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First time filmmaker with basic questions on sound


solitudesblind

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I'm doing my first real (Something with external sound equipment) short film and I'm just learning. I got some help from a guy on the IMDb message boards and with that I ordered the Sennheiser ME66/K6 combo and a Boss BR-532 recorder. I was also advised to get two XLR cables and to buy a boom, shockmount and zeppelin. Why would I need two XLR cables instead of one, and what are a shockmount and zeppelin?

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I used a K6/ME66 on my first low-budget feature. Whilst I thought it was a great mic at the time, I have recently "upgraded" to the stalwart MKH416 and the difference is staggering.

If you can afford a MKH416-P48 (there's plenty on eBay usually, that's where I got mine!) I would recommend that over the K6/ME66 as a first mic.

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Why would I need two XLR cables? I figured one from the mic to the recorder would be all I needed.

Since I'm extremely strapped for funds, I figured I'd build my own boom. Since it is an indoor shoot I wouldn't need a zeppelin right?

The person giving you advice may either think that you need two cables: 1 for mic to power supply, 2nd from power supply to the recorder; OR because professionals rarely go out without backups for everything critical, which your mic cable is.  (If you are really using an ME66 then you can live without the power supply if the mic battery is good.)  You can make a workable boom from a painter's pole, but you'll have to be very careful w/ your hands when working it to avoid transmitting noise to the mic.  I would strongly advise you to get or rent a mic shock mount for the mic--a normal mic stand adapter transmits all the noise from the mic pole directly to the mic.  Since boom mics end up farther from the actor's mouths than a PA  mic on a stand, they end up being recorded at higher volume levels.  This means that everything else is turned up as well--including the boom noise.  You don't need a zepplin if you are indoors, but you shold get a lightweight foam windscreen to protect the mic from wind noise that happens when you "cue" the mic to follow actors.  You should check out those books Scott mentioned in an earlier post before you spend any money on anything.

Philip Perkins

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Quote:

" I used a K6/ME66 on my first low-budget feature. Whilst I thought it was a great mic at the time, I have recently "upgraded" to the stalwart MKH416 and the difference is staggering. "

I second this completely. Although my 442 had severe problems with the ME66 that we tried 3 different mic units and different cables and there was a horrible buzzing which sounded like a faulty ground. It's not the mixer because with the Schoeps the results are excellent.

But that experience leads me to run, not walk away from from the ME66.

Ron

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Quote:

" I used a K6/ME66 on my first low-budget feature. Whilst I thought it was a great mic at the time, I have recently "upgraded" to the stalwart MKH416 and the difference is staggering. "

I second this completely. Although my 442 had severe problems with the ME66 that we tried 3 different mic units and different cables and there was a horrible buzzing which sounded like a faulty ground. It's not the mixer because with the Schoeps the results are excellent.

But that experience leads me to run, not walk away from from the ME66.

Ron

The ME66 is ok, but just ok for the price.  The resulting dialog is often very peaky and harsh sounding to me, and takes a lot more work to make palatable in post than higher-end mics.  It seems like a lot of ME66 users have moved to Rode shotguns lately, I intend to audition those when I get a chance since I get asked often what mic should be bought for video dialog.

Philip Perkins

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