube it comes in looks like a pipe bomb. I can record to my XH-A1 which is compressed audio.

Next time I'm working on something I will do a side by side comparison.

I noticed that the NTG blimp price on the Australia Ebay is a great deal, any Aussies need something from the USA? We can do a cultural exchange.
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Old January 28th, 2009, 01:08 PM   #32
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Ty, thanks for recommending the Sound Devices SD 302, it's a very nice field mixer. I'm looking to try and cut the budget a little as the 302 is over £1000 here...

I was wondering how you rate the Sound Devices MP-2 Field Mixer? I know it's only 2 channels compared to the 302's 3... But I could probably get away with using only 2 channels per camera unit and it's kinder on my budget...

Is the MP-2 just as good as the 302 but for 2 channels?

I've also seen this Field Mixer http://www.pinknoise-systems.co.uk/s...ixer-p-34.html (Signvideo ENG-44 field portable Audio Mixer) ...It's supposed to be a great mixer for the price.

Chris

Last edited by Christopher Warwick; January 28th, 2009 at 02:49 PM. Reason: typo
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Old March 11th, 2009, 04:55 PM   #33
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Tell you what Chris,

We'll stick the transmitter on the mic on the end of a 14 foot pole and let you hold the other end. We'll take it off the pole and see what that feels like. You can disagree with me all you like, but you can't disagree with physics.

Plus, as I said, there's no way for the boom op to hear if the mic's in the right spot.

I'm not sayin' it thrice.

Regards,

Ty Ford
Just thinking to myself after I read the posts, would a pole holder, a grip head and a c stand solve the weight issue problem? That is hooking up the Sennheiser plug-in to the NTG3 directly. I don't need the boom op but I would like to go wireless. See link:

Getting By Without a Sound Person – How to Operate a Boompole without a Boompole Operator | B&H Photo Video Pro Video
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Old March 11th, 2009, 04:59 PM   #34
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Buenos Tardes Omar,

A locked down boom will work if the talent doesn't move. And even some sitting in chairs WILL move out of the sweet spot.

I use a light stand, grip head and fishing pole holder for that, but I usually have to adjust it as I go.

Regards,

Ty Ford
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Old March 12th, 2009, 02:33 PM   #35
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We'll stick the transmitter on the mic on the end of a 14 foot pole and let you hold the other end. We'll take it off the pole and see what that feels like. You can disagree with me all you like, but you can't disagree with physics.
Plus, as I said, there's no way for the boom op to hear if the mic's in the right spot.
---------------------
My suggestion: run the signal via cable to an operator's monitor (we use a Rolls PM50sOB, iirc about $50, I'm sure there are fancier ones) and then, via short xlr jumper, to the xlr transmitter, both units hanging conveniently off your belt....the Rolls xlr plugs are too close together to permit direct use of the transmitter, so a 1' cable does the trick....no weight on the boom, monitoring for the operator, and complete mobility..../Battle Vaughan/miamiherald.com video team
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Old March 12th, 2009, 05:39 PM   #36
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Battle,

Have you ever boomed with a Rode NT3?

Regards,

Ty Ford
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Old March 13th, 2009, 04:21 PM   #37
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Battle,

Have you ever boomed with a Rode NT3?

Regards,

Ty Ford
No, we don't have an NTg3 (way budgets are now, may be a loooong time). I would love to try one out, the reviews have been spectacular.

Our boom mike is an A-T815B, which have used successfully with the setup I mentioned earlier. We usually use it as a studio thing, attached to a C-stand, but with the weight off the mike and on your belt it is not bad to hand-hold. /B Vaughan

PS also, to be fair, it's a 10' boom, not the 14 footer you refered to earlier...that might be difficult with almost anything. Leverage, I know..... /bv

Last edited by Battle Vaughan; March 13th, 2009 at 04:29 PM. Reason: addendum
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Old March 13th, 2009, 04:56 PM   #38
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Battle,

Read my post. I said NT3 that's different than NTG-3.

The NT3 is a lot heavier and in my opinion, not a good candidate for boom.

Regards,

Ty Ford
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Old March 13th, 2009, 05:29 PM   #39
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Thought I'd post a couple of clips of the setup I mentioned earlier. The boom is a diy [I hear the flames coming already :) ] 10' gadget from Home depot with an adapter I machined and an AT shockmount and mike....we use it as a location or studio boom usually, but I have handheld it ok with the belt rig shown in the closeup.../Battle Vaughan /miamiherald.com video team
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RODE NTG-3 on the A1.-audio1a.jpg   RODE NTG-3 on the A1.-audio2a.jpg  

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Old March 13th, 2009, 05:32 PM   #40
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Sorry, Ty, misread your post. Not familiar with that mike...see images for what we got...works for us...ymmv!:) / B. Vaughan
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Old April 21st, 2009, 05:24 AM   #41
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Buenos Tardes Omar,

A locked down boom will work if the talent doesn't move. And even some sitting in chairs WILL move out of the sweet spot.

I use a light stand, grip head and fishing pole holder for that, but I usually have to adjust it as I go.

Regards,

Ty Ford
Buenas tardes Ty,

Yes I saw your video on this. I also saw a panel discussion you posted on your website, where you claimed that a locked down boom was the biggest invention for a boom op. (I'm not quoting, just off the top of my head that's what I remember.)

Just an idea: Is it possible to improve the range of "the sweet spot" by recognizing which is the best suitable microphone or polar pattern for a locked on boom? (Meaning: when we don't want a boom op for a sit down interview) I realize that the location is another factor but I'm just pondering on ways to minimize adjustments.

Thanks!
Omar
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Old April 21st, 2009, 05:54 AM   #42
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Hello Omar,

For some reason, I didn't get notice of your post. Did you find the panel discussion link (http://web.mac.com/tyreeford/Site/Location_Audio.html) on my page helpful?

You need to be this close in most real environments and you don't want a shotgun then, you want a super or hypercardioid mic. Among shotguns, some have wider sweetspots than others. The Rode NTG-3, for example, is wider than the Sennheiser 416. There would be more room for error, but also more room sound.

For every inch you widen, you hear more room, so the sound suffers.

I like to get the mic just out of frame. That's usually no more than 14-16 inches away from the face, less if possible. Once you get that close, the room doesn't matter quite so much.

Make sure the person you're shooting isn't in a swivel chair.

Be prepared to move the mic slightly during the shoot, sometimes during a take. Some folks move around a lot more than others.

Regards,

Ty Ford
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Old April 21st, 2009, 02:48 PM   #43
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Thanks a lot. Yes I did find your information useful. I think the mic tutorial video is underrated. Members of this forum can find out a lot of research on current technology through the different threads, but not many posts include the ability to HEAR the technology. There are not many ways to understand, crystal-clear, the difference between a $300 and $2k microphone. On this line of thought, Dan Brockett's contribution is mind boggling.
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Old May 5th, 2009, 08:10 PM   #44
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Ty,

I took your advice and I went ahead and bought the SD 302 + 6m custom mixer loom inc. tails and the portabrace mixer case (but wish I'd bought the petrol one).

I also have a couple of NTG-3 mics, a nice Rycote WS4 kit and a Lightwave Audio G5 carbon boom pole. I have the Sennheiser SKP500 radio transmitter and Sennheiser 112p radio mic kit too.

I've been able to test everything except the field mixer and plug in transmitter. I keep thinking I must be missing a cable or two for the FM, but willing to scratch my head a little more before calling up the sales rep to save embarrassment!

Can you recommend any good site for best ways to configure and set up the SD 302?

Chris
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Old May 6th, 2009, 03:20 AM   #45
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Excellent Christopher,

And you will never regret it.

There's isn't a lot of setup required for the 302. Knowing how to get to the guts to switch from mic to line level output and to set the threshold level of the limiter are very useful.

Check the manual for that, and or, the SD website. They have a useful forum (strangely under the "contact" menu.

It's 4:20 AM and I'm up early to get on the road for a gig in Washington DC this morning, or I'd blather on a bit more.

Regards,

Ty Ford
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