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start up gear for field recording

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5 hours ago, IronFilm said:

the v2.0 of the Rode Blimp is much better than the first, thanks partially to using Rycote shock mount instead

 

 

Indeed. They also made it lighter. 


Surprisingly Rode's website claims that the Blimp Extension is not compatible with the mk2, while the box shows the Extension as one of the available accessories. And it indeed works, I've got an mk2 and an extension.

 

5 hours ago, IronFilm said:


Anyway, this Marantz blimp looks very similar to the Rode Blimp v1.0 and is going for an extremely low price, worth a look if you're on a very tight budget:

https://www.bhphotovideo.com/c/product/1302687-REG/marantz_professional_zp_1_blimp_style_microphone_windscreen.html

 

 

I was a bit puzzled when I saw that sudden flood of Marantz producfs. I guess that the brand has become something like Telefunken. Most of those products seem like Chinese OEM stuff. And probably Rode started offering the original Blimp by branding a white box product, only to release a new version by keeping the basket

parts but manufacturing their own suspension with the Rycote Lyres.

 

Who knows.

 

 

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10 hours ago, borjam said:

I was a bit puzzled when I saw that sudden flood of Marantz producfs. I guess that the brand has become something like Telefunken. Most of those products seem like Chinese OEM stuff. 

 

They're unique products Marantz has which nobody else has exactly, such as their 6 channel recorder and wireless. 

 

I suspect what has happened is Marantz has woken up to the fact that the indie / prosumer filmmaker is a pretty decent sized market for a niche manufacturer like themselves to target, thus they're bringing out a series of products tailored towards them. 

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2 hours ago, IronFilm said:

 

They're unique products Marantz has which nobody else has exactly, such as their 6 channel recorder and wireless. 

 

I suspect what has happened is Marantz has woken up to the fact that the indie / prosumer filmmaker is a pretty decent sized market for a niche manufacturer like themselves to target, thus they're bringing out a series of products tailored towards them. 

 

No, I don’t mean the recorders. I mean the microphones, zeppelin, etc.

 

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Yes that too, plus their boom pole etc... it indicates that shift I suspect due to them wanting to target a new market of  indie / prosumer filmmakers

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I am not sure if the OP cares about a solution such this, but I use an AT4025 stereo mic with a Rycote BBG and windjammer.

 

I went for this solution for portability and quality, and I believe it to perform greater than its price suggest. 

 

I use it with a DR100mkII and it is just a very small and light combo. 

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13 hours ago, Kisaha said:

I am not sure if the OP cares about a solution such this, but I use an AT4025 stereo mic with a Rycote BBG and windjammer.

 

I went for this solution for portability and quality, and I believe it to perform greater than its price suggest. 

 

I use it with a DR100mkII and it is just a very small and light combo. 

 

Kisaha, I also picked up an AT 4025 'predecessor' several years back, the AT822 (and my friend had the similar balanced 825). I agree, a lot of mic for the money, especially when it came out. The mic has been on 'perpetual loan' to a friend who has both been my assistant and my employer for a long time now (much like my borrowed ECM50 for Siberia) and the BBG has sat pristine in the cupboard since!

 

I did recommend the 822 to a director I was working with 15 years back (who was into his sound, music and art) when he wanted a simple 'old fashioned point and shoot' mic to collect sound and still think them a good solution and mic.

 

I do though very much advocate people using twin cardioids with a stereo bar and getting to experience recording angles rather than adhering religiously to a fixed technique such as XY or ORTF: so often something slightly 'off' might be perfect and likewise often something not 'perfectly aligned' might actually be as good or better for the situation. (AT - good reliable mic though).

 

14 hours ago, IronFilm said:

Yes that too, plus their boom pole etc... it indicates that shift I suspect due to them wanting to target a new market of  indie / prosumer filmmakers

 

Having recently, after noticing it at release several years back, picked up the Rode Micro Boom Pole Pro ( the 3 section thin fixed carbon fibre one) I'm actually quite delighted with it - it's not a boom in our traditional sense in that it doesn't extend or contract (so it definitely doesn't meet all demands or replace the norm) - but it is light, well made, great as a 'stick' for fx, adaptable as a tripod extension, etc. Now I've finally tried it I intend to pick up another one or two for minimalist tripod constructions and lightweight travel use.

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@The Immoral Mr Teas sorry but I am not familiar with those older mics, as I see it, they are the predecessors of this newer series!

 

The other similar AT microphone is the cheaper 8022, but in my opinion the 4025 worths its money difference as it is something different than the usual small diaphragm capsules that we most use for stereo techniques.

 

Very interesting propositions about the Micro Boom Pole, I have the Micro for a small and easy to carry design, and the Pro, which is a disappointment really, they took the good ol' Rycote design and they screwed it big time!

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Update:

I bought a Mixpre 6 (b stock actually) - so far so good.

I did spend some time listening to high quality samples of Mixpre vs. Zoom F8 and the Mixpre suited my ears best.

 

haven´t decided on mics yet, would like to try before buy

 

thanks so far

 

BR

Søren

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I have narrowed my list down to the following mics, based on no high end budget, advice (from here, Gearslutz, , Creativefieldrecording.com, pro engineers I know in person and knowledge re. brands), listening and reading on the net.

Nobody around here have these mics for sale or for rent.

Two thing seems too be worth considering re. outdoor use, and more distant recording:

- How a microphone handles humidity and temperature fluctuations

- Mic´s without a HF lift seems to get dull with distant/ambience recording - a user (Gearslutz) pointed that out, and I guess (but don´t know if) he has a pointe.

 

Line audio cm1 and OM1: I guess, I will not buy these for outdoor, distant and very quiet recordings. I really like what i hear though, and would buy if/when i need to record indoor, not too distant.

Lewitt LCT 540 S: Fascinated by the spec. (low noise) and the the blog post on their website re. use for fieldrecording. 

Se Electronics Se8: A friend (pro engineer for 35+ years) recommended these, considered a clone of Neumann Km184. It is new on the market and there is so far no user experience re. field recording.

Audio Technica: Either AT 4022 or At 4021: I have good hands on experience with other AT mics, a lot of use in field recording Pro community. But no matched pairs?

Røde NT55: A lot of use and positive feedback from the Field recording pro community. Certainly has the HF lift

 

Comments are welcome

 

BR

Søren Bendixen

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