Shotgun Microphone

[Roger Bansemer]

I was looking up information about unsensitive mikes and they are listed as -60dB, down to 0dB I think. Is there some general rule or guideline I should know about concerning how these would differ. It seems all the mikes I have now are too sensitive and I’m getting way more ambient noise than I want.

Roger Bansemer

[Mike Kujbida]

Roger, it all comes down to using a mic that’s specific to your needs.
For example, a lavaliere is no match for a shotgun mic or a studio condenser under specific circumstances.
Figure out what your needs are and then buy the best mic you can afford for that specific task.

A pro sound person will show up on location with a wide range of mics and use the one best suited for the task.

I like to refer people to a thread on the JW Sound group (a forum for pro audio people) where Simon Hayes, the production mixer (the lead person responsible for recording ALL on location sound) talks about the difficulties encountered in meeting the director’s expectations and how everyone worked together to accomplish this goal.
It’s an eye opener on what it takes to get GREAT sound.
https://jwsoundgroup.net/index.php?/topic/13657-les-miserables-live-singing/

[Roger Bansemer]

Thanks Mike. I’ve signed up over there. Thanks for suggesting it.
Roger

Roger Bansemer

[Mike Kujbida]

Roger, one thing I’ve learned from my time on that group is that, while most folks are quite helpful, there are a few who can be somewhat snarky (i.e. sarcastic – specifically “studiomprd” aka the Senator) so don’t get upset by some of the comments you may get of you decide to post on there.
If yo do ask questions, be sure to identify yourself as a newbie looking for help as that goes a long way.
Do use the search function on that site before asking questions but be advised that it is not that good.
I’ve gained a lot of very useful information from reading the various posts since I started browsing it. I’ve also gotten very jealous when I read about how much great gear a lot of these folks have at their disposal. Glad I don’t have to pay for it though 🙂

[Roger Bansemer]

Hi Mike,
I posted on that forum and got a ton of helpful posts almost immediately. You were right though, someone told us we were set up to fail and since I said we don’t have the ability to carry lots of equipment in our small RV and since it’s just the two of us shooting, etc. that we were guaranteed ourselves to be mediocre or something like that. Geez!
We’ve produced over 60 PBS shows so far and they all pass the technical evaluation by PBS. It’s just Sarah, me and with the help of John Rofrano and this forum that have done that. That’s it. I don’t know anyone else that has taken on such a huge load. And it is huge.
A audio book was suggested and I ordered that. Thanks for pointing me to that forum. Despite the slams, there is a lot of help there as well.

Roger Bansemer

[Mike Kujbida]

Roger, I followed your thread for most of the day but missed the reply you’re referring to until tonight 🙁
I hope you’ve checked back in as there were a few more useful responses, particularly the one from Jan. The Eric she’s referring to (Eric Toline) is a very knowledgeable nice guy who also lives in Florida, unfortunately almost 300 miles from you.

[Roger Bansemer]

I hesitatingly went back to read the posts and after reading more backhanded comments, I did see the post about that DPA 4071 lav mic. Not sure why a would want an omni directional mike though. That’s something I’m trying to get away from.

Roger Bansemer

[Graham Bernard]

[Roger Bansemer] ” That’s something I’m trying to get away from.”

Here’s a Reporter’s Mic from Sennhieser. It’s Omni Directional. It’s the one I use.

Cheers

Grazie

Video Content Creator and Potter
PC 7 64-bit 16gb * Intel® Core™i7-2600k Quad Core 3.40GHz * 2GB NVIDIA GEFORCE GTX 560 Ti
Cameras: Canon XF300 + PowerShot SX50HS Bridge

[Roger Bansemer]

Hi Grazie,
I’ll make a note of this for future reference but as it is now the type of program Sarah and I do, this type of mike wouldn’t fit the format as it’s not a reporting sort of thing, it’s strictly conversational.
The question still remains for me:
Why do I never hear background trucks, etc when reporters are next to a highway. I know they hold the mike close but I often see them holding it further away than what my lav mike is which is right at my throat so it has to be something else.
So what is the difference here that I’m missing and why can’t a lav mike produce the same result?
I know all the answers like, they have their backs to the traffic and block the sound, their facing away from the wind, etc. I just feel like there is something that I’m missing.
That’s not to say we get lousy audio. We don’t. I’m just wanting to know a bit more so we can improve.
Fortunately this forum is polite enough not to mug the first person to come along with questions which I very much appreciate.

Roger Bansemer

[Graham Bernard]

[Roger Bansemer] “So what is the difference here that I’m missing and why can’t a lav mike produce the same result?”

A most excellent question.

What is the difference between a Report’s Omni and a Lavlier Omni?

Cheers

Grazie

Video Content Creator and Potter
PC 7 64-bit 16gb * Intel® Core™i7-2600k Quad Core 3.40GHz * 2GB NVIDIA GEFORCE GTX 560 Ti
Cameras: Canon XF300 + PowerShot SX50HS Bridge