fmurdoch

Yes, I mean a straight internal cable. I'm looking for any techniques others use to manage the excess slack when it isn't extended to full length. Mostly wondering what the best way to hold the cable would be. I've resorted to wrapping it around my arm, or holding it coiled in my back hand and trying to avoid rubbing. That design is super impressive! Never would have thought of that. I can definitely see how that helps with one-man band stuff.

Hey everyone, was wondering if anyone has any strategies or go-to ways to deal with the excess cable of a flow-thru XLR. I'm loving working with it, and the flow-thru mitigates a lot of the internal handling noise, but I have yet to find a convenient way to handle the excess slack. I've instead been using my smaller external boom pole for shots that would create more flow-thru cable slack, but it would be nice to have a method to manage it if I don't have time for a boom pole change or I'm running with a smaller kit.

I've been using a rode boompole pro for a couple of years now, and it's been fine for the low-no budget student short films I've been working on, but now I'm getting boom-op gigs and I don't think it'll really cut it anymore. Ideally, I'm looking for something that's internally cabled (coiled) with a side exit xlr, and not 6 sections. Considering the rode pole reaches 10' max, would it make sense to invest in a longer pole to start, then upgrade from the rode one to a nicer short pole down the line? Or would it be better to shoot down the middle for a 4m pole? Budget isn't too much of a factor, I want to get something that will last. I've heard good things about ambient, vdb, panamic, all of them really, and it's tough to sort through the noise. I want to get a sense of what I should be looking at, then I'll go test them in person. Thanks!

I think this is the next step for me, I'm going to a mixer next month to try and meet more folks in the industry. What ways would you suggest reaching out? Aside from organized events is cold dming worth it? I think I'm going with the 416, I'll verify to make sure the one I get is real of course. I like the idea of using it as a primary mic now and still being able to pivot to it if the environment requires it later. It seems like it will always retain some usefulness. Thank you all for the advice.

mostly narrative and shorts at the moment, but I get some corporate work as well. I'm feeding into an F8n. I've found a 416 for $550 nearby me and I feel like that might be the best cost-effective option. It seems like everybody has a 416 at least as a backup in their kit, so I imagine I could hold onto it for a long time even if it is replaced as my primary choice eventually. https://www.youtube.com/watch?v=Pge0Ah4fmWY I watched a few of these to get an idea of how they sound and I was pleasantly surprised with how well the 416 held up with much more expensive options. I loved how the CMIT 5 sounded; maybe that's my long term goal. Definitely need an upgrade at boom before then too.

Hey everyone, Relatively new to the sound scene, and I still have the shotgun mic I bought when I was just starting out: a RODE NTG4. I recently invested in an AT4053b that I found for a good deal, and it's been great filling in for most purposes, but for outdoor shooting sometimes both options feel like they miss the mark. I'm wondering what the logical next step would be for an upgrade to the NTG4. It seems like the 416 has a reliable reputation, but does it make more sense to invest in a slightly higher end option like the 8060? I could also sell my NTG4 and get an NTG3 for almost nothing. I'm still a student, so I can't realistically afford anything in the range of a DPA 4017, but I feel like the NTG4 doesn't really achieve the quality I want even for the smaller scale productions. Thanks for any and all advice! Finn