Richard Crowley
1
COW Coin
Forum Replies Created
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Ha! 🙂 David had the $250 Rode Lav. Jeffrey had the $40 MXL, and Ty and James had the $180 OST-801s.
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Re: Cheaper lavs: Here are three lower-cost options…
Oscar Sound Tech: https://www.oscarsoundtech.com/index.html
They make several quite good (IMHO) models with a wide variety of connection options and accessories. I have two OST-801 which are nearly identical to the popular Countryman EMW at half the price (~$180 for the XLR version).MXL Interview Kit https://www.mxlmics.com/microphones/field-recording/FR-355/
A kit of two inexpensive XLR lav mics (~$100), one cardioid and one omni.Naiant X-X Omnidirectional Lapel Condenser Microphone https://www.naiant.com/naiant/microphones.html
Several options, $50 with XLR termination.I did sound for a TV series several months ago with three different mics: One Rode Lav ($250 with XLR), two OST-801 mics, and the omni mic from the MXL kit. Check out the first episode and see if you can guess which is the $250 mic and which is the $40 mic.
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It’s not rocket surgery, but it’s not trivial either. The challenges are: 1) getting definitive and authoritative information on exactly how to connect the mic cable to a new type of connector/gear. And 2) dealing with the very tiny wires and connector.
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It will affect the mic if it wears so much that one or more of the conductors breaks. Putting tape over the bare spot won’t affect the performance as long as the braid remains intact, and covering it with tape will be better than nothing. But you could fix it by cutting off the bare part of the cable and re-terminating the connector.
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How big is the table? (Or more on point, how far would a central microphone be from the subjects?)
What is the ambience? Background noise? Room acoustics (reflections/reverb, etc.?)
What is the expectation of the video/recording? Transcription only? “Reality”/Documentary? Industrial? Entertainment? Commercial TV? Feature film?
How much time to you have for testing and researching options?
How much budget do you have for buying or renting appropriate gear?
Probably several more important questions that you must know the answer to in order to make a useful decision. -
Perhaps you are putting too much expectations on “cleaning up” mediocre performance and recording in post-production after the fact. A good “performance” in a good environment (quiet, not too live or too dead) should need minimal post-produciton processing.
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IME the ATEM switchers do not have sufficiently low latency for live image mag use unless you use gen-lock cameras. Whenever I need to do live image-mag, I have to use my Panasonic AW-HS50 switcher.
I own two ATEM switchers, I think they are a remarkable value for the price, and I like them a lot. But unless you use expensive genlock cameras, they are unsuitable for live image mag.
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Mr. Davis and Mr. Kownacki are giving you the best advice. The ONLY way to deal with such an acoustical hall of mirrors is to get the microphone AS CLOSE AS POSSIBLE to the talent. That means a headset mic. There is no other practical solution in that environment, IMHO.
And it is madness to think about shooting while manufacturing is going on (or even night-shift cleaners, etc.) Schedule production for when nobody else is in the building. Or else find a more suitable place.
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Of course without hearing a sample, we can only speak in broad (and useless) generalities. If it is as bad as you say, plan on shooting it again.
Did you not have someone monitoring the audio?
Did you have everyone turn off their wireless devices? -
It is still not clear what you are trying to do here (and why). You have two channels of recording, and two microphones. But why are you trying to shove both microphones into one channel? You can get a “Y” cable that will allow you to connect both microphones to the single 3.5mm jack and put one on each channel. For example…
https://www.hosatech.com/product/0/YMM-261/_/Stereo_Breakout%2C_3.5_mm_TRS_to_Dual_3.5_mm_TSF