Jordan Wolf
Forum Replies Created
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Your audio will be practically unusable if you leave the the mic back at the camera. YOU MUST GET THE MIC AS CLOSE TO THE SOURCE AS POSSIBLE!!! If you don’t get it close, you will pick up way too much of the reflections from the dialogue and whatever other room noise(s) might be present.
Here’s my say on the matter: if you want a mic for capturing dialogue when the camera is far away fro mthe source, buy a mic that you can mount on a boompole.
If you want a mic that can capture good ambient noise to layer behind your dialogue, etc., I’d go for the stereo mic.
If the stereo mic can be mounted on a boompole, then go for it! You won’t have to worry about panning the dialogue around the screen 🙂 Just make sure you know what side is Left and which one is Right. If it has a true stereo output, you should be able to isolate the sides and make them mono as necessary.
Now, repeat after me: “I will get my mic as close to the source as possible…”, “I will get my mic as close to the source as possible…”.
Wolf
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Skip,
The first microphone looks to have a TA4F (or TA3F) connector on it – which makes me think: (1)it is a Shure brand mic or (2) it is another brand that is terminated for use with Shure systems.
The only other thing that I can tell you without model numbers or more photos is that both mics appear to be omnidirectional, since there are no phase ports in sight.
Good luck in your search!
Wolf
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My PR-22 has very little proximity effect, so there is less affinity for plosives when close-miking a source. I have never used an RE50, as far as I know, so I cannot compare them.
Rent a bunch of mics, if you can, and try them out. If you’re setup and mixing techniques are correct and the mic patterns suit the environment, you should get consistent-enough results to judge which one(s) is/are the best for that job.
Wolf
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Shure and Beyerdynamic make a bunch of good interview mics, as does Sennheiser. If you’re looking for more performance-oriented handheld microphone, check out Heil’s PR-series (the PR-22 and PR-35 are both very nice – and I’m getting a PR-35 very shortly, my PR-22 sounds great on voices).
If you’re just looking for an ambient mic, look for a small-diaphragm condenser, omnidirectional one (Audio-Technica makes nice ones).
Wolf
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Any microphone that is located back on the camera (in other words: too far away from the source, in most cases) will be found to lack the “in your face” feeling that a microphone close to the source will have.
That being said, a mono microphone will probably sound more focused and/or “closed”, that is, not allowing as much ambient noise in.
In comparison, a stereo microphone will sound more “open” since there are 2 microphone elements picking up the sound. The difference in the arrival time of the sound at these elements is what makes the recording “stereo” and not just “dual mono” (the same signal on 2 separate tracks/channels).
It’s possible to sum the stereo information to mono, but it might not turn out as nice. I’m all for a nice stereo sound, but if the mic is too far away from the source to be useful, it won’t matter what type of mic you mount on the camera. Of course, I could just be assuming…prove me wrong?
Wolf
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You need to be MUCH more specific if you want any help at all…
1. What software did you use to produce the “tone” you want to put on CD?
2. What program(s) are you trying to use to put said “tone” on CD?
3. Why do people ask for help in such a vague and unspecific way?
Answer 2 out of the 3 and I’ll be happy. 🙂
Wolf
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I would hook him up with an M-Audio FastTrack and Audacity. Interfaces usually comes with some form of (usually-limited) DAW software, so you might be all set that way.
All that said, there are MANY options…I’m sure we’ll see some more recommendations as this thread ages.
Wolf
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There is nothing in the product manual that indicates a battery is required for Phantom Power to pass from mixer channel to microphone circuitry.
I recommend calling Rode and letting them know the problem you are having. It would also be wise to eliminate variables on your end (use another condenser mic to ensure P48 works properly, try different inputs, try using a dead battery and supplying P48, etc.).
Good luck and let us know how it turns out!
Wolf
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“A Radio Shack Y cord with two RCA male plugs and a single RCA Male or female will do the first step.”
If he’s going to combine a stereo output to mono, he’ll need a resistive summing box of sorts. Otherwise there will be lots of nastiness.
A Google search should yield some cheap, yet effective results.
A read of this article from Rane is a good idea.
Wolf
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Ty,
I do agree that an automixer is a fantastic idea. I would recommend the Shure SCM810 since this is a long-term situation. Maybe the OP can find a production house that does a lot of corporate work – they’ll almost certainly have it or something very similar.
Wolf
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