Andy Balla
Forum Replies Created
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Thanks for the reply, Eric. I hadn’t thought of that approach, although in my area, I’d have to contact every sound guy in about a 300 mile radius! At least you’ve given me some food for thought and the beginning of a plan of attack, so to speak. Thanks!
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Not to hijack, but this was my concern about the cost difference between the MK012 and the 4053b. I’m told both are susceptible to handling noise. I feel that I’m pretty good at handling a boom quietly, though. It seems that handling noise is a common issue with hyper-cardioids?
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I’m all ears on this question, because I’m weighing the Mk012 against the AT-4053b at the moment. I, too, had heard about handling noise issues, but this seems pretty extreme. FWIW, I’ve been leaning 4053b direction, but I haven’t heard much from people with real world use.
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Just forget all of that other stuff and hire me!
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FWIW, the H4n functions as an interface as well. A 302 with the H4n would give you plenty of options.
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AFAIK, the Mix-Pre and 302 use the same pre-amps. However, if you think you’ll never need three channels, think again. I am happy with a three channel mixer, and will keep mine as long as it keeps working, but I know at some point I’m going to end up getting a five channel mixer as well. Inevitably, you’ll end up in a situation where you’ve run out of inputs, and start thinking about needing more.
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If you get the latest firmware update, you can indeed set each XLR input to a different recording level. I run a three channel mixer into my H4n (boom on one input, and two lavs to the other, usually), and am pleased with the results. I’ve never worked with a SD 702, so I can’t speak to how the sound quality equates, though.
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What problem did you have the H4n you sold? Just curious…
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I like the H4n for the price. Super simple to use on a set, logical file system, USB connection to any computer with no drivers needed for file transfer. One issue I had was that the form factor of it makes it difficult to use in a sound bag. I ended up getting a Manfrotto Super Clamp. Zoom screws onto the clamp, clamp attaches to boom pole. I’ve been working this way on a current production using 5D’s and 7D’s, and it’s been a very efficient workflow for me.
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I recently recorded a college theater performance. The results were, I would say, usable. I heard plenty wrong with it, but the video guy filming it thought I was god or something. Luckily for me, the whole front row was roped off, so I was able to plant mics and gear there.
I recorded through a three channel field mixer into a Zoom H4n. For mics, I used a CAD C195 cardioid condenser in the center of the stage, and a pair of omni mics on the sides. It wasn’t ideal, by any means, but the video guy loved it, so I guess it was a job well done. Overall, it sounded fine, except that the omni’s picked up a lot of hum from the air handling. It was pretty noisy, for a theater. Dialogue was very intelligible, though. I guess that’s the main point. If I had better mics to choose from, I know the results would have been much better.