[Rodney Morris]

Even if you do find a recorder in the $500 price range that has 0 latency, you will still have a sync issue (at some point). You’re recording to two devices, each having their own clock source. If you start recording on the camera and the recorder at the same time, eventually the two will drift apart. How long will that be? Don’t know – depends on how far off the clocks are. That’s why recorders used for sync have TC inputs.

Freelance Sound Technician/Mixer

[Rodney Morris]

I did a job for “Nova” a couple of weekends ago. I used the H4 for transcription – audio on Ch. 1 and TC on Ch. 2. File format was mp3, 128bit. No problems reported.

Freelance Sound Technician/Mixer

[Rodney Morris]

That’s good to know Dave. I purchased my 210s from TAI audio, so they should give me a repeat customer discount or something. 🙂

Freelance Sound Technician/Mixer

[Rodney Morris]

I use the Boom-Mate as well. Interestingly enough, several years ago I was in a Walmart and noticed they had these fishing pole holders that were on clearance for like $8 or something. They were exactly the same as the Boom-Mate but with a threaded base. However, I’ve not seen them since. It’s worth a shot though to check the Wally world in your area to see if they have them.

C-stand or combo stand, grip head and a boom mate is what you need.

Freelance Sound Technician/Mixer

[Rodney Morris]

Hello Scott,

Let’s start with a brief tutorial. A mic preamp’s primary function is to take a mic level audio signal and convert into a line level audio signal. That’s what it does. Because of the internal components of different mic preamps, they often impart a particular “sound” or “coloring” on the mic. That’s what many pros are looking for in a mic pre is how it affects the sound to achieve the desired effect. For example, if they’re looking for a nice warm, round sound they may go with a tube preamp. But again the preamp’s primary function is to go from mic level to line level. The other thing that a preamp provides is phantom powering for condenser microphones. Condenser mics need some type of voltage applied for them to operate correctly. Dynamic mics do not need said voltage. So a micpre will provide phantom powering (48V is most common) for condenser mics.

You are looking at a Shure SM7B, which is a dynamic mic. It needs no powering. You also have a Canon HV20 which provides a 1/8″ stereo mic level mini plug. You don’t necessarily need a preamp to connect this mic to this camcorder. You DO need an adapter to go from XLR to 1/8″ stereo mini. Also, if your laptop’s audio input is a mic input, you don’t necessarily need a preamp to get into the computer. The real question is how much control will you have over level once you get into the camcorder and computer. You should be able to adjust your levels accordingly however.

The SM7B is as big as your camcorder, so mounting it to it may be difficult.

I’ve never used the porta booth.

I do alot of work with reporters and correspondents in the field. Often when they need to do some audio tracking for whatever piece they are working on, they usually look for a quiet place to record (car, quiet room, etc…) and a handheld mic. For us working in TV, our handheld field mic of choice is the EV RE50. It doesn’t sound big and full like a studio condenser mic (because it’s a handheld dynamic mic) but it gets the job done. I don’t know what your application is, but perhaps an RE50 would work for you as well. There are VERY robust, not fragile at all – which is why we field guys like them so much.

I hope this helps. Feel free to ask if anything I’ve mentioned is unclear. There are alot of (more) qualified audio folks here that can help.

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Donovan, I wouldn’t put my trust in $150 reference monitors per se, at least not these. However, that being said it’s possible to create a good mix on just about any monitor system. The key though is having a reference for knowing what good mixes sound like coming from those monitors. Whatever monitors you buy, spend some time listening to good mixes through those monitors. Find some other short films with high quality sound and listen to those through your monitors. If you get ambitious, listen to some major motion pictures through the monitors, but remember you are at a disadvantage as those were mixed in multi-million dollar facilities.

This is my opinion, and it is subject to debate. If you are going to mix primarily with headphones, I would suggest considering spending that $150 on a high quality computer speaker system with a sub. If nothing else, it will give you an idea of what is happening below 80Hz. I used to mix with a pair of Yamaha NS-10 monitors and an Altec Lansing computer speaker system to check for low end information. That particular AL system was VERY good (rivaled Genelecs) when used at lower volume levels. That was nearly 10 years ago however and I don’t remember now which model it was.

I hope this helps and if anyone disagrees with my opinion/suggestion, please take a long walk off a short pier. Just kidding! Please voice them here. This should be a place of ideas and help, not the sounding board (lol) of just a few.

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

“My experience is that TV stations are ALL OVER THE RODE…”

Ty, either that’s a cheesy audio pun or you have microphones on the brain! 🙂

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Forgot to add…

Use the Sanken lav.

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Kat,
You’ll want to use a lav for this situation. You’ve already indicated in another post that this is a one man band shoot. If you’re not going to be listening while shooting (which you can’t if you’re on camera) you need to have a mic that will stay in position if you move. A boom mounted on a stand with no one manning it can’t do this.

Ty has listed a lot of good reasons for using a mixer. If you want to know how it’s going to sound if you don’t use a mixer, then watch (or listen to) your local news reporters in the field. They always go straight to camera. You rarely here something on the local news and think “wow – that sounds good”. Half the time you think, “wow – that sounds pretty (insert expletive of choice here).” It can be done but it’s not the best way. It’s the fastest and sometimes easiest but is also the quickest way to screwing up your sound.

I said it in my response to your earlier post and I’ll say it again – Don’t be lazy. You will get bit at some point.

Freelance Sound Technician/Mixer

[Rodney Morris]

Out of your 3 choices, I would pick the Sanken (I own 3) just because of it’s sound. The Tram is a good mic (I own 2), but tends to sound a little trashy at times, especially on the wrong voice. The Countryman B6 is a good mic as well, but you’ll probably be worried about it getting damaged by your guests. The cable feels very frail.

The Countryman EMW (I own 2 or 3) is a nice sounding mic, but the mounting hardware leaves alot to be desired. The tie clip is more or less useless.

The Sennheiser MKE 2 sounds very nice but tends to be a little more prone to breath pops. This is why you frequently see them mounted “upside down” (remember, with omni mics it doesn’t matter where they are pointed).

I was never a big fan of the Sony 77B due to mid-range harshness, though I know others who really liked them. I’ve not used the 88 so I can’t comment on it.

I use my Sankens when it really matters. I’ll use the Trams for convenience or when I’m worried about the mics getting damaged. I never use my EMWs these days (I should probably sell them).

I hope this helps you with your decision.

Rodney

Freelance Sound Technician/Mixer