Sound recorder

[Ty Ford]

Nikos,

I think you’d do well with those.

Here’s my review of the NTG-3.

https://tyfordaudiovideo.blogspot.com/2012/04/rode-ntg-3-shotgun-mic-ready-for-action.html

I have heard the SCX-1HC, but have not reviewed it. I’d say it’s fair to say that it’s 70% of a Schoeps CMC641.

Regards,

Ty Ford

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[Al Bergstein]

Nikos. A couple of things. You didn’t specify if you are using the 5D mkii or mkiii. The Mkiii has much better sound in capability, and in some cases, I don’t use an external recorder with it at all!

I also own a Marantz PMD 661 (not the 660 which doesn’t have a good line in option that I’m aware of). I love the 661 and highly recommend it. I have used a variety of recorders in the last few years, including the Zoom H4N and a couple of Tascam models, which are very nice. But the Marantz packs a lot of features into a simple to use package. Ergonomics are excellent and it has a real line in.

I was not that impressed with the new Tascam D60, though my battery life tests were not replicated by others so it may have been a defective unit. But I agree that you won’t be putting the D60 under a camcorder. A recent post said and some techs agreed that the pots on the D60 will not turn the sound off entirely to a channel. That is not a useful situation.

I also own a Rode Videomic, and only use it when desparate. I also make sure I have a fully charged battery in it. The noise levels I get with it are really terrible, compared to most other shotguns I use. There is apparently a new shorter shotgun being made by Sennheiser, and I would check that out.

Good luck!

Al

[Craig Alan]

Hi Ty,

Audio Technica AT4053b vs NTG-3?

I like our ATs a lot. Dialog always seems up close and personal. Does pick up b.g. noise because they are very sensitive but voice being recorded does dominate.

We use the ATs with a 302 mixer.

I also like the small form factor of the mic. Inexperienced boom operators seem to have an easier time with it.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Nikos Papadopoulos]

Hi Al, I think I mentioned that mark 3 would be an upgrade for me. In any case there are many reasons why I’d need a double system.

I did shoot a feature doc with the Rode video mic and it sounded horrible. Unfortunately the rode video mic was hyped and virally advertised by the same guy who advertised H4n as must have tools for independent filmmakers…

This is why I am being extra careful where I am going to put my money in. I was really heading towards the Tascam dr-60d but after a lot of thought, the form factor looks very problematic for me. It really does not look like I can rig it comfortably for my one man stuff. I do like many of its features though.

So, I am torn between the Roland R26 and the Marantz PMD61. After a long search it seems to me that the only edge that Marantz has over the Roland is the slightly better preamps. Other than that it is:

heavier
more cumbersome menu /operating system (from what I read)
less tracks to record to (i only need 2 for now but you never know)
more expensive than R26

On top of that, it is very difficult to find reviews for the 661 whereas the R26 users are happily all over the place.

It seems that I have to understand how much better the 661 preamps are over the R26 and if this slight (or not so slight) benefit is worth the extra money…

Actually for some reason I am trying to convince myself to spend the extra money and buy the 661 !! solely because of the somehow better preamps. But I fail to convince me :))

[Al Bergstein]

I’ve not used the Roland nor know anyone that has. I still keep trying to find the elusive job where I need more than two mics in. I have added a field mixer that will at least allow me to mix down from 4 to 2 in a pinch.

Al

[Ty Ford]

Al,

Which mixer?

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Nikos Papadopoulos]

I know there is a dual mono setting in the 661 and trying to find out if it can be done in the R26. Does anyone know?
Or at least a way to split the mono signal to left and right in order to do that manually?

[Malcolm Matusky]

I shoot with a 7D & 60D, same issue as to what recorder? I Have a Zoom H1 & H4, they work, but I hate using them in production, wrong form factor and difficult to quickly adjust volume. I used to mount the H1 on a shotgun mic with rubber bands and mount both on camera. The H4 I made a mount out of a flip style flash bracket for the recorder and shotgun. A bit top heavy, but worked, still too tough to adjust while working.

Now I have a Tascam DR-680, large, but I am able to keep it off the camera or rig and sling it over my shoulder or have it in front of me so I can look down and adjust levels as needed. I can run a shotgun on camera and a couple of radio mics all at once, nice unit. I primarily shoot alone and this does work, If I did not already own the DR-680 the DR 60D looks great. You do not have to mount it on the camera or rig, keep it slung over your shoulder and look down to adjust the levels. Only 2 tracks, but it has 2 knobs to adjust volume, the DR-680 only has one, but is reasonably quick to switch between tracks. One huge feature of the DR 60D is that you can “split tracks” and record one lower than the other in case of a transient loud sound, nice feature.

I also have a Rode VM Pro, and a small pre-amp to feed sound to my 60D (camera) when I need a very small rig, quite light weight, and with the Magic lantern, I have audio meters in the viewfinder and am able to adjust volume using the camera’s rocker switch. A bit crude but it works, also there is a way of monitoring with headphones if you rig the Canon 60D AV cable with an audio jack.

Working alone is tough, but if you use multiple mic’s and recorders, it’s possible to do a good job, most of the time. There is no real substitute for a competent soundman.

Malcolm
http://www.malcolmproductions.com

[Nikos Papadopoulos]

Al, I noticed that the 661 also has the dual mono mode which is important for me. Could you help me with this:

If i use this dual mono mode, recording let’s say on the left channel, the 661 will automatically record a -20db copy on the right channel, yes?

What happens if I turn the potentiometer(s) to lower the volume? I understand that unless one holds separately the right and left channels, the potentiometers for L & R are locked together, so moving the outer potentiometer knob changes the input for the both channels at once.

So do changes on the Right potentiometer (in this example) bypass the -20db level ? Or the potentiometer is irrelevant to the -20db padded channel?

I can’t figure out how this works.

thanks

[Al Bergstein]

[Nikos Papadopoulos] “If i use this dual mono mode, recording let’s say on the left channel, the 661 will automatically record a -20db copy on the right channel, yes?

What happens if I turn the potentiometer(s) to lower the volume? I understand that unless one holds separately the right and left channels, the potentiometers for L & R are locked together, so moving the outer potentiometer knob changes the input for the both channels at once.

So do changes on the Right potentiometer (in this example) bypass the -20db level ? Or the potentiometer is irrelevant to the -20db padded channel?

I can’t figure out how this works.”

Nikos, their are two pots, one for each channel. If I am in dual mono mode, and turn the pot. for the right channel to zero, the channel is muted entirely. So I *could* ride the channel if needed, but frankly -20dB is pretty low on the waveform as it is. But yes, normally the right channel will be set -20db lower than whatever you are doing with the left if you set the controls to match.

Al