Jordan Wolf
Forum Replies Created
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“I don’t know anything between condenser/dynamic, neodimium/other-metal, big/small diaphragm, etc…”
Condenser and dynamic are both types of microphones. Each one uses a different method to transduce the air pressure enacted on their respective diaphragms into a voltage that is usable by a sound system and/or recording device. Most dynamic mics are regarded for their durability and lower cost (except for ribbon microphones), while condensers are regarded as having a “better” high frequency response and faster transient response (see the third paragraph below). Each has its uses and areas where it shines and is rather dull.
The terms “big”/”large” and “small” are usually reserved for mics of the condenser type and refer to the size of the diaphragm (and even that metric is not a standard diameter). Many people prefer to use large-diaphragm condensers for vocal sources.
The “neodymium/other-metal” stuff you talk about refers to the materials that the diaphragm are constructed from. Neodymium is a very lightweight and powerful element, which allows for a faster settling time of the diaphragm (called “transient response”). A faster transient response does not necessarily make one microphone superior over another, but it does enable the unit to pick up more vibrations in the same amount of time than a unit with a slower transient response does.
As far as options go, I would look at the Audio-Technica 2035 or 3035. Prices on eBya (new and used) were around $150 or so, but they may harder to find. Definitely a sleeper of a microphone – very transparent and uncolored. What you put in, you get out – just make sure you listen to your recording environment before tracking with it.
Wolf
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Mark,
I do not wish to step on any toes, but there is another forum that I feel is better-suited for this topic. You’ll want to register and use your real name as your alias. PSW has been invaluable to me as a SR engineer.
Wolf
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Will, can you please post your signal flow an the specific gear you used to record and capture the audio?
It sounds almost like a wireless microphone is having its frequency stepped on, possibly by a TV station, since they’re more powerful and (legally) obliged to do so.
Inquiring minds want to know.
Wolf
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It sounds digital to me because the audio completely cuts out. There’s no clipping and it doesn’t sound like the hard limiting that goes on when digital clipping occurs.
Hmm…maybe others will have a better idea.
Wolf
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Mike,
Whichever choice you go for, audition them first. Sure, some may require a little burn-in time, but that usually mellows them out a bit…nothing you can’t compensate for mentally while demo’ing a few pairs.
You might want to look into the Sennheiser HD-25 cans and some stuff from Denon.
Also, Dave Rat (FOH engineer for the Red Hot Chili Peppers) did a comparison on various headphones a while ago. It was somewhat empirical since he used an RTA, but he also made judgments based on what he heard.
See here for what he decided on. You can also Google “Dave Rat Mighty Headphone Quest” and you should get a number of hits to his blog.
Wolf
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Unless you are using balanced (or balancing) connections into the mixing console, outside interference has a MUCH higher chance of occurring.
Are you able to post a sample of what you’re speaking of? Surely, if it comes out of the main mix, a recording should yield a viable recording of your issues.
Many times the codecs used to compress the video and audio are sub-par or the settings are not dialed in properly to allow for smaller size w/o the artifacts associated with compression (pixelation, the swirly sound, etc.). If you ask me, I say never compress any audio at less than 320kbps if it’s an mp3 format.
Wolf
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Unfortunately, there is no way around it. You’re stuck with what you’ve got. That…or go with ADR, Foley, etc.
There’s a saying in audio: fix it at the source. You know what not to do for next time…that’s half the battle.
Wolf
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The Line6 XD-V70 has gotten great reviews; it’s similar in price to the Sennheiser, but it’s up in the digital frequency domain, so it should be a little more future-proof hopefully.
Take a look here for the review.
You don’t want to skimp on wireless. When you do, you lose the flexibility you need for various location shoots and RF environments. You also sacrifice reliability and functionality.
Don’t waste your money on less-than-acceptable gear now; save up a bit more and/or rent until you can get something that will work well for a while.
Wolf
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Steve,
That was another idea I had but wanted to see if someone else you recommend it first.
The only thing I recommend is turning off any ceiling fans first…they are a sonic nuisance.
Wolf
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I’m gonna recommend you rent/buy used an automixer (Rane and Shure make some). Connect that to your recorder. Get into the room early, gaff everything down, and tell the kids not to tap on the mics.
Other than that, good luck.
Wolf
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