DV Info Net - What Should I Buy?

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Corwin,
The SD302 also allows for Middle & Side decoding if you need to have that facility. I have used the 302 for stereo recording in this mode; again, it's excellent..!
I have found that as a general rule, with audio mixers, you invariably end up needing more channels, and whilst you have just two mics in mind now, you will, I am sure, soon find a situation where a third is required..
Rgds, Ross.
~~~~~~~~~~~~~~~~~~~~~~~

Good for you, Corwin. When you start doing movies and high-end work making the big buck$, by all means step up to the pricey gear - one thing nice about audio ENG stuff, it depreciates slowly (unlike our cameras and computer gear). But for doc and narrative work, you'll do fine with prosumer gear until NPR comes knocking on your door...

Michael

Haha, alright, sounds like a plan. Nothing for now.

Best,
Corwin

its kind of hard to not have a mixer with 3-4 inputs. once you have the inputs, you will use them, even if it means you borrow or rent a mic on occasion. having a mixer also mean being able to feed 2 cameras, or camera + audio recorder without splitting the lines. however, if you can only spend $2k max, its really out of your budget unless you come into something used that works ok for a very good price. I think running straight to the camera would probably be your choice if the preamps are reasonably clean.

as for choice in mics, another to consider is selling the me66 and getting a AKG blueine CK300+MK93 hypercardiod. its an impressive mic for under $400

G2 wireless and just run with the mic included for now. $500. a cos11 is $350, a sonotrim ( better version of a tram ) is in the same range

a rycote S series suspension and zeppling $350-$375 depending on size.

some XLR cables, decent set of cans $250-$300

at this point you are near the top of your budget. a boom boy + C stand could be a couple more items to add.

add the mixer in down the road. at least with mid range good mics you'll get the most bang for the buck. down the road you can sell them, or keep them as backups when you finally get a CMC641 :)

How bad would documentary interviewing sound without the mixer/limiters?
I mean maybe an ATW1800 series dual wireless system would cut it as it can mix two channels to one just add a third wired one and. And I mean for one man band - as the less equipment to set up the better.

T

probably be just fine if the camera pre amps are ok. you need to test them. if the wireless unit sends line level, use that. the question is, does the camera pre amps work at mic level and simply attenuate line level down :( or work at line level where they would be quieter, and boost mic level to line as real pre amps should.

I shot for many many years without a mixer, just mounting 2 wireless onto the camera, or running the hardwire directly in. of course I was also shooting betaSP where the analog recording was more of a limitation then the pre amps, but some how we all lived, had decent sound, and got paid. most cameras have limiters of some sort. limiters should only be used to contain unexpected peaks, not as a sort of automatic level control. so getting levels basically correct should be your first goal.

last week I did a shoot were I mic'd this guy up. as I am wiring him, I trimmed out the transmitter by asking him to speak. as soon as we start to shoot, this guy was literally 3X louder ! I stopped the take, turned the pak down a little, turned the mixer down a bit, and had his bits done in 10 minutes. can't be afraid to stop a take in the very beginning if its wrong. if you are really worried about this, always ask a throw away question like their name, how to spell it, or a question you plan to ask worded differently later on.

Quote:

Originally Posted by Corwin Garber (Post 916433)

Im pretty sure you can choose between a mic and a line signal on the a1, But not positive--

Corwin

Yes, you can...

Quote:

Originally Posted by Michael Nistler (Post 916499)

Hi Corwin,

For your application and limited budget, I'd recommend:

1. Continue to record on your Canon A1. Pass on the field mixer and recorder - you'll definitely blow your budget and you must focus on priority items to improve your audio quality.

2. Buy and always wear cans like the Sony 7506. For extreme comfort, I'd also recommend you get Headphone Softies (love 'em): http://www.bhphotovideo.com/c/produc...ie_Earpad.html

But don't watch what I do - if it's a quiet set, I'll be using my Sennheiser CX300 earbuds which I literally wear hours every day with my iPod (beyond comfortable and I can still hear ambient voices and noises I'd miss with headphones): http://www.amazon.com/gp/product/B000E6G9RI

3. Spend maybe $50-100 on sound books and DVDs. In addition to the posters above, consider "Sound for Film and Television", by Barry Green and Matt Gettemeier. http://dvxuser.com/articles/dvxshop/SoundDVD/

4. Keep your ME66 for now, pass on costly mics as the Schoeps CMC6 and Sennheiser 416. But for most indoor work, use a good hyper-cardioid mic like the Oktava MK012A. http://www.sound-room.com/inc/sdetail/3030

5. Yes, by all means when the need arises, buy and use a good wireless transeiver like the Sennheiser G2 Evolution. I'd recommend band A or band C, since the FCC has clouded what's going to happen with the B band after the recent auction. Actually, you probably should have TWO sets of Senn G2's but I realize that's stretching your budget. Still, for your apps, it's a far better investment than the high-end toys.

6. Yes, get a good mic for the Senn G2. The Tram is good, as is the Sanken COS-11b (be sure to get the correct connector to the Senn). Many of us use the Countryman B6. But here's a secret to save your hard-earned money - buy a Provider Series PSL6 that's an equal for half the price. http://www.jirehsupplies.com/cgi-bin...&key=PSL6-SENN

7. For outdoor work in the wind, another must is a Windjammer and zeppelin for your shotgun.

8. Then there's the incidental gear - things like a boompole holder (connect to your C-Stand), lots of connectors to interface into and across 1/8", 1/4" TR and TRS, XLR male/female gear, attenuators, matching transformers, etc.

9. And of course, you should have good sound editing software, plug-ins, etc.

10. And what about Royalty-Free music? There goes a few thousand more... (someday)

11. Oh, will you ever do any phone interviews? Sometimes VOIP companies like Skype have flakey connections, requiring a Telos One Digital Telephone Hybrid, etc.

Anyway, you get the idea - if you have a limited budget, study-Study-STUDY, and don't be too quick to spend big bucks on high-end, flashy toys. (yes, we've all been there, own that tee shirt!)

Happy Hunting, Michael

PS - You won't want to overdrive your A1 with a line level/impedence input problem. Use something like a Rolls Matchbox DB25 (unless you're fond of distortion and power hum). http://www.zzounds.com/item--RLLDB25

Hi Michael,
I sent you an email about the Provider lav mic. Did you receive it?
Regards,
Bernie

Yes, Bernie - I received your most recent EMAIL and responded:

Hi Bernie,

Yes, I've always felt the Countryman B6 (and E6) were great mics. I was surprised when an online distributor suggested the Provider Series was as good for a third of the price. Since I use Sennheiser G2's (compatible connector) and the price was soooo good, I thought I'd give it a try. In fact, the distributor said I could always return them if I didn't agree they were equals to the Countryman B6. I gave it a try and indeed, the sound, size, durability, etc seem equivalent. In fact, the Provider Series even has an attrative case that looks like my Countrymans! Even the size is pretty much the same size and I don't think one is better than the other as far as under-clothing noise.

I haven't met your friend Paul - he isn't a member of our local professional videographer group. At least I don't think I've crossed paths with him yet. But yes, George Lucas presence is certainly felt in the area (Star Wars, American Grafitti, etc).

Happy Trails, Michael