DCWester Posted July 8, 2012 Report Share Posted July 8, 2012 In my relatively few years of mixing reality TV (please don't judge me solely on that), I have mostly been using the equipment (mixer, recorder, lav, boom, etc) that the production company has rented for the shoot. My question is primarily about microphones. Usually it's been Sanken COS-11, Sonotrim/Tram, and MKH-416 in my kit, and if I've been a good boy Santa may sneak a B6 into the package. Recently, I have found myself more frequently shooting on loud busy city streets and being less than thrilled with the amount background noise. I have also seen a large number of shows (i.e. Apprentice, Bachelor...) shooting on NYC sidewalks with traffic direclty in the background and the noise level is significantly less. Can anyone suggest or recommend different lavs or booms that I can use to increase the quality of my recordings in these situations? I'd love to add some new weapons to my audio arsenal, even if I have to buy them myself just to have on hand for these instances. Quote Link to comment Share on other sites More sharing options...
Jon Gilbert Posted July 8, 2012 Report Share Posted July 8, 2012 Work on your placement, no mic is a magic bullet, any of the mics you mention are capable of giving you first class results in noisy environments, assuming you stick 'em in the right place! Having said that, the Sanken CS3e is hard to beat in noisy locations. Quote Link to comment Share on other sites More sharing options...
geordi Posted July 8, 2012 Report Share Posted July 8, 2012 +1 for the Sanken CS3e. Want to know the abilities of rejection it has? Visit my website, watch the demo reel I have on there. The scene with the two guys on opposite sides of a glass door (business type and security guard) was shot with the cs3 outdoors. That is raw production sound. Sounds good right? Why feature it? Because there was a jackhammer in use 1/2 of a block over that guy's shoulder. Yea. You can't hear it at all. Quote Link to comment Share on other sites More sharing options...
DCWester Posted July 9, 2012 Author Report Share Posted July 9, 2012 Because there was a jackhammer in use 1/2 of a block over that guy's shoulder. Yea. You can't hear it at all. Impressive. Think I'll look into renting one for my next shoot. Quote Link to comment Share on other sites More sharing options...
Michael Miramontes Posted July 9, 2012 Report Share Posted July 9, 2012 I've always heard the cs3e is the best for noisy environments. I think I'm going to end up trying one out also since a lot of my commercial gigs end up on busy streets. Quote Link to comment Share on other sites More sharing options...
Jesse Flaitz Posted July 9, 2012 Report Share Posted July 9, 2012 I can tell you my experience recording on 3rd Ave. in Manhattan with a 416, I had about a 4dB range of dialogue over BG noise, I'd definitely like to see how the SC3e would have done in the same situation. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted July 9, 2012 Report Share Posted July 9, 2012 In situations where a long boom won't work (like an MKH70 or the venerable MKH816), then I might consider a directional lav, like the Countryman B2. These can work well provided 1) the participants don't turn their heads, and 2) you can mount the lav on the outside of their shirts or jackets. There's also the possibility of reducing background noise somewhat with post processing like iZotope RX, which has been discussed elsewhere. I agree with Jesse above: there's not a whole lot you can do when you're on a street so noisy, you practically have a noise-to-signal ratio, rather than vice-versa. Quote Link to comment Share on other sites More sharing options...
DCWester Posted July 9, 2012 Author Report Share Posted July 9, 2012 I agree with Jesse above: there's not a whole lot you can do when you're on a street so noisy, you practically have a noise-to-signal ratio, rather than vice-versa. Very True. Quote Link to comment Share on other sites More sharing options...
geordi Posted July 9, 2012 Report Share Posted July 9, 2012 I don't know how the CS3e would fair on the midtown streets of Manhattan, and I would very much like to know your thoughts after you give it a try! With that jackhammer, I was somewhat lucky in that this was on a Sunday morning (so why was a utility crew eating the street?) and there wasn't really anything else happening outside. That hammer was basically a point source, about 600 feet or so down a 1-lane-with-parallel-parking roadway, but a solid marble building on one side and almost all glass on the other... Reflection city. The massive amount of visible reflections from the glass doors also made the boom placement locked into a knee-level spot... and nothing else. The only thing that I think saved me on that shot (and worked a damn miracle) was the rejection from 90 degree off axis that the CS3 rocks at. Since it was pointed straight up, there was virtually no way the hammer could be sending anything into that mic. I also have a great distance recording of several squads of Marine recruits and their drill instructors marching to lunch... I wasn't able to get close to them, about 100 feet away or so. I also was glad to be that far away... These guys are damn scary intense! Much respect for our Marines. Here is a sample, I'd love to know your thoughts Marc... If you had need of something like this, what would you think would need to be done with it? https://dl.dropbox.com/u/5447172/1POS_T11-TRIM.wav Some have said that the self-noise of the CS3e is bad, and I will say that I used it for some talking-head interviews where I thought I had more to be concerned with, I thought I was hearing a lot of noise... But then I did a comparison with the other 2 shotguns that I have available to me (ok, MUCH cheaper mics) the AT 835b and the Rode NTG-1. I set up all three pointed at a very low volume looping source, and boosted the hell out of it in my 442... And they all sounded about equal on the noise floor to me. The talking head interviews came out fine. Plenty of signal to noise. (I like that noise-to-signal comment above, I might have to steal that) Quote Link to comment Share on other sites More sharing options...
Steve Joachim Posted July 9, 2012 Report Share Posted July 9, 2012 The DPA 4017 has best off-axis rejection I have ever heard. Pricey. But outstanding in a noisy environment. Around $2,000.00. http://www.dpamicrophones.com/en/products.aspx?c=Item&category=234&item=24391 SJ Quote Link to comment Share on other sites More sharing options...
Olle Sjostrom Posted July 9, 2012 Report Share Posted July 9, 2012 I too can vouch for the DPA. It's a gorgeous mic. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 9, 2012 Report Share Posted July 9, 2012 " and the noise level is significantly less. " post-production, perhaps ?? Quote Link to comment Share on other sites More sharing options...
nysounds Posted July 9, 2012 Report Share Posted July 9, 2012 I've been using the CS-2 and getting some really good results. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 9, 2012 Report Share Posted July 9, 2012 416, CS-2, CS3e, DPA 4017 aka "usual suspects" in this situation Quote Link to comment Share on other sites More sharing options...
DCWester Posted July 9, 2012 Author Report Share Posted July 9, 2012 Thanks everyone! Much field testing needs to be done! Quote Link to comment Share on other sites More sharing options...
jacefivesound Posted July 9, 2012 Report Share Posted July 9, 2012 I'd vote for the CS3-E. I would also vote for you not buying something to use for producers who provide you gear and don't care about sound. If they aren't paying for a rental, and the gear they give you isn't cutting the mustard, that's their problem. At least that's how I feel after 4 years or getting severely under paid by them :-) Hope you're well Dave! Quote Link to comment Share on other sites More sharing options...
DCWester Posted July 9, 2012 Author Report Share Posted July 9, 2012 I would also vote for you not buying something to use for producers who provide you gear and don't care about sound. If they aren't paying for a rental, and the gear they give you isn't cutting the mustard, that's their problem.<br> I'd say that's just an example of me doing whatever it takes to leave set pleased with my work, while not being the typical "always complaining audio guy." That being said, I took a trip to Loc Sound today and checked out the CS3-E, sounded solid. Borrowed a friend's 8060 once and it sounded premium! Again, much field testing needs to be done. I'm doing well, thanks Jason. Quote Link to comment Share on other sites More sharing options...
jacefivesound Posted July 10, 2012 Report Share Posted July 10, 2012 I wasn't really fair in my previous post, as I don't know your specific situation, but I do know you to be a fantastic mixer. I know you always go the extra mile. I just get apprehensive about giving something so expensive away for free. I've used gear when not being paid for it (used to swap my mkh 60 for ME66s that I often got in pre built kits), and it's not fun if it gets damaged, plus the perpetual natural wear and tear... If it's possible, borrow or rent the mic and do a field test on a shoot with the rough conditions. If they're happy with the results then negotiate at least some money to make your investment worth your while, and always get your gear on the company's insurance with some paperwork to show it! Now I've pulled this way too far off topic anyway. You'll be amazed at the light weight and directionality of the CS3-e. Hope you're able to get some surfing in this summer. Quote Link to comment Share on other sites More sharing options...
.png.279748a58a2b862b7aa5f3b84126e232.png)
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.