James Lopez

Even though less known around here, i have to give thumbs up for the Audix SCX-1HC. Ive been more than satisfied with its performance those 6 months ive been using it, almost exclusively for indoors interviews. It gives me a very natural and articulate sound, very little sibilance (and only in specific voices) that usually requires very little work in post. I am very happy with this purchase and i think that it worths trying it out, even though it hasnt been praised as much as others in its category.

Have only used it with senn G3's and XLR. Even though i was a bit skeptical about the connections they proved to be quite solid (interviewer standing up and walking while the lav runs tethered..). Sound wise i find them quite satisfactory and, while they lack a bit of highs, they give me a well rounded tone which sounds pretty natural to my ears (and spares me some time in post). Never tried them below clothes. Also, lav comes with a very nice, rugged (and maybe waterproof?) travel case.

Hi Jesper, thanks for the info. Ive read great things about the D50 but its price (more than double M10's in Europe) is out of my reach. The recorder is primary going to be used with external mics and the 302, so line quality is more important than built-in mics/pre. In taperssection.com there seems to be a lot of praising for the M10, and claims that its the best in its price range (considering features as well). I'm currently looking for information on how the M10 compares to other recorders mentioned here (dr40, PMD620).

Just when i was checking on my budget for a stereo field recorder.. What a welcome coincidence Since im not planning to connect external mics directly to the recorder (will be using my 302's pres) XLR inputs is not so much of an issue, so id be concentrated in quality more than anything else. I would however appreciate relatively good built-in mics since im also planning to use it for ambience/landscapes recordings until a stereo mic solution becomes viable (for use w the 302). The M10 seems like a great option, but im a bit skeptical because of the omni mics used.. Theoretically (havent heard any recording out of it) id think that an omni configuration can affect stereo imaging quite a bit. I wonder how would the M10 compare to the Tascam dr-07mkII in terms of recording quality - built-in mics.. Anyways, thanx for all the opinions people, once again very helpful EDIT: While the reply window was open for a couple of hours, there has been a mention on the omni mic configuration issue.. have to refresh more often i guess

Hello, A few months ago I started a thread here asking for information about gear, mostly about a new hyper mic. I received many and v helpful answers and advice which, together with some research mainly here, greatly helped me in buying the equipment i needed, even though some of them weren't on my list in the beginning. The microphone i chose was the Audix SCX1-HC, on which i found few comments and no sound samples, but since i always appreciated the brand i went for it. I have to admit that i am very satisfied with it. After completing 3 projects (feature length doc and 2 corporate videos) i can safely say that, imho, the mic has a very natural sound, with good detail, low sibilance, suitable both for male and female voices (amazing on acoustic guitar recordings too ). I am planning to make some test samples, when time permits it and share it here, so you can have a 'taste'. After many comments i decided to blow away my budget and went for an SD302.. and what a great buy was that! Sound quality aside (surely not much to comment here) i am truly amazed on how thoughtfully this device has been designed, allowing a fluid workflow and accounting for everything one would need at work. The booming pole also proved to be a great purchase, talking about the Ambient QX580, a very lightweight carbon fibre pole (bought on a great deal) with a stellar locking system. So, reason for writing this is to thank everybody that participated in my thread and also all that comment on equipment and general queries here, your help to new professionals on the field and me in specific is greatly appreciated. All the best

Thanks for your input guys, I am really struggling to make ends meet after ending up almost doubling my initial budget so i had to go for the aluminum k-tek. Having a few charging issues with dvestore ebay store, they charged me for both the k-tek pole and the boom boy already (my bank account says so) but they totally messed up with the invoices. I tried to pay at least 4 times, w paypal or direct credit card and i was receiving 'this credit card cannot be used' and 'paypal is currently unavailable' messages. I have only received an invoice for the pole (no mention of the boom boy) with a 'pay now' button, but dvestore had already charged me the full amount even though i was getting a 'cannot use this credit card' message. A total mess.. I sent them a pretty angry email, lets hope they sort their s**t out. Anyways, thanks for the advice PS. I did mean the 'thanks for the advice' to the Senator, no irony there

That is good to know, thanks for the input Senator, v helpful indeed.

Hi Senator, I never said i had/wanted to choose between the 2. I merely mentioned the carbon fibre model as a comparison to state the weight/price difference. I was asking people (if any around) that have used the aluminum model for an opinion: if they find it too heavy and/or other info i should know about. But yes, its most possible that i buy it eventually. In this price range there's also the rycotes, but they are a bit too short (250cm comparing to 280cm of the k-tek). Not too much of a difference, but for my next project i'll have to have the boom pole mounted on a c-stand (yep, looking for a boom buddy as well) at a minimum of 2,5 meters distance from the subject.

Hi there, thanks for the advice. I'm doing docu & interviews work and my budget would be around 250-280 euros max (shipping included). I found the KE-110CCR on dvestore's ebay store with 223 euros (shipping included, unaware of whether extra costs would be applied, hopefully not) which i think is a great price. From the same store, the KEG-100CCR costs 397 euros, which unfortunately is too much for me atm (already went beyond my equipment budget.. twice!).

Hello all On my search for a new boom pole, i have come across more than a few positive reviews on K-Tek poles, here and elsewhere. I think though, that most (with the exception of one) people refer to either the Klassik or the Avalon carbon fibre series. I was interested in the KE-110CCR model, aluminum made, which roughly compares to the carbon fibre KEG-100CCR, material being the major difference. The KE-110CCR weights 822g (221g heavier than the KEG-100CCR) which is a substantial difference. According to K-Tek all other components are the same. I'd like to ask those that have used/own the KE-110CCR (if there are any around) of their opinion about this pole and if its weight would be a major drawback. My former experience was with the Rode Boom as well as a couple of 'no-brand' booms lended to me, meaning that i haven't really been on the light side of things until now. Thanks in advance for any advice.

The web is filled with discussions over this, one could read much in sites like head-fi.org. One can even find mini apps for pc's that generate a mix of pink/white noise and sine sweeps with 'rest time' intervals etc. The fact remains that, even if it is true that headphones require burn-in, there's practically no difference between 'forcing' this result using the aforementioned solutions and simply using the headphones on different applications (monitoring, music), apart from the time consumed.

@Winter You mention in another thread that you own an Audix and i think you are referring to the SCX1-HC? Is that so? If yes, could you share a few words regarding this mic? I'm deciding between this and the KM185, but apart from a few mentions i found about it, there's not much more around, so i could use some 1st hand opinion. Thanks

Wow, nice to hear so man. Thanks for the rental suggestions, ill sure will pay them a visit (they are not the place i rent stuff from). Ill try to get hold of and test any of the candidates formentioned, a rental-purchase combination (buy the hyper, rent a lav) will do the job i think. Thanx for the advice man, much appreciated. :-)

I am in Barcelona atm and yes there are a few rental houses around. Recapping.. Ditch the zoom (and maybe the duet as well), rent a mixer to go directly into the cam, with either 2 lavs wired (or wireless if i can afford renting the wireless system) or a single hyper. I think that maybe i can squeeze all in. The dilemma between lavs or hyper remains, but this has got a lot to do with the particular location and the script i guess. Any opinion on the hypers i mentioned in the 1st post? Thanx for all the advice people, really helpful.

I note the unanimity on this :-) Still, even the mix-preD comes to around 890 Euros (you'd be amazed to see how in audio products, euro-dollar exchange rate 'transforms' to 1:1..), meaning that i would have to rent mics since thats about all my budget. I could possibly fit in something cheaper, but maybe it would be better to wait until i can afford an SD mixer/recorder.

The camera does audio but not 24bit so I loose some headroom. A mixer's better preamps and limiter would definetely add to the sound though. I liked the sound of the rode lav in a shootout on vimeo, but also the at899, both affordable. Still not sure if i should go for a hyper or lav(s).

Thanx for the advice, much appreciated. I agree that mixer/recorder are basic blocks in my equipment and cant be replaced by neither the zoom or the duet. Unfortunately, my budget is very tight atm and im still lacking 1 or 2 mics, depending on the type. I probably wouldnt be able to afford a fostex or sd, even if i rented the mics. Sound blankets would definetely help, Ill try to get hold of some. Thanks again.

Hello Senator, thanks for replying I think i have clearly explained my lack of experience on the field and did so because i didn't want to sound know-it-all in any way. And i haven't answered any of my questions, since, even after reading as much as i could before starting this thread, I don't have the experience to assess and validate the info, nor i believe what i read as much as i do what i hear. Hence the need for advice from those that do know. It seems that I have not managed to search this forum sufficiently though, back to the search engine I go.. Thanks again EDIT: Didn't want to sound bad or insulting, sorry if sounded that way

Hi Winter, thanx for the reply I agree that the Zoom preamps are noisy and they also have a plasticky sound that I'm not fond of in any way. I might be able to do without them though, since theres a big possibility that i might use the Duet's pre's instead (very clean, very transparent, 75dB gain) - not always though. On the other hand, i remember reading somewhere (not sure if it was here at jwsound) that the AT4053b is a bit noisy itself. I cannot verify that, nor i can safely say that the person that noted it didnt have issues on some other element in the recording chain that may have caused it. Opinions about the km185 here make me doubt even more.. Regarding the Blimp, i was actually thinking of buying the Rycote Invision (that would be inv-7?) which is very affordable and I've read great things about it. Even though i need to search/listen more, at a medium price level, i liked the audio-tecnica at899 as well as the rode lavalier. Their price would permit me to buy 2, if used cabled. To be honest, i have never been a great fan of wireless systems. Not sure if its just me, but i think that the same mic would give better results cabled than it would wireless, considering the wireless system i could afford in the near future.

Hello everybody Firstly I'd like to thank, independently of the possible discussion/suggestions related to this thread, all of the professionals that have shared their valuable knowledge on this forum. I can assure you that after reading many related threads in image/video-based forums, i am truly glad to come across a sound-oriented forum such as this one, with tons of useful information. I also have to mention that I have already more than a few threads related to this issue here at jwsound and I'm familiar with the opinion of many on the subject. A bit about myself.. Up until a couple of years ago, i have mostly worked in music production, specifically OST's on documentaries and short feature films, as well as live sound engineering for a variety of music styles (from east european traditional music to teenage punk groups). Both my academic and professional background has always been related to sound/music and i could safely say that i understand audio fundamentals related to sound transmission, acoustics etc. Mainly due to my personal interest on the subject, I have decided to take a rather steep turn in my career and get involved into broadcast/media sound production, as a boom operator/recordist. I have by now worked in 3 small/medium feature documentaries with decent results, especially considering the quality of the equipment used. Said that, i am perfectly aware of how both technique/quality gear can have a huge impact on the end product and i am doing my best to get both on the highest level possible :-) Onto the subject of discussion then.. In the next few weeks, me and my team (sound, camera, script/production) will be starting the production of a small series of corporate videos. They will be interview-based, with the interviews talking place mostly (and possibly always) in the interiors of a corporate building, namely offices, meeting rooms, laboratories. Even though some of these spaces seem to have some kind of acoustic treatment and therefore less than horrid acoustics, i will have to confront much less than ideal conditions in others. Ceiling A/C's will be there, and even though they are quite silent, they are not dead silent by any way. Larger, echoey rooms will also possibly be there as well as some medical laboratories (not very noisy but again, definitely not silent). Since most interviews will be static, I have chosen to use my DAW (MBP-Apogee Duet) since i trust both the duet's stellar converters as well as its transparent preamps. Unfortunately, this is not the case if the set doesn't allow me to be tethered, where i shall be using an H4n instead, with all that comes with it. It appears that for the amount of sessions needed in this project, renting material is not the most economical option and, due to the lack of a wide variety of microphones available from my 'usual suspect', it doesn't even give me a solid chance to 'try before buy' either. To be exact, there aren't any broadcast sound oriented stores in my area, which leaves few if not no chances to try out the equipment and decide if i want to keep it. Hence, i have come across the so-much-talked issue of an interior mic solution. My budget lies at around 650 euros, not including the cabled k-tec pole which is already accounted for (in case the lav solution is discarded of course). I will also be using the 'interiors' of the rode blimp, which have worked decently in the past. Im sure that people here are familiar with that price point and where it gets you.. Before i start naming (my) candidates, id have to chose between the basic solutions, hyper or lav. In case i go with the lav, theres the advantage of 'assured' healthy input due to the placement's close distance, regardless of the wideness of the shot (which is not determined at this time unfortunately), which will help both for the noise/acoustics. Important downsides may be the fact that the person interviewed has to be tethered (no budget for a wireless system) and also the impossibillity of recording 2 people simultaneously (sited next to each other), even though its not certain that this will happen. In case i choose to go for a hyper, i ASSUME that due to its diagram's real lobe i might have higher A/C noise and if the camera wants to go for a wider shot, i may end up moving dangerously far away from the subject (even though hopefully this will never be the case). It does however give me more control, being able to move freely or between 2 subjects. I understand that with said budget, i could buy 2 lavs which could be used cabled, hence being able to record more than one person (always tethered though). So, here comes that list... Not being able to check out none of these myself, after (really really really) extensive reading and little listening (not too many sound tests out there), I've narrowed my options to: a) audio-tecnica AT4053b Audix scx1-hc c) neumann km185. Im still searching/reviewing info regarding lavs, and haven't made my mind on which exactly the candidates would be. Chad Johnson and Dan Brockett have published some very interesting shootouts and both have been my primary audible source of information (Considering the specific acoustics/subject/equipment nature of the tests as well as compression issues of course). Chad Johnson has also done some tests on the AT4053b, which i found to have a full body sound that i really liked, even though maybe slightly dark (not in favor of overly bright mics though). Many have commented in favor of the Audix too, but i have failed to find any sound test/sample to get some idea on how it sounds. I have used the scx1 for viola recording and it sounded great, but of course this means nothing in this case. Some here at jwsound have expressed favorable opinions for the km185 and mentioned that in the latest revision neumann has worked on the RF shielding of the mic, very welcome addition indeed. If i was asked what I'm looking for in a hyper.. well, i guess what most would ask for. Smooth, natural response, sensitivity, robustness, no severe off-axis coloration, not too much handling noise if possible. This doesn't mean that i expect everything in this purchase, just pointing out. On the lav side of the matter, i admittedly lack knowledge even though i try to inform to the extend that one can do this by reading reviews and listening to some tests. I suppose that, having explained the project's nature, any suggestion given would be a great plus. I fully understand that simply jumping in and asking the 'which is the best mic for this' question is not the appropriate attitude, especially given the professional background of users here, so I have tried to be as specific as possible, without this meaning that i expect any kind of special treatment. Just thought it would be a nice way to introduce myself in this community.. Thanks for reading this and for any specific or general suggestions/recommendations that may follow.