How to capture audio on-camera rejecting the operator’s noise

[Richard Crowley]

[Adriano Castaldini] “1. When does the difference between S/N 100dB (D100) vs 78dB (AT) become crucial? (Is it a secondary detail, or is it important in “little” sounds recordings?)”
I’m afraid that what you are seeing is marketing types playing with the specifications for marketing purposes. Even Sony is apparently not immune from this (IMHO) dishonorable practice.
[Adriano Castaldini] “2. Considering that I’d use the MixPre3 with an AT4053b (not with a super-silent-schoeps! but a mic with its own 16dB noise-floor), so the question: is the difference between the two noise-floor levels (D100 vs MixPre3+AT4053b) so crucial for “tiny” sounds recording?”
You are correct that all those factors are important for quality recording of quiet sounds. However a proper “SDC” (small-diameter condenser) microphone, and especially a premium product like the AT4053B, will have a inherently lower noise-floor than any tiny electret condenser mic capsule as used in the Sony recorder. Also, no matter how good the microphones in the Sony recorder are, a separate microphone is ALWAYS more versatile than any built-in microphone(s). Not to mention that you have you choice of specific microphones for specific purposes vs. using the one built-in to the recorder.
[Adriano Castaldini] “1. Are you sure that the sum of BP4025+MixPre3 noise-floors beats the noise floor of the Sony D100?
2. If yes, is this a “day vs night” difference for field recording?”
I would wager that a truly professional microphone like the AT4053B along with a premium mixer like anything from Sound Devices will beat the socks off any little consumer handy-recorder. Despite what the advertising specifications seem to say. If I had my choice between an AT4053B/Sound Devices mixer and a little consumer voice recorder, I could make that decision is a heartbeat. Of course the AT/SD combination costs considerably more $$$$, so that should come as no great surprise.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Adriano Castaldini]

More $$$$, that’s unfortunally right…
AT4053b + BP4025 + MixPre3 + Rycote Blimp (for BP4025) = 3x Sony D100 + Rycote kit. More or less 2400€ vs 800€…
Everyone cheering for the skinny David against Goliath (at least for the money) but in real life size matters.

Thank all of you for your precious advices! This forum is my school ☺ Really!

[Richard Crowley]

Few recordings of sound effects, ambient “nats”, or Foley are actually done in stereo.
The stereo (or 5.x or whatever) “soundstage” is created in the post-production editing process.
The final sound track is a synthesis of a bunch of different sounds.
If each of them carried their own stereo “ambiance” you would end up with a jumbled mess of sound when you mix it together. That is why we try to capture each sound as isolated and pristine as possible, so that any ambiance, stereo-staging, etc is produced in a controlled environment of the post-production mix-down.

To be sure, SOME sounds like the general background ambiance of a location are appropriate to record in stereo so that it sounds like you are actually there. But individual sounds like footsteps, teacups, newspaper, door knob, and even any dialog, are usually recorded on monaural. Once you start mixing down the sound track, you will understand why.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Peter Groom]

Been following this thread interestedly, but I find it interesting how the discussion has become soooooo high end detailed in the finer points of mic choices etc etc, when the starting point was such a low one about gun and run onboard mics?
Come a long way.
Peter

Post Production Dubbing Mixer

[Adriano Castaldini]

Well, your merit guys! As I said, this forum is a precious school for me 🙂

[Adriano Castaldini]

Gentlemen, I’m afraid of having damaged a mic…
I’ve bought the Audio-Techina BP4025 mic that’s a stereo X/Y mic with a 5pin-to-2x3pin cable. I connected the mic to the stereo-recorder with the two 3pin-XLR (Left and Right channels) and I gave 48v phantom to BOTH the channels (so the mic itself received 2x 48v). Later I discovered that giving the 48v just to one single channel (i.e. left) was enough to power both the channels as well. So arrived my doubt: Is it possible that I have damaged the mic giving 48v to BOTH channel? Or not?
Thanks a lot.

[Adriano Castaldini]

Perhaps it’s better to move this last question into a new dedicated topic…