Jordan Wolf
Forum Replies Created
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You’re very welcome. Having a dedicated solution means less stress for you and the other gear. Sometimes computers can be finicky with their buffers and the like, which can stop recording/playback midstream.
Good luck in your search and let us know how it goes and what your opinions AND decision are.
Wolf
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Sound Devices just released a 5-channel mixer/field recorder. It lists around $2,899. If you can stand to have a 2-track recording and mix on-location, OR if you have a recorder already, this might be a good purchase.
Wolf
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Yup, that Beachtek is exactly what you want to get. CALL the store, buy it, and arrange for rush delivery within your time constraints. Anything can be overnighted if you can pay the price. If you feel it is urgent enough, then pay the price and make the money back by using it over and over. Consider it an investment – especially if this gig is one that is a repeat.
Wolf
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+1 to Ty’s remark
You could also look into an Audio-Technica 4053b if you need a less-expensive alternative. BUT (and it is a large one) you will NEVER, EVER regret purchasing something of that level of quality. It is a standard for a reason – they are consistent and achieve consistent results, when used in a consistent manner. As the tools become more precise, accurate, and their use more transparent, the onus is on the operator to use it in a manner that befits the level of gear which they have.
Wolf
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Just go out and experiment. Find out what mic placements work and which ones don’t. And don’t just use one microphone type – try shotguns, lavaliers, large-diaphragm condensers, etc. Try different techniques, different ways to minimize wind noise without affecting audio quality…
But most importantly: get out there and DO IT!!!
🙂
Happy Trails!
Wolf
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Look into a used Alesis HD24 or HD24XR. It’s a standalone 24-track recorder that is purpose-built for your situation. I know and have seen many productions that carry one (but usually more) whilst on the road. There are caddies for the hard drives, so you can swap them out when they get full. Also look into purchasing the Fireport, which will let you transfer directly from the hard drive via Firewire instead of using the ethernet port on the unit.
Tascam also makes (or used to make) a unit that is similar to the HD24.
The HD24 would require a 24-pair TRS-TRS fanout; the Tascam requires TRS-DB25 cables, pinned correctly. My recommendation is to rent a few different things and figure out what works best for your situation. Try the Alesis for a week or two, then switch over to the Tascam or some other unit. Get to know the unit BEFORE THE GIG and enjoy!
Wolf
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I’d recommend 2-3 mics, depending on what you have at your disposal.
If you prefer shotgun, place one of each SR, CS, and SL, facing into the crowd. Angle them slightly upwards so that you don’t just get the front row.
For crowd noise, I, personally, prefer to use a large-diaphragm condenser type of microphone. I use my Audio-Technica 3035, but have also used Shure KSM32s and A/T 4050s. If find they pick up less stage rumble since they are not a lobar pattern like the shotgun (similar to using a hypercardioid mic indoors as compared to a shotgun. I would place them near the main speakers, with their null zone facing the said speakers.
If, when you add in the crowd mics, it sounds a bit thin or “phasey”, try delaying the crowd mic channels at 1 millisecond for every foot of distance they were away from the source.
Hope that helps ya…good luck!
Wolf
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Yeah, the H2 is limited, but so is the H4n – at least by itself.
If it were me, I would put a lav on the talent and then run the receivers into a mixer. Mix the inputs accordingly and record that to the 2-track recorder.
Wolf
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If you are concerned about handling noise transferring to the mic from camera usage, you should hire a boom op/sound mixer. A shockmount will only alleviate the symptom (handling noise) whereas the actual problem is that the mic is still more-than-likely too far away from the source to truly be useful.
Wolf
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