JonG

I see both arguments, but it seems like every day we get a couple of new users asking the same questions, or posting things in the wrong areas (IE FS/WTB in Equipment, etc). It may be useful to create a category that answers many of the basic questions that are always being asked by new users, explains the rules of the forum, as well as possibly putting a hold on being able to post until you have been with the group for a certain amount of time... possibly encouraging people to read and do their own research.

I know I for one didnt post anything for months after I joined, but I followed the forums daily and did a lot of reading during that time. 

Yeah I think that having to resync everything is one of those obstacles that these wanna be DIY-ers try to avoid at all costs anyhow. I believe that this markets to the "record directly onto the 5D crowd". Valid point about not being able to check the sound too. Its a very tricky job for us who can actually hear the results in real time. For those who can't, well, I'm sure that they will see little success.

BTW why is Rode trying to take jobs away from the people most likely to buy their more pricier products? I wouldn't want to sell out to amateurs who don't have money to spend on good gear in the first place, hence the one man shows and pro-sumer gear and such.

I doubt the mic was clipping, it sounds more like a gain structure problem. You want better audio, hire a sound guy.

Not so sure I would want to put my iPhone in someone else's pocket, and that scenario with the young couple getting married with the priest there, all three laved up... that means the videographer had three iPhones.

I honestly cant see too many people buying into this. Most people doing it all themselves probably already have a zoom or some other cheapo recorder, all they would need is a lav terminated to fit those specifications to do the same thing. That still doesnt teach them how to actually lav anyone up. Last time I checked, clients always want the lav hidden, even when its talking heads or some other situation where it would really be inconsequential.

But thats just me, what do you guys think?

Has anyone noticed that it looks like the camera guy is taking a drink out of the camera, or using it as some sort of bong?

My first pole was a k-tek. I was using it up until spring last year, when TSA broke it in half. I sent it into k-tek and they fixed it and shipped it back to me free of charge. The only reason why I dont use it is because I got production to buy me a new pole (graphite this time!), so I generally reach for that one. I also got a graphite k-tek traveller which I bring on the road with me now, and I already had a backup aluminum pole before the breakage, so now Im sitting happy with four k-tek poles! I also have an old VDB for some narrative work, but Ive never busted it out, just inherited it from a friend that passed away.

I have heard great things about loon poles, and many people swear by them, but I also hear that they are impossible to get ahold of and their support is basically non existent. If anyone would like to chime in on that, i would love to hear an update!

But back to my original pole, Ive used it in the desert hundreds of times, as well as in drizzling rain, and extreme cold. Never had an issue with it at all.

I had Ron take a look at mine and do the latest updates to it back in December before I went off on the road for a show I work on. It has performed amazingly with no issues. I do tape down the antenna power switch just in case, since I use passive entennae. So far the Multi SMA has survived three weeks of being on the road, working in sub zero conditions as well as extreme heat. I re embark for the final six weeks of the show on Saturday, Im hoping that all goes well. If something does happen, I have a backup system in place, but I am banking on not having to use it!

Honestly, with the kind of money we spend on gear because it comes from a trusted company that makes reliable equipment, I dont even know why Behringer would be a subject or topic on this forum unless it is the subject of ridicule. Everyone knows that they are cheap knockoffs of products from other companies (granted some of the newer things may be original designs), but I still wouldn't waste my money on an inferior product. I know I have a tendency to judge a studio or other audio related post if I see products of this caliber being used, I am sure Im not the only one.

I have one that Im willing to part with (however Im located in Los Angeles). It is basically brand new with very little use. PM me if interested.

I have more batteries than I need to I don't go through them as fast and increase their overall life span. If you're talking about them lasting longer during usage then I don't know.

Both are inferior in the eyes of Thor!

I recommend not buying sound equipment and hiring someone to run sound for you who has the gear. You'll get better results and they'll have better gear.

Awesome, thanks for the info. Relating personal experience with your opinion on your favorite mics are what makes opinions worth listening to in my opinion.

If anyone wants to weigh in on their favorite mics and the reasons why you like them over others, please do!

Best Regards,

old school, thank you for your input. if you read the thread earlier I mention that I am LOOKING for peoples PERSONAL choices, following up the Senators own grumblings. I am sure this subject has been discussed at some point, though I can only find posts about (short) shotguns, and since so many of you are full of experience I would naturally be interested in your OPINIONS.

That said, what do you like about your chosen favorite long shotguns? What puts them ahead of others?

Does the Sanken CS-3e and CMIT 5U really have that much more of a throw than your average short shotgun?

The signal to noise ratio is not very good - generally you get what you pay for!...........oh no!

Oh Snap!

Thanks for the info guys. My main purpose for having it would be for outdoors when camera wants to do a wide and a "tight", and of course for SFX gathering. On a lot of the shows I work on distance is everything, often because there are explosions, and often because there is a lot of first person shooter type stuff happening. I find that generally a 416 is inadequate for many of those situations. I had a chance to play with an 8070 one time, but it was inside during a stage performance. Me and another cat both had 8070s on pistol grips and we were picking off performers from the crowd, which worked pretty well but I never did get to try it outdoors. I would also like to try it against other mics.

Any more opinions would be great. I am leaning toward getting a CS-3e in the near future, just wonder if it will be enough for some of the distant field recording I do.

Senator: I understand that each person's opinion is their own, that is why I asked for their opinions

Just looking to see what everyone's favorite long shotgun mic is. Specifically looking at:

Sound Quality

Throw

Weight

Price

Other Pro's and Con's

I see a lot of people selling mkh70s and am curious why that is? I do a ton of outdoors stuff and a long shotgun would be a more suitable mic than the 416 that Ive been using, but if these mkh70s are so undesirable (I only say that because I see them for sale so often) then what are my alternatives?

Obviously renting a bunch and trying them out is going to be the ultimate factor, but I am interested in getting some of your opinions. Thanks!

Might I add that Audio Department in Burbank has a number of great little mounts for top address mics like cos-11s and B6s. I went ahead and purchased all of them to bring with me on the road, where the two female talent insist on wearing "problem" jackets such as windbreakers. Ive asked them to both wear something less noisy. If they dont this season then I may be wiring up their beanies or putting barrettes in their hair, lol!

I do a show where there are a lot of gopros and non tc cameras involved. When the camera techs set them up they show the camera their iPhone (or the denecke tc app that I suggested) and call out the time. This has saved many many hours of money flying out the window via post. We dont bother with trying to put any audio into the cameras other than their on board mics because its really more of a waste of time for something we wont be using anyway.

I generally default to the rule that if we arent using a real camera with time code than I wont try to feed it into the camera as audio. It is merely an option production loses when they decide to use consumer cameras instead of professional ones.

I recently had to record audio for a play that involved at least 30 people. The first time I did this we wired everyone (the location supplied the lavs) and we used some plant mics, and one person sitting front center with an mkh8070 in a pistol grip. All of this was running into a 24 channel board and direct outs into a hard disk recorder. This made for way too many tracks and inconsistent sound. This last time we hung mics, used plant mics, and had two people in front with mkh8070 mics. the coverage was pretty good and sounded more consistent, and we had a total of 12 tracks of audio that time. I think that it made for a more fluid mix. But in both of these scenarios we had a "better than low" budget to work with.

Peter, If you ever need to pass any work off to someone...

mkh50

two 12' k-tek boom poles (one aluminum, one graphite)

one k-tek graphite traveler pole

denecke smart slate

mac pro

UAD apollo quad

4x SSL mic pres

API lunchbox w/ 1 Vintech 573 and 1 API 527

I have some 211s that Im using with SMQVs. I think it sounds great and works fine. When dealing with extreme range and things of that nature, the SMQV starts breaking up just slightly before a um200c, but for most people's work I would assume that this is not an issue. I do recommend the SMQV upgrade, and then you can eventually move to different receivers as Larry suggests. Your 211s still will fetch a faire price right now, but depending on what Larry has in the pipeline, that may not last.

Turns out the TC out is faulty. Pro-Sound is taking care of him. Thanks Glen!

This is pretty much how Ive been doing it for years. I will say that you do need a pad in line with the output of the MM1 to the Tx if you want to avoid overload. Setting the Tx and putting the right amount of gain on the MM1 is tricky business. I recently used this setup with the following specs:

MM1 set to one click, with headphone amp all the way up. It wasnt a loud signal, but a workable one for the HPs. It went out to an SMQV set to 0 gain, which was received by an UCR411a. The Rx was by default set at -20dB, and the signal was still pretty hot, so it had to be turned down. This was without a pad in line between the MM1 and the SMQV.

There was a faire amount of whispering to yelling, and we never clipped, but it certainly made me nervous about the whole thing, and I didnt like putting such a weak signal into the SMQV, but any more and it would have clipped pretty easily I would think.

Surprisingly, going into a G3 Tx turned down to about -45 or so does a pretty good job, but of course you have issues like limited dynamic range, and well, range... but it is a good starter system for a wireless boom kit for the indie folks. I havnt had any luck using a UM series Lectro Tx. Even when turned all the way down the signal comes in distorted, so this is why I think having a pad would be of key importance.

I'd be interested to know about other people's experiences and solutions.