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gum51820

Do preamp like Shure FP23 degrade over time?

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Hi all,

I'm new to audio and sound recording, and have been reading up on the physics of sound waves, comb filter effects, reverberation, Location Sound Bible book, and a smattering of sample recordings for audio recorder and mic pairs.

I know that users on this forum mainly work with pro-level equipment, but I'm really out of ideas for places where I could find good, reliable answers. Please allow me to give some background to my situation.

I need to record footage destined for Youtube. It will be recorded mostly indoors in a living room. I can't really do anything about echos and reverberations unless I convince my friend to DIY some sound diffuser etc...but probably won't happen for a while, or ever.

The video will purposefully be made to look amateurish to have a down-to-earth and honest feel - and it will be. As such, there won't be fancy 10 bit /12 bit filming with color grading, saturated colors,  fancy shots etc.. The video is just good enough so people will want to continue watching and the same goes for sound - I'm trying to make it somewhere between amateurish and professional - clear enough so that people will continue watching but not spectacular absolutely no-noise, amazing range + clairty, shown-in-theaters film quality audio.

I'm mentioning this because of a super tight budget that's not within my control..I know how tight the person's finance is. We're talking about budget entry level equipment such as the NTG 2 with Tascam dr-60dmkii.

I've looked all over but found nothing other than Tascam, Zoom on the recorder front, and NTG 2, Audio Technica 875R, and maybe Audix SCX-1HC on the mic front. I just can't make myself hit the buy button because that's not what I would spend my own money on, and there is some audible noise with NTG 2 and Tascam dr-60dmkiii pairing. Frankly, any budget recorder will probably have noise with low output mics due to cheap pre-amp.

So I discovered some threads on this forum that mentioned preamps..such as this thread and that thread. Will connecting a good preamp to the microphone and simply using a balanced level input recorder (Tascam Dr-40) as a bit bucket give better results than NTG 2 + budget recorder preamps? 

Good budget preamps such as Sound Devices MM1/MP1 are overbudget, but there are a few Shure FP23s on ebay that are within reach. But FP23 seem to have come out in 2000. I'm wondering if it's still usable due to capacitor degradation. I have no knowledge about electronics so I'm simply guessing.

Thank you in advance. Any help is greatly appreciated!

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Yes to caps degrading.  If there are carbon composition resistors used then change is possible.  Pots wear out.  If the seller has a return option and if you are close to one of the Trew outlets (or similar), have it checked over.  Great little preamp.

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9 hours ago, gum51820 said:

I've looked all over but found nothing other than Tascam, Zoom on the recorder front, and NTG 2, Audio Technica 875R, and maybe Audix SCX-1HC on the mic front. I just can't make myself hit the buy button because that's not what I would spend my own money on, and there is some audible noise with NTG 2 and Tascam dr-60dmkiii pairing. Frankly, any budget recorder will probably have noise with low output mics due to cheap pre-amp.

 

If you're only recording in your living room then an Audix SCX1HC / AT4053b / Oktava / etc would all be an excellent choice. 

 

Then get yourself a Zoom F4, tremendous (outrageous!) value for money. 

 

But if your budget is less than half that, then yeah I reckon the Tascam DR60Dmk2 is your best choice instead. 

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You didn't say if you were trying to capture a performance or something factual but save your money and use modern smart phone and holder (to reduce handling noise) and/or a clip mic will get you the 'look and feel' you say you want.

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agreed, I applaud you for wanting high-quality audio and reading up on all this stuff, but frankly for a "honest" down-to-earth sound and spending less then a few hundred euro you're better off with a compact all in one recorder then adding an old analog mixer in front.

there are many mic/recorder combos for 200-500EUR that will do what you want.

usually the cheapest way to improve sound quality is to get the mic closer.

 

If you're looking for a nicer richer sound the best thing would probably be to invest in a high quality mic first and get that on a close distance. again there are a lot of different options, a good dynamic mic (cheap but you'll need to be very close), a high-end lavalier (400eur and you'll have to worry about clothing), or a good condenser at arms length (more like 600-1500EUR).  

 

all of those options will have a different feel, which is why people doing this as a profession usually fuss about different options, but for a one person youtube daily life show you should probably focus on content rather then pristine audio quality

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On 4 February 2020 at 6:37 PM, gum51820 said:

The video will purposefully be made to look amateurish to have a down-to-earth and honest feel - and it will be. As such, there won't be fancy 10 bit /12 bit filming with color grading, saturated colors,  fancy shots etc.. The video is just good enough so people will want to continue watching and the same goes for sound - I'm trying to make it somewhere between amateurish and professional - clear enough so that people will continue watching but not spectacular absolutely no-noise, amazing range + clairty, shown-in-theaters film quality audio.

 

Hi Gum, 

not sure amateurish should be the adjective: old fashioned or stylised might be nearer. Most of my favourite films have sound you describe and several got Oscars for their efforts!

 

Your actual question though is fine: I'm suggesting 'no' although ex rental equipment or stuff bought on ebay etc may indeed be not up to par. On the other hand - using the best you have access to is always the best option (I do post so I am somewhat desirous of decently recorded production dialogue).

 

Use the best you can.

 

As regards the creative team, I too (and I recall similar here on jw recently coming up with an equipment set) love the idea - - or more so the opportunity - - of one day doing a feature with a Nagra and an 805 ... as an old post stalwart however I am perfectly aware that I would give myself a greater chance of achieving my eventual 'balance - eq' aim with a bigger set of modern tools.

 

Although - having said all that - I also want to give it a go, so: damn good luck and please tell us how it goes. If you get a chance to try this with help with someone with more experience it could be a lot of fun for all.

 

So good luck - get a mic - a good one - and get it in the right place: shot after shot after shot without worrying about how the creatives are dealing with not being too creative in their "this is deliberately like this" way.

 

Best, Jez

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.. dear me, posted that and it comes across a bit arrogant. I didn't mean it such (and you probably had no idea of my references). Chris' advice is good (start out with good equipment) - beyond that I would actually say to pursuade the team to budget to rent the first few times over (at least mic and perhaps mixer/recorder and certainly any other expensive items) as this will at least give you some initial experience in the equipment and in doing the job with the best equipment you can get access to. (Although I have advised people to buy too...)

 

J

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@IronFilm Thank you for the recommendation! I'll definitely grab one if I see one within reach. Yes, the mics you suggested definitely have better reviews regarding indoor dialogue. I'm assuming the Oktava you're talking about is the MK-012?

Could you please dive into a bit more detail on why the Zoom F4 gives outrageous value? Is it because of a really good preamp in addition to the functions working cleanly?

 

@daniel @Chrisit will be factual. A cooking show will be filmed in a living room, and occasionally outdoors. My friend was inspired by this YT channel for the most part (English subtitles included). The lighting is basic, shots are not fancy, sound effects and bgm is clean yet simple. But that channel is a pro pretending to be an amateur, since the person actually has a license to handle puffer fish. The many telltale signs including having that apartment suite dedicated to filming, driving a famous sports car, and having lots of other details slip in his videos. I didn't watch many; it's mainly my friend who's gone through the videos.

 

Anyway, I digress. My friend is going for the same feel. There is an Canon EOS 70D on hand to do the job ..more or less.

Maybe the LG G3 I have could beat that camera, though it doesn't record in HDR.

 

The current game plan is getting an AT875R microphone paired with a Tascam DR-70D (due to price mainly).

The AT875 eBay posting accepts returns and the Tascam is from a pawn shop with a gold badge, and is currently cheap enough to make the risk worth taking.

AT875R's frequency is 90hz~20kHz,  small enough to mount on the camera for outdoor shots,  and supposedly decent enough for indoors. The problem is that it doesn't take battery, so I'll have to mount the Tascam on the bottom of the camera for outings.

 

Originally, I wanted to get an AT897 (also cheap on Ebay) since it has much better side rejection and a 20hz - 20kKhz frequency pickup, but will probably protrude into the shot if mounted on a camera for outings. A very simple online demo of the AT875R, AT897, ME66, MKH60 shows AT897's better side rejection and fuller sound. Not sure if the ME66 justifies its price (even on Ebay), and the MKH60 is way over budget.

 

@The Immoral Mr Teas

No worries. I didn't take any offense. Pro equipment does give a LOT better sound. and I'm sure I'll like the quality since I'M doing post lol :(The team is my friend and I. Renting top of the line equipment is a waste anyway, as I'm just starting out haha.

I'm definitely wary of buying things from eBay, but any listing that accepts returns is more reassuring. The budget is sadly low..so maybe we'll be able to upgrade to better equipment if things go well.

 

Thank you! It'll be a lot of fun doing a lot of trial and errors.

As far as I can see, the rental rates around town don't really justify itself for what we get. A few times and we could have already purchased some equipment. That said, Zoom F8 and MKH 416 may be worth renting for a "splurge" somewhere down the line.

It's odd that rental stores I've found don't carry top-end equipment. It's probably because pros own equipment, and those who rent probably don't care for those devices.

 

I appreciate everyone's concern!

On 2/4/2020 at 3:23 PM, TVPostSound said:

An FP23 IS an MP1!!

 

 

Yes, thank you!

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2 hours ago, gum51820 said:

@IronFilm Thank you for the recommendation! I'll definitely grab one if I see one within reach. Yes, the mics you suggested definitely have better reviews regarding indoor dialogue. I'm assuming the Oktava you're talking about is the MK-012?

 

Yes, the hypercardioid version. Got very lucky last week and picked another one up secondhand for just a little more than a hundred bucks. It's not the best mic, but definitely very good value for money. Which is what you're looking for here, as you've got no real budget. So I'd recommend that, or the Audix or Audio-Technica mics. (which are a bit better choice than the Oktava too)

 

2 hours ago, gum51820 said:

Could you please dive into a bit more detail on why the Zoom F4 gives outrageous value? Is it because of a really good preamp in addition to the functions working cleanly?

I say it is OUTRAGEOUS value because in the recent past (as in, only a few years ago) to get an 8 track recorder with all those features (metadata, timecode, dual media, flexible routing, four outputs, switchable hirose / internal powering, optional control surface / keyboard, etc etc) you would have had to spend thousands of dollars. And yes, also the Zoom F series (or the MixPre recorder series) pre amps are a leap up from anything cheaper than them.

These days I use a Sound Devices 833, but the Zoom F4 still holds a dear place in my heart. Did four feature films and many many many other projects with the Zoom F4. 
 

On 2/5/2020 at 12:23 PM, TVPostSound said:

An FP23 IS an MP1!!


Yup, I believe Sound Devices was founded by some engineers who split away from Shure because they wanted to make products which better served the needs of the film/tv world. And they thought Shure wasn't doing that. And I think, the FP23/MP1 was their very first product, designed and made for Shure but also sold under their own brand name: "Sound Devices". The funny thing was that back then the FP23 sold for more than the MP1! As Shure was the big time brand name trusted and used by everyone, but who the hell is "Sound Devices"?? Of course if this happened today, it would almost be the other way round. 

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2 hours ago, gum51820 said:

@daniel @Chrisit will be factual. A cooking show will be filmed in a living room, and occasionally outdoors. My friend was inspired by this YT channel for the most part (English subtitles included). The lighting is basic, shots are not fancy, sound effects and bgm is clean yet simple. But that channel is a pro pretending to be an amateur, since the person actually has a license to handle puffer fish. The many telltale signs including having that apartment suite dedicated to filming, driving a famous sports car, and having lots of other details slip in his videos. I didn't watch many; it's mainly my friend who's gone through the videos.


Yeah, with 3 million subs he could probably use almost any camera he wants to. (well, perhaps not an ARRI Mini LF, that would be a stretch although not impossible. But a Sony FS7 / Canon C200 / etc?? Those types of cameras would be quite common on YT channels with subs in the low millions. As an example, Marques Brownlee has over 10 million subs now but back four years ago when he had "only 3 million subs" he was filming with a RED Weapon Dragon https://www.popsci.com/mkbhd/)

 

 

2 hours ago, gum51820 said:

As far as I can see, the rental rates around town don't really justify itself for what we get. A few times and we could have already purchased some equipment. That said, Zoom F8 and MKH 416 may be worth renting for a "splurge" somewhere down the line.

 



For your purposes I'd strongly not recommend a 416. And a Zoom F8 wouldn't add much more more to your setup than what an F4 could do. (other than the being able to use the bluetooth app)

 

 

2 hours ago, gum51820 said:

It's odd that rental stores I've found don't carry top-end equipment. It's probably because pros own equipment, and those who rent probably don't care for those devices.

 

 That is because unless they're a specialist location sound rental house / retail store then they're likely not going to carry any pro or probably even semi pro gear. 

We're a small niche industry. For an example, I'm in New Zealand which is a small nation but we've still got a good film industry here, yet we've only got one place in the entire country. Even in the USA, if you're outside NY / LA you'll have slim pickings beyond a handful of stores. Trew Audio for instance is also in Nashville and Atlanta (got Gotham Sound as well in Atlanta. A lot gets made in Atlanta, so they've got more than one store to choose from in that city).
 

 

 

2 hours ago, gum51820 said:

The problem is that it doesn't take battery


That is normal. Batteries inside a shotgun is usually only seen on extreme low end mics such as the NTG2/ME66/etc
 

 

2 hours ago, gum51820 said:

so I'll have to mount the Tascam on the bottom of the camera for outings.

The DR70D is designed for that purpose. 

The Zoom F4 comes with a mounting bracket so you can do the same with an F4 as well. 

 

 

2 hours ago, gum51820 said:

Not sure if the ME66 justifies its price (even on Ebay)

Personally I don't think it does

 

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Almost felt sorry for the porcupine fish, but all that effort - it must taste good. Now watched another and I think may get addicted. Sounds like a camera mounted mic to me tho.

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21 hours ago, IronFilm said:

So I'd recommend that, or the Audix or Audio-Technica mics. (which are a bit better choice than the Oktava too)

Thank you! Ya..the best site from which I can get stuff is the US Ebay. The AT875R listings go as low as $35, returns accepted. A couple around $80~90. Audix and Oktava are well above that. Somehow 

 

21 hours ago, IronFilm said:

The funny thing was that back then the FP23 sold for more than the MP1! As Shure was the big time brand name trusted and used by everyone, but who the hell is "Sound Devices"?? Of course if this happened today, it would almost be the other way round. 

The brand names really adds a premium price eh?

 

21 hours ago, IronFilm said:

I say it is OUTRAGEOUS value because in the recent past (as in, only a few years ago) to get an 8 track recorder with all those features (metadata, timecode, dual media, flexible routing, four outputs, switchable hirose / internal powering, optional control surface / keyboard, etc etc) you would have had to spend thousands of dollars. And yes, also the Zoom F series (or the MixPre recorder series) pre amps are a leap up from anything cheaper than them.

This got me pumped up! haha. Thank you for the recommendation!

 

21 hours ago, IronFilm said:

he was filming with a RED Weapon Dragon https://www.popsci.com/mkbhd/)

The stuff on that list is quite impressive for anyone starting out.

 

Apologies for going off topic, but is there a pair of nice reference headphones that won't break the bank? Many recommend the Sony MDR7506. Ideally, trying each one out is the way to go, but that's a tough proposition. I'd like to see the options out there.

 

8 hours ago, daniel said:

Almost felt sorry for the porcupine fish, but all that effort - it must taste good. Now watched another and I think may get addicted.

Aaah! you fell into the trap! don't do it! hahaha. Japanese is superb at marketing though..it's almost evil to an extent. They even have short, mind-washing songs playing in different departments of the supermarket, or even in big box electronic stores. It's a whole brain washing experience. Those songs are still in my memory. Even I can't believe it.

 

8 hours ago, daniel said:

Sounds like a camera mounted mic to me tho.

Dude, you're good! There was one video showing him point a camera with a mounted microphone, in a windscreen,  towards the cooking stove. Might even save money on skipping the boom pole if that's the kind of audio my friend wants.

 

Might you have any recommendation on camera-suitable microphones?

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Original question ... I would always prefer to have something reliable and easy to use as a preamp and those early mini SD/Shure boxes are exactly that. I can't see myself ever getting rid of my 302 as it is just so useful, reliable and easy to use.

 

Canada is a big place! If you're near Trona you certainly have rental options, many places more chance of renting huskies! But having the chance to rent proper microphones with windshields like MKH50s or whatever will show just how much a difference there is between them and cheaper options. Although some cheaper options can still be quite ok under decent and forgiving conditions.

 

Decent and forgiving conditions on a cooking show though?!? I used to marvel at a British cooking programme Ready Steady Cook for its beautifully recorded - and I presume carefully planned - sound. It was almost like every shot was the director issuing a personal challenge to the sound team (blenders turned on over dialogue etc) and both clarity and mix were always perfect (the blender would be LOUD and you would hear every word).

 

Did two very different cookery shows myself, both in the last century. As TV dubbing mixer a 'cookery dating game show' (again very well recorded, my job was more filling in the gaps and smoothing edits than repairing and balancing was easy), and I did an excellent radio series with the late great Keith Floyd which was a sheer pleasure and technically akin to working in 'golden age' conditions.

 

Good luck with it!  Jez

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On 2/8/2020 at 1:20 AM, The Immoral Mr Teas said:

Decent and forgiving conditions on a cooking show though?!? I used to marvel at a British cooking programme Ready Steady Cook for its beautifully recorded - and I presume carefully planned - sound. It was almost like every shot was the director issuing a personal challenge to the sound team (blenders turned on over dialogue etc) and both clarity and mix were always perfect (the blender would be LOUD and you would hear every word).

Thanks for the heads up! That British cooking programme is beautifully recorded.

 

There's a good presence of VFX here, but I doubt any special dealers that caters to the pros would be within our reach unfortunately..

 

It'll be a challenge to get the sounds correct. The good thing is that a more "casual" cooking channel could get away with short animation and foley sometimes. For example, after we show the cook putting food into a blender, we could simply tell the viewers that we'll start blending until the food becomes appropriately mushed, and then cut out with motion graphic text + sound etc.  Much planning needed for sure.

 

I'll see what gear is available. The budget really isn't within my control. Even if it is, I really wouldn't be able to do anything different.

 

Thank you!

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On 2/8/2020 at 1:20 AM, The Immoral Mr Teas said:

Original question ... I would always prefer to have something reliable and easy to use as a preamp and those early mini SD/Shure boxes are exactly that. I can't see myself ever getting rid of my 302 as it is just so useful, reliable and easy to use.

 

Canada is a big place! If you're near Trona you certainly have rental options, many places more chance of renting huskies! But having the chance to rent proper microphones with windshields like MKH50s or whatever will show just how much a difference there is between them and cheaper options. Although some cheaper options can still be quite ok under decent and forgiving conditions.

 

Decent and forgiving conditions on a cooking show though?!? I used to marvel at a British cooking programme Ready Steady Cook for its beautifully recorded - and I presume carefully planned - sound. It was almost like every shot was the director issuing a personal challenge to the sound team (blenders turned on over dialogue etc) and both clarity and mix were always perfect (the blender would be LOUD and you would hear every word).

 

Did two very different cookery shows myself, both in the last century. As TV dubbing mixer a 'cookery dating game show' (again very well recorded, my job was more filling in the gaps and smoothing edits than repairing and balancing was easy), and I did an excellent radio series with the late great Keith Floyd which was a sheer pleasure and technically akin to working in 'golden age' conditions.

 

Good luck with it!  Jez

Studio desk with EQ and great limiters. Good fader work with scripted content. Auditions and sound checks for the noisy equipment. Presenters and cooks with strong voices etc. Most of the challenge with RSC is the live audience/shot as live side of it - as the insert shots are live too it's not possible to fix a sound problem with 1. I noticed the presenter would tell the cooks to make less noise sometimes when talking to a guest with less projection. If Gum51820 is not broadcasting live there are a lot of ways to work round most of the obvious noise issues. I noticed the show Gum51820 linked to was mostly not lip sync with action. And with so many shows I'm guessing they don't spend long in post, so make pragmatic choices on the day hence the "down-to-earth" feel.

 

I didn't mean to be dismissive with my suggestion of a smart phone - obviously good sound kit will make a difference if used properly (by a dedicated operator) with good gain staging etc but it wont fix stuff if shooting is badly planned. I'd say (like show linked) don't rely on too much lip sync with action and therefore any camera with any top mic will 'do' a YT job (I'm sure the cook/presenter was just talking into the camera mic on a lot of the food CUs). If you want it a bit more complicated I'd use 2 cameras: 1 locked off wide for lip sync and 1 for food CU inserts. Discussion of the various boom mics is moot if you don't have a dedicated sound person. In the context presented, I'd go for a cheap camera mic like a Rode, complete with it's own suspension and furry wind gag (for outdoors), it'll have frequency response designed for camera mounting so wont need fettling later. If your camera has HP O/P and manual gain control I'm not sure I'd go for separate recorder unless it O/Ps to camera as well and is there as a back up - you could spend the money on a Lav mic instead. A workflow test for whatever your kit ends up being is probably the most important thing. Especially if its a daily lifestyle thing - get a formula and keep it simple. People aren't watching this stuff because of the budget.

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On 2/10/2020 at 5:15 AM, daniel said:

Studio desk with EQ and great limiters. Good fader work with scripted content. Auditions and sound checks for the noisy equipment. Presenters and cooks with strong voices etc. Most of the challenge with RSC is the live audience/shot as live side of it - as the insert shots are live too it's not possible to fix a sound problem with 1. I noticed the presenter would tell the cooks to make less noise sometimes when talking to a guest with less projection. If Gum51820 is not broadcasting live there are a lot of ways to work round most of the obvious noise issues. I noticed the show Gum51820 linked to was mostly not lip sync with action. And with so many shows I'm guessing they don't spend long in post, so make pragmatic choices on the day hence the "down-to-earth" feel.

That's really awesome insight, thank you! No, we're not broadcasting, so thankfully, there's ways around noise issues.

 

On 2/10/2020 at 5:15 AM, daniel said:

I didn't mean to be dismissive with my suggestion of a smart phone - obviously good sound kit will make a difference if used properly (by a dedicated operator) with good gain staging etc but it wont fix stuff if shooting is badly planned.

Good points! iPhone's image would be good, but neither of us have one. We figured we'd just use the money on getting some audio equipment and work with the Canon 70D.

 

We won't be relying on lip sync.

 

The Canon 70D supposedly only allows users to change gain settings when it's not recording.. I just read online reviews, as I don't have the camera on hand. It'll be coming soon - my friend's family member is lending it to him. A separate audio recorder that also outputs to the camera would definitely be a plus.

 

I have chosen an Oktava MK 012. The best mic that I could pick out within budget, which will be paired with a recorder with a barely workable preamp (something like the DR 60D MK II level). I have basically been tasked to get the microphone as close to the food / cooking as possible during CU shots.

 

@The Immoral Mr Teas  I'm currently wondering if old pre-amps such as the Sound Devices 302, SD MixPr  are worth getting, since that device seems to be almost twenty years old, and degradation happen. Have you changed the capacitors at all over the years?

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9 minutes ago, gum51820 said:

That's really awesome insight, thank you! No, we're not broadcasting, so thankfully, there's ways around noise issues.

 

Good points! iPhone's image would be good, but neither of us have one. We figured we'd just use the money on getting some audio equipment and work with the Canon 70D.

 

We won't be relying on lip sync.

 

The Canon 70D supposedly only allows users to change gain settings when it's not recording.. I just read online reviews, as I don't have the camera on hand. It'll be coming soon - my friend's family member is lending it to him. A separate audio recorder that also outputs to the camera would definitely be a plus.

 

I have chosen an Oktava MK 012. The best mic that I could pick out within budget, which will be paired with a recorder with a barely workable preamp (something like the DR 60D MK II level). I have basically been tasked to get the microphone as close to the food / cooking as possible during CU shots.

 

@The Immoral Mr Teas  I'm currently wondering if old pre-amps such as the Sound Devices 302, SD MixPr  are worth getting, since that device seems to be almost twenty years old, and degradation happen. Have you changed the capacitors at all over the years?

I've had an Oktava, it sounded nice but needs the inline LPF and a good suspension for handling noise and as modular system more susceptible to humidity (it also didn't take the beating of being thrown into a kit bag like unlike all the Sennheisers I've owned ,'(. If you really want a pro looking mic I'd consider the self powered Deity V-Mic thing with the integrated level control and LPF this would also be 1 way to manage levels, filters and powering. 

And I'd still go for a DR 60D m2:

~ Back up to camera audio, useful if you camera stops recording when hot or there's other technical issues.

~ Sends a signal to camera.

~ Lets you adjust mic levels while recording - without touching the mic.

~ Lets you adjust HP levels while recording.

~ Phantom power XLR (if you need this).

~  Aux minijack I/P - which means you can use a cheap camera/top mic like a Rode/Deity which like I say for your YT needs and workflow will make life easier for you. The XLR cables, inline filter and suspension needed to run the Oktava which will be a PITA on a such a small camera, it will slow you down on the day and in post. It also is harder to fit a cheap foam/furry wind gag because of its shape. 

 

Drop $300 on a pair of 7506 HPs, the DR60, and Rode camera mic (or $500 if you want the Deity) and you'll be home and dry. If you're sitting in the edit (monitoring on Genelecs ,') thinking you need more - listen again on the YT O/P see how many hits you're getting and take it from there. 

 

Hope you're content is as good the show you linked. Good luck.

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2 hours ago, gum51820 said:

@The Immoral Mr Teas  I'm currently wondering if old pre-amps such as the Sound Devices 302, SD MixPr  are worth getting, since that device seems to be almost twenty years old, and degradation happen. Have you changed the capacitors at all over the years?


For the price they still sell for secondhand, then most people starting out are going to be better off overall just putting that money toward a Zoom F4 / MixPre3

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On 2/12/2020 at 11:59 AM, IronFilm said:


For the price they still sell for secondhand, then most people starting out are going to be better off overall just putting that money toward a Zoom F4 / MixPre3

Still good reasons to have a 302:

~ Analogue limiters.

~ Decent HP amp.

~ XLR balanced O/Ps.

~ Stereo return.

~ Decent sized faders.

~ Switched bass cuts.

~ Bright meters.

~ Resilient.

 

TBF I am just using mine as a HP amp to drive a pair of DT990s ,')

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On 2/12/2020 at 2:21 AM, daniel said:

I've had an Oktava, it sounded nice but needs the inline LPF and a good suspension for handling noise and as modular system more susceptible to humidity (it also didn't take the beating of being thrown into a kit bag like unlike all the Sennheisers I've owned ,'(. If you really want a pro looking mic I'd consider the self powered Deity V-Mic thing with the integrated level control and LPF this would also be 1 way to manage levels, filters and powering. 

And I'd still go for a DR 60D m2:

~ Back up to camera audio, useful if you camera stops recording when hot or there's other technical issues.

~ Sends a signal to camera.

~ Lets you adjust mic levels while recording - without touching the mic.

~ Lets you adjust HP levels while recording.

~ Phantom power XLR (if you need this).

~  Aux minijack I/P - which means you can use a cheap camera/top mic like a Rode/Deity which like I say for your YT needs and workflow will make life easier for you. The XLR cables, inline filter and suspension needed to run the Oktava which will be a PITA on a such a small camera, it will slow you down on the day and in post. It also is harder to fit a cheap foam/furry wind gag because of its shape. 

 

Drop $300 on a pair of 7506 HPs, the DR60, and Rode camera mic (or $500 if you want the Deity) and you'll be home and dry. If you're sitting in the edit (monitoring on Genelecs ,') thinking you need more - listen again on the YT O/P see how many hits you're getting and take it from there. 

 

Hope you're content is as good the show you linked. Good luck.

Awesome tips! I ended up just getting the VideoMic Pro and Dr60Mk2 just as you said. Genelecs will just have to wait.. ;(

Thank you! Hopefully things will go well.

On 2/12/2020 at 3:59 AM, IronFilm said:


For the price they still sell for secondhand, then most people starting out are going to be better off overall just putting that money toward a Zoom F4 / MixPre3

Thank you! Ya..Got DR60mkII for now. Upgrade later if needed.

 

On 2/13/2020 at 8:05 AM, daniel said:

Still good reasons to have a 302:

~ Analogue limiters.

~ Decent HP amp.

~ XLR balanced O/Ps.

~ Stereo return.

~ Decent sized faders.

~ Switched bass cuts.

~ Bright meters.

~ Resilient.

 

TBF I am just using mine as a HP amp to drive a pair of DT990s ,')

Analogue limiters is a big big plus! It's just a lot of money to put down at the moment. Could try one day when I get the funds.

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