Jordan Wolf
Forum Replies Created
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Could you give us the make/model of the gear you are using? A “headphone out” is usually stereo (2 channels) and uses unbalanced circuitry, whereas a [true] “line input” is mono and uses balanced circuitry.
Interfacing them can be a bit tricky depending on what you are using and the parameters you have control over.
Wolf
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“…are there other items out there that y’all recommend over the juicedLink?”
Why not start out by buying a camera that has XLR inputs? That futureproofs it by making it useful with professional gear later on, even as a backup.
“Once I get something like the juicedlink, which camera would have better audio?”
If you still want to go that route, AC-3 would be my preference, if I had a compression choice. My real preference is a lossless format, such as WAV or AIFF. I typically record at 24-bit/48kHz, since that is “DVD quality” (maybe not anymore with Blu-ray and 3D stuff coming out).
“Will need a handheld mic to give to the subjects to speak into. Any recommendations?”
Shure, Sennheiser, and Electrovoice all make microphones with longer handles and omnidirectional patterns that are meant for conducting interviews.
“Might get a wired lav so my questions will be audible. Any recommendations for this?”
Just move the mic back-and-forth, as they do on the evening news – it’s easier, let’s you as the interviewer moderate what’s going on, AND saves you money (or, rather, let’s you have more money to spend on other things). A wired lav is not a bad idea, I just don’t think it’s necessary for this type of job. Besides, you should look into buying one that can be adapted for wireless use, also.
Wolf
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Happy New Year to you, too, Ty.
May this year be even better than the last!
Wolf
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Peter,
I’m glad that you’ve got a good head on your shoulders – I’ve heard similar stories from other people who get in too deep and end up paying for it; I didn’t want you to get yourself into that.
Ty’s recommendation of the venerable SM58 is perfectly fine, but you should check out Sennheiser (e8** series) and Audio-Technica also.
You have something in mind, but it may not be the best solution for the space – a site survey is the best way to determine what will be the most beneficial.
The main key factors to consider are:
1. What maximum SPL is required and at what distance?
2. What type of coverage is necessary? This is where the room dimensions come into play – is the seating set up along the long wall or short wall, etc.?
3. What is the budget and is there any existing equipment that can be used to augment the new equipment?I think that will get everyone on the same page with you. 🙂
Wolf
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The best way to combat feedback is through proper mic placement and selection AND proper speaker placement and selection. Their interaction will determine much about how stable a system is.
A good microphone will have better and more-uniform rejection off-axis, so feedback will be much less of an issue. I recommend a hypercardioid pattern or supercardioid pattern. Just make sure the people speaking keep within 1 inch of the grill.
A good speaker, likewise, will have better control over it;s polar pattern. Depending on the room, one specific dispersion pattern (90×60, 75×75, etc.) may be more appropriate than another. If you can get the speakers out from behind the microphone, many of your problems will be solved. If you need to fly (hang) the boxes, don’t do it yourself. If they fall and hurt/kill someone, YOU are liable for it. Only boxes that are meant to be flown should be flown – and NEVER, EVER, EVER FLY THEM BY THE HANDLES. (Sorry, it’s a touchy topic where there is no room for dispute – safety is always first).
Now, for the install itself: basically, you want to make the system as easy to use as possible while providing only enough end user control to enable them to do what they need to. How you go about this is entirely dependent on the budget you have to work with and the time/skills you possess.
I guess what I’m trying to get across is that a sound system install, even a small one, is not necessarily an easy thing to take on. There are many variables that you must consider, some you might not even have though of.
That said, I recommend bringing this topic up on another forum that is better-suited to dealing with such things. You’ll have to register and use your real name, but it is the best source of web info and advice for your question. I’m on there, too, and you can look me up by my user name: howlingwolf487.
Good luck!
Wolf
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I feel that some cautionary advice is needed here:
DO NOT GET CHEAP WIRELESS SYSTEMS
You get what you pay for with wireless and the cheap ones will not have the features or the flexibility you need for future location shoots. Spend the money now for a system that you will NEVER regret having bought. A cheap wireless system will not be hardly as reliable as a more expensive one; both require just about the same amount of setup and pampering. Do it right the first time.
Wolf
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The method that most custom-molded earplugs use to reduce overall SPL while still retaining almost-perfect fidelity is by first creating an airtight seal. This allows for the use of a semi-rigid diaphragm in-between the free air (external to your ear canal) and the air mass trapped in the ear canal by the aforementioned airtight seal. The rigidity of the diaphragm determines how many dB of attenuation is incurred; I’m not sure how exactly the frequency response of the filters does not affect the sound quality much, but I’m sure a lot of money has been invested in R&D for it.
Sounds like a fun project…I hope I’ve helped a little bit. Have fun and please keep us up-to-date on your progress and the end result.
Wolf
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For a mic preamp, I recommend the Presonus TubePre. If you want a channel strip style, look for a Symetrix 528e voice processor.
For a microphone, I can recommend a couple: Audio-Technica 3035 (discontinued but still around…search for it on eBay), Rode NT1-A, AKG Perception 220 or 420. MAKE SURE YOU GET A SHOCKMOUNT FOR THE MIC!!!
Other things to think about:
– Cabling:
15′ XLR, star-quad type cable
5′ XLR(F)-TRS(M) cable– Monitoring
Headphones (Equation Audio’s RP-21s are nice and affordable)
Studio Monitors of some sort.– Accessories
Mic Stand(s) – spend the money now for a good stand that won’t droop under a heavy mic (Atlas, Ultimate Stands, and K&M come to mind)
Pop Filter(s) – a coat hanger and pair of pantyhose can work well if cash is tight. A dual-stage filter is best, with 2 screens instead of one.Wolf
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“My initial thoughts include power conversion issues with battery charging, no clue about wireless frequencies, etc…”
Thus the reasons for renting.
Wolf
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Have you noticed any problems with the unit’s RF stability? If not, I wouldn’t worry about it.
Go to the hardware store and pick up some Plasti-Dip. Just dip the end of the antenna in that and let it dry.
Wolf
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