Sam Mallery
Forum Replies Created
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The H2 has 2 mics in the front and 2 in the back. I believe the bass frequencies from the 4 mics make up the subwoofer channel.
Anyhow, before I read this thread I had never even heard of the brand “Swissonic,” so I can’t suggest whether it’s good or bad. But, considering that I’d never heard of them before, it seems like you could do better by going with a more reputable brand.
The Zoom H2 is okay, but it’s a little flimsy. Zoom is coming out with a new recorder called the H1 which is a little less expensive, but has the potential to be a better choice.
I use the Edirol R-09HR for this purpose. I bought it at the end of last year, and it’s really come down in price since then. The reason I got it is that I had heard so many good things about it over the years. It’s really easy to use, it’s made well, and it sounds good.
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The Audio Technica Pro24CM is a little camera mounted stereo mic that can plug into the Vixia HFS100. However, it is a stereo mic and not really directional. It’s good for recording ambient sound. If you decide to get this one, you’ll need a Windtech MM1 windscreen for outdoor use.
If you’re shooting people speaking to the camera, the Rode VideoMic is a better choice. Here you would need the Rode Dead Cat windscreen for outdoor use.
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The 6010 & 5040 are a good combo. This system also comes with a really handy volume knob that sits on your desk. It comes with a cable that you can plug directly into the output on your computer.
Since you only need to do voiceovers occasionally, I think you may be better off with just a good USB microphone (like the BLUE Snowball). Having to fuss with an interface may be more trouble than it’s worth.
The goal is to get good sound and to produce good content. You don’t need to spend a ton of money to do that. An interface isn’t really necessary.
In what way have you outgrown your 2008 iMac?
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It does need TRS… so using it here would be a bad idea because she would need to get an adapter for the adapter.
Scratch that Rode adapter idea, Kimberly!
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Nice video, Ty! That was the best explanation of the low frequency behavior of shotguns mics that I’ve seen.
Kimberly – Unfortunately, the Audio Technica mic you have is a pretty lousy one. Audio Technica makes some really good stuff, but they also make a few low priced stinkers. I don’t know how you’re trying to adapt the ATR6550 to the XLR input on your camera, but if you’re using the wrong adapters and cables, it won’t work. If you use the cable that came with the mic that terminates in a 1/8″ mini-plug, you can get this adapter from Rode:
https://rodemic.com/accessory.php?product=VXLR
That should work. That adapter is $10. Money that may be better spent on investing in a better mic.
Also, it seems obvious, but make sure you have the power switch on the mic turned on when you’re testing.
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There is no frame rate setting in the Zoom H4n. Most consumer portable recorders don’t have frame rate settings. I researched what settings people were using with success with the H4n, and I found equal praise for 48kHz 24-bit and 48kHz 16-bit.
Personally, I always set my recorder for 48kHz 24-bit and so far everything has been going smoothly.
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That’s such a new model that it’s hard to say what the real drawbacks are. No one has used it yet.
But the Zoom H1 will definitely have the same drawbacks that every other piece of audio equipment on the planet will have. If the microphones are physically too far away from the sound source (I.E. right next to it), then the audio will sound distant. If the microphones are outdoors and not protected from the wind, then it will sound distorted.
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Did you go through the manual to make sure you have the gain structure correctly balanced between the transmitter/receiver/mixer?
Have you ever used wireless mics before? If so, what system are you comparing the 100 series to sound wise?
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I don’t prefer wireless over wired. Wired is always more reliable. But if your subject (or subjects) are moving around in the field, going wired isn’t a good option.
The first lav I bought was a wired Tram TR-50. I still use it a lot. But, I’ve done many shoots where it could not be used, and wireless was the only way to go. Richard’s totally right about avoiding cheap wireless systems at all costs. Anything under $500 is a total waste of money.
Since your video camera has XLR inputs, the question you should ask yourself is:
“What’s the maximum number of people that you’ll have to mic up for a shoot?”
Answer that, then you’ll be able to discern if you’ll need a mixer.
As far as your audio interface goes, the DIGI002 is pretty decent. I used the rack version of that interface for a few years. Practice your Pro Tools chops and you’ll be fine. Remember to back-up all of your data to avoid losing work.
Since you have a decent budget, you should probably get a couple of good shotgun microphones. Like Ty suggested, having a hyper-cardioid small condenser for indoor shoots, and a longer shotgun for outdoor shoots is a good idea. I use the Audio Technica AT4053b hyper-cardioid for interiors, and the AT4073a for exteriors. They sound great, they’re built really well, and they’re not nearly as crazy expensive as some of the other options out there. Getting proper wind protection for the outdoor mic is a must.
You should probably get a good boompole. And for studio work it would be a good idea to get a C-Stand and a boompole cradle. This allows you to fix the mic over the talent’s head in the studio (the stand holds the boom for you). It works decently if your talent is stationary. I like to do this, and have them wear a lav as well.
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Solved! The “DV/DVCPRO – NTSC” .mov file I exported out of iMovie worked. FCP 4.5 accepted it! I saved $60, and I’ll be able to finish this project up today.
Big thanks to everyone who contributed to this thread!