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

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

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.

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

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

I use a Dynex cable tie to tighten up my Rode NTG-2. It works quite well, and will probably last longer then bubble wrap... You can also get cheaper cable ties at the dollar store.