[Sam Mallery]

Jim-

I’ve never personally usef the BoomMate or the clamp. I own an Impact C-Stand and the ATS-RAM for mounting my boompole. The combination works really well for me. I can position the mic where I want it, set it up and leave it up for days and the damn thing does not budge.

If you end up buying the Sennheiser deluxe kit from B&H, you won’t need the Pearstone DUSM. The deluxe kit comes with a Rode shockmount that is very similar to the Pearstone.

The adapter you would need to mount a boompole shockmount (like the Rode or the Pearstone) to a 5/8″ thread is this:
https://www.bhphotovideo.com/c/product/400107-REG/On_Stage_MA_100_MA100_Screw_Adapter.html

Here is a guide that explains what comes with B&H kits:
https://www.bhphotovideo.com/find/newsLetter/Audio-kits.jsp

And here’s an article about mounting a boompole + working on audio for video when you’re unable to hire an experienced sound person:
https://www.bhphotovideo.com/find/newsLetter/How-to-Operate-a-Boompole.jsp

And here is an article that explains the difference between using a softie and using a blimp system like the S-Series (just ignore the last paragraph about the WindPac blimp):
Uhh, click here…

[Sam Mallery]

Going backwards…

BoomMate adapter & clamp thing – yes, those would work well with a regular c-stand like this one:
https://www.bhphotovideo.com/c/product/371907-REG/Impact_CT40M_Turtle_Base_Master_Century.html

Manfrotto 420B – You would need to figure out how to mount a mic shockmount directly onto this. If you used this with the BoomMate and clamp and a boompole, it would likely be off balance.

Camera mount on a EX-1 – You would not be able to use a Rycote S-Series on a camera. I would use a Pearstone DUSM-1 shockmount and the appropriate Rycote softie for outdoor shooting:
https://www.bhphotovideo.com/c/product/554681-REG/Pearstone_DUSM_1_DUSM_1_Universal_Shockmount_for.html

Windscreen – the S-Seires seems like a good way to go. It would offer more wind protection then the aforementioned Softie.

Shockmount – The S-Series has an integrated shockmount. This and the Pearstone for non-blimp & on-camera work is a good solution.

Cabled Boompole – You get what you pay for. Better poles will usually last longer (if properly taken care of). I spent $500 on my PSC elite because I only wanted to buy a boompole once.

PA handling mic – Be sure to give them the headphone feed from the camera, and be sure that they have a clue about audio.

[Sam Mallery]

Okay. Ignore my first suggestion. You already have an interface, and the DV Toolkit isn’t compatible with M-Powered Pro Tools.

You just need a MIDI control surface. FOr a little less than a Control 8 you can get a Euphonix MC Mix:

https://www.bhphotovideo.com/c/product/555488-REG/Euphonix_947_10279_01_MC_Mix_Control.html#features

On the cheap you could get a Frontier Tranzport (wireless, but no faders):

https://www.bhphotovideo.com/c/product/376789-REG/Frontier_Design_189000000002_TranzPort_Controller.html#features

There’s the Faderport from Presonus with one motorized fader that you cna use to control all of the faders:

https://www.bhphotovideo.com/c/product/446126-REG/PreSonus_FADERPORT_FaderPort_Fader_and_Transport.html#features

You will likely be fine with this really affordable controller from Korg, the nanoKontrol:

https://www.bhphotovideo.com/c/product/602035-REG/Korg_NANOKONTROLB_nanoKONTROL_USB_MIDI_Controller.html#features

The nanoKontrol works with Pro Tools. Just be prepared for a little set-up time/getting-to-know-you learning curve with any of these devices. They’re usually not as plug-and-play as you want them to be.

[Sam Mallery]

Terminology-wise, you need to sort some things out.

DAW refers to the software being used. In your case, the DAW is Pro Tools, because Pro Tools is software.

What you need is an audio interface that’s compatible with Pro Tools, and you need the DAW software as well. There are two ways to go. You can either get a Digidesign hardware/software bundle, or you can buy M-Audio M-Powered Pro Tools software, and compatible M-Audio hardware.

If you want to use your FireWire port, you could buy the M-Powered software for $245:

https://www.bhphotovideo.com/c/product/594505-REG/M_Audio_9910_59817_00_Pro_Tools_M_Powered_8.html

And you would also need to buy M-Audio hardware. This is the cheapest FireWire option:

https://www.bhphotovideo.com/c/product/353766-REG/M_Audio_9900_50739_00_FireWire_Solo.html

That would put you at $425. Considering that the cheapest Digidesign option is the M-Box 2 Pro at $599, going the M-Powered + M-Audio route isn’t a bad option. You would just need a FireWire 400 to 800 cable and you would be set.

[Sam Mallery]

The trouble with that is the set up time it takes to plug the AC system into the wall, find a place to put the receiver, run cables from the output to your camera, etc.

With a portable receiver, you can mount it to your camera, keep it plugged into the mic input, and be able to run and gun it. This way if the ceremony is at a church, and the reception is at a banquet hall a few miles away, you could potentially follow the bride n’ grrom out of the church, hop in the limo with them, and film them entering the reception… you get the idea.

[Sam Mallery]

Also, here’s an educational introductory article I wrote on the subject. It’s a couple years old, but all the info is still pretty much on point:

https://www.bhphotovideo.com/find/newsLetter/Camera-Mount-Wireless-Microphones.jsp

[Sam Mallery]

VHF = Very High Frequency
UHF = Ultra High Frequency

Does that clear things up? 😉

UHF is better because it’s a higher frequency. However, the DTV transition just wiped out a portion of the UHF spectrum that some mics operate on, so you have to be mindful of this when buying a system, especially a used one (the 700 MHz band has been disrupted by DTV).

Ty is right. There is a lot of info on here about this. So much so that you don’t even need to search, just look at the threads and you’ll find plenty.

The Azden kits are a really bad idea. The Audio Technica Pro 88 is a better choice, but, it’s still not a good choice.

The basic rule of thumb with wireless mics is that you have to spend $500 to get something of decent quality. If you want to buy a wireless system once, and not something you will eventually replace, you have to spend around $1500 per wireless mic, minimum.

This is an area where “being on a budget” will hurt you. If you have a paying client and you’re shooting a wedding and you can’t hear the wedding vows at the ceremony, then you bought the wrong thing and your client will be upset.

[Sam Mallery]

Sennheiser EW100 system is $500. It’s the only way to go in that pricerange.

I just bought a pair of Lectrosonics 100 Series. They are around $1100 each. I don’t even have mics for them yet. I plan on buying Sanken COS-11 lav mics. They are over $300 each.

Sennheiser is good. If you “very good audio” then you have to go further.

[Sam Mallery]

Dave-

The Genelec 6010A is supposed to come with a 1/8″ mini to RCA cable. Look in the box, it should be in there. If it isn’t, then contact the store that sold it to you and see to it that they take care of you.

You plug the 1/8″ side into the line output on the back of your Mac Pro. The RCA side goes into your 6010. It’s as simple as that. I wouldn’t advise spending money on a mixer or stuff like that until you determine that you NEED it. If you want better sound, you should consider getting the 5040A subwoofer for you 6010A’s. It will make everything sound better.

[Sam Mallery]

Not sure what they have as far as whooshes go, but this is a great free resource that I’ve gotten a lot of use out of:

https://www.freesound.org/