[Ty Ford]

Yes, well…..

I had a long chat about electret condensers versus “true condensers” a few years back with one of the leading tonemeisters in Germany.

In that conversation I specifically asked about the differences among electret and “true condenser” mics.

It was his opinion that there was no reason to suspect a mic simply because it was of electret design. He mentioned a few to me (and there were a few I found later) that are usually regarded quite well. I don’t have names, but I do recall the conversation.

Regards,

Ty Ford

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[Ty Ford]

Hello John and welcome to the Cow Audio Forum.

A simple google search reveals this:

https://www.audiolines.com/product.php?productid=69527&cat=953&page=1

So 6b, is a range of frequencies.

MiPro is not considered pro level gear. I’m not familiar with it’s operation. Perhaps you can find more operating instructions on their web site.

Regards,

Ty Ford

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[Ty Ford]

Jason,

Gotcha.

Try this.

https://forums.creativecow.net/forum/adobepremierebasics

Regards,

Ty Ford

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[Ty Ford]

Hello Jason and welcome to the Cow Audio Forum.

Each network may have different specifications. This one seems pretty straight ahead as you have described it.

What’s you’re question?

Regards,

Ty Ford

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[Ty Ford]

OK, everyone has had a go-round. Now let me.

Good mixers like the 302 and 442 with limiters absolutely can improve your audio, provided you know how to use them.

Mixers are more than knobs that let you vary the volume.

1. They let you vary volumes without shaking the camera or getting in the way of the camera op.
2. You may need to do that a lot with some people. I ride gain even if one person is talking if their voice fades on the end of each line. You can only do this in a relatively quiet environment, otherwise you bring up the ambient noise.
3. Mixer preamps (good ones) sound better than camera preamps.
4. Good mixers have input transformers that scrape off RF before it get into your audio.
5. Good mixers have limiters that allow you to record hotter, keeping your audio further above the noise floor without distorting.
6. Good limtiers have EQ that lets you roll of LF HVAC noise before it gets into your audio.
7. Good mixers have mulitple outputs so you can feed more than one camera, or separate recorder simultaneously.
8. Good mixers make your sound better. If they didn’t pros wouldn’t use them.

In addition to a good mixer (as in a piece of equipment), a knowledgeable person operating the mixer can get much better audio than simply plugging the mics into the camera.

I’m thinking two things about the original poster’s problem. Something may be misadjusted, but more likely than not, the outbursts are just too loud for the settings. This happens. It’s like shooting someone with bright backlighting and trying to get a good exposure on their face when it’s in the shadow. The dynamic range of the light to dark is too great for the camera.

BTW, I have never hear a voice get louder on a lave if the lav is placed farther down the chest.

Regards,

Ty Ford

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[Ty Ford]

yes.

Ty Ford

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[Ty Ford]

4053a because you don’t want to use a shotgun inside.

Ty Ford

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[Ty Ford]

Good call Jordan.

Do you know if their internal mics are quiet and isolated enough to pickup sound without hearing the internal drive? Is there an internal drive?

Regards,

Ty Ford

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[Ty Ford]

Hello Ben and welcome to the Cow Audio Forum.

Yes you need a mixer. Here’s why.

Mixers are more than knobs that let you vary the volume.

1. They let you vary volumes without shaking the camera or getting in the way of the camera op.
2. You may need to do that a lot with some people. I ride gain even if one person is talking if their voice fades on the end of each line. You can only do this in a relatively quiet environment, otherwise you bring up the ambient noise.
3. Mixer preamps (good ones) sound better than camera preamps.
4. Good mixers have input transformers that scrape off RF before it get into your audio.
5. Good mixers have limiters that allow you to record hotter, keeping your audio further above the noise floor without distorting.
6. Good limtiers have EQ that lets you roll of LF HVAC noise before it gets into your audio.
7. Good mixers have mulitple outputs so you can feed more than one camera, or separate recorder simultaneously.
8. Good mixers make your sound better. If they didn’t pros wouldn’t use them.

I suggest a Sound Devices 302. That’s $1300. Sony MDR 7506 headphones, $100.

I think a 7′ pole is too short. I’d go for 12′. I have a 16′.

Mixer to camera snake: https://www.bhphotovideo.com/c/product/561623-REG/PSC_FPSC1091A_ENG_Beta_Snake_for.html

Rode NTG-3 shotgun.with zeppelin and furry.

You can’t afford a Schoeps, so a AT4053a
https://www.bhphotovideo.com/c/product/68315-REG/Audio_Technica_AT4053_AT4053a_Condenser_Microphone.html

Rycote invision 7 shock mount for the AT4053a

a couple of 25 foot xlr cables.

a couple of Countryman b6 lavs

That’ll get you off the ground

Regards,

Ty
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[Ty Ford]

All extremely excellent advice.

I like the idea of a good audio tech with his/her own mixer and bag of tricks.

The mixer I use, Sound Devices 442, has come in very handy for jobs like this where you don’t really know what to expect.

I’ve been told the XLR feed is line level. Um, well no, it isn’t. It’s closer to mic, but higher. The input and outputs of the 442 are extremely adjustable and both inputs and outputs have limiters.

I run my 442 with an external battery so I don’t need to plug into AC, thus bypassing most of the ground loop problems.

During the show, with a mixer I can adjust levels to feed the camera continuously. It’s always needed. Always.

Regards,

Ty Ford

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