[Ty Ford]

I don’t recall a clip.

Just stick it in their pocket.

BTW, I don’t like the little mic that comes with it. Yech!
Get a good lav that can be battery powered.

Um, here’s my review from Pro Audio Review:

Sony MZ-M200 MiniDisc Recorder
Lilliputian Lifesaver
Ty Ford

When do my singer/songwriter, wedding and event video shooters, radio news interviewers, concert tapers and podcaster friends ask me about inexpensive, high-quality (as in, at least 16/44.1) recording thingees? Always, always and then mostly….always. It

[Ty Ford]

Thanks and a hat tip and please pull the cold wave back above the Mason Dixon line. I need to get some brick work done and the mortar needs about 40+ degrees F.

Ty Ford

[Ty Ford]

not enough information here.

What do you want to record?
What will you be recording to?

Give us some facts.

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

If you don’t need the timecode or wireless function. Try a HIMD recorder. The Sony MZR M200 records 44.1 kHz wav files.

You’d have to sample rate convert to 48 probably and slip and lside the audio against your picture. That’s the cheapest solution I know.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

About the same effect as taping over portions of the camera lens.

The slits aren’t for ventilation. They are there by design.

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

A lot depends on who will be doing the VO. I’m an AFTRA/SAG VO pro (demos on my website) and I teach VO to other talent and “regular folks” at my studio who have been told they “have good voices and should do VO.”

If you’ll be using pros, your job is easy. Pros can sound good on many more mics that non-pros.

The RE 20 is fine. EV SM7 is good. These are both dynamic mics requiring no phantom power.

Large/medium condenser mics are not “must haves”, but you’ll find them more frequently in most pro VO booths. The SD mics also work. The Schoeps CMC641 is the mic of choice for boomed dialog in films. It works quite well as a VO mic.

If you’re in a competitive market, you’ll need a Neumann U 87 or an AKG C414. These are “gold standards” for VO. If you can’t afford them try a Neumann TLM 193 or an Audio Technica AT4050.

There are a TON of cheap condenser mics on the market. Don’t be deceived most of the chaep ones suck.

The comment about having a good preamp is spot on. My GML pres cost over $1k per channel. They sound great.

Commensurately cheaper preamps to consider are Symetrix 302, dbx 286a and the FMr’s RNP.

Please check the mic and preamp reviews I have written for trade magazines in the Online archive on my website.

Regards,

Ty Ford

PS; and if you need a good narrator, I am available. In additon to my demos, you can hear some of my most recent narration work (U 89 Neumann and Millennia Media STT-1 preamp/processor) in the SAGE project folder in the archive.

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

Which, by the way, means ALWAYS LISTEN.

the second corollary of which is, ALWAYS LISTEN.

Regards,

Ty (not trying to be a nag, just the voice of experience.) Ford

[Ty Ford]

Ah,

I was thinking you were bringing in the audio and video via Firewire. Is this not he case?

If you’re bringing it in via analog and it’s distorted, plug in a headset and listen. If it’s not distorted in the headset, there’s something wrong with your transfer method.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

reshoot filter. 🙁

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.

[Ty Ford]

You don’t want DAT. DAT is dead.

Here’s a new idea. Boom Recorder software running on a Mac. You’ll need an audio interface, but with Boom recorder you can route different mics to different channels, up to 64, maybe more.

When you record, you can make a “poly wav” file. That’s one file with all the tracks. Using FCP I was able to import an 18 track poly wav file directly into FCP with one move. The audio appeared on 18 tracks below the video timeline. Can’t get any easier than that.

Here’s the link: https://www.vosgames.nl/products/BoomRecorder/

I use boom recorder now in addition to using a Sound Devices 744T HD/CF recorder.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
Download Ty Ford’s “Existential Boogie” from iTunes now.