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Zoom F6 (a 32bit recorder!)

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39 minutes ago, Mike Westgate said:

Large condenser mikes used for music are usually close to a loud sound source.

 

Electret personal mikes are usually close to to a person's mouth.

 

It depends on the application. 

 

Of course, in music applications microphones are usually close to a loud source. Except, for example, when recording an orchestra with distant miking techniques. In that case microphone self noise matters.

 

And for applications in which microphone self noise is a limiting factor like some fx recordings, foley, or soundscapes, it matters. That's why the Rode NT-1A is popular for such kind of applications.  

 

39 minutes ago, Mike Westgate said:

The noise problem is usually not equipment based but location caused!

 


I would rather say than the limiting noise problem is application *and* location based. For many applications equipment self noise doesn't matter. But for others it can be really noticeable. 

 

For example, at the jazz club I can't even think about self noise. My real concern is the bleed of a drum kit 60 cm away from a piano 😓 and a double bass with the microphone right below a cymbal. I must even engage the attenuators on the microphones.

 

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In recording nature it's definitely the recording chains' noise that creates the problem. Last time I went out I had to immediately ditch the 418 I was using in favor of an unwieldy MS rig consisting of an MKH 30 and 60 because the hiss was overwhelming in relation to the wind, water, insects, etc.

In post  we still use a lot of the old Hollywood edge SFX library and those recordings are full of system noise (mics, pre amps, recorders, tape, etc), sometimes the noise is within 10dB or less of the sounds they were going after. The location didn't contribute anything, it's the application and how it relates to your systems' S/N ratio

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3 hours ago, Werner Althaus said:

In recording nature it's definitely the recording chains' noise that creates the problem. Last time I went out I had to immediately ditch the 418 I was using in favor of an unwieldy MS rig consisting of an MKH 30 and 60 because the hiss was overwhelming in relation to the wind, water, insects, etc.

In post  we still use a lot of the old Hollywood edge SFX library and those recordings are full of system noise (mics, pre amps, recorders, tape, etc), sometimes the noise is within 10dB or less of the sounds they were going after. The location didn't contribute anything, it's the application and how it relates to your systems' S/N ratio

 

Yeah Werner, for 'distant / ambient' nature or atmos recording a super-low noise mic is the choice, the MKH20 being the obvious one but I have settled happily with B&K for my main trips. Though DPA 4060s and MKH 8040s are my general main pairs / surround options.

 

Also being a post person (editor etc) really I approach stuff as how it will work in the mix - which I guess is why we realise the libraries aren't giving us what we need and we have to record (we want to anyway!) what we need. The "sad" thing here might be that a lot of great sounds, badly or strangely recorded, are actually great sounds worth using. There's a lot of history to be found here on JW and also RAMPS about the deliverable broadcast etc aspects of recording.

 

I won't mention M .......

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2 hours ago, filmsalang said:

 

You should know what I am saying...w/o HPs!

Sorry, since I repurposed my HP O/P I've lost all monitoring and have no idea what you're saying.

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