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Microphones: Difference between revisions
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All of these mics (except the ZOOM H2n) have XLR connectors - if you want to use them with our cameras have a look at [[Microphone Cables]] | All of these mics (except the ZOOM H2n) have XLR connectors - if you want to use them with our cameras have a look at [[Microphone Cables]] | ||
== Audio Technica AT835b == | == Audio Technica AT835b == | ||
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Similar to the unidentified lavaliers below, but with a voltage divider circuit similar to the one from the grey box hastily crammed into the body of a male XLR connector to allow direct connection to phantom power. Supposed to run at 5V, but most run somewhere closer to 12V. | Similar to the unidentified lavaliers below, but with a voltage divider circuit similar to the one from the grey box hastily crammed into the body of a male XLR connector to allow direct connection to phantom power. Supposed to run at 5V, but most run somewhere closer to 12V. | ||
== Samson QL5/PM6 Lavalier == | == Samson QL5/PM6 Lavalier == | ||
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Some specs for the SM57 are [http://cdn.shure.com/specification_sheet/upload/81/us_pro_sm57_specsheet.pdf here] and a few usage suggestions and notes about its bass response relative to proximity are on page 5 [http://www.shure.co.uk/dms/shure/products/microphones/user_guides/sm/sm57-user_guide/sm57-user_guide.pdf here]. | Some specs for the SM57 are [http://cdn.shure.com/specification_sheet/upload/81/us_pro_sm57_specsheet.pdf here] and a few usage suggestions and notes about its bass response relative to proximity are on page 5 [http://www.shure.co.uk/dms/shure/products/microphones/user_guides/sm/sm57-user_guide/sm57-user_guide.pdf here]. | ||
== RODE NTG 2 == | |||
Number: 1 (+1 privately owned) | |||
RODE NTG2s are short Rifle condenser microphones for boom and on camera operation. They have a relatively small pickup area at the end of the microphone in a cardioid pattern but more focused than a normal cardioid microphone. This directionality is what makes them perfect for booming (where the microphone is pointed at the subject to be sound recorded). We will normally use a boom out approach when on short film or recorded sets. The other common way in which we use the NTG2 (and all rifle microphones) is on camera, normally a [[Canon C100|C100]]. They make for difficult interview microphones but are good for getting situational directional audio from the camera both as scratch and background audio for a later mix. | |||
They can be used in our studio setting as pickup mics, generally suspended above the subjects or in some other way pointed at them. They offer the ability to be at a stand off distance from the subject and still function as a good pickup which makes them useful. | |||
They are best paired with the rifle mufflers that we have for them, especially in outdoors situations and the deadcat for very windy situations. | |||
While they do require phantom power, NTG2s can also be powered from internal and changeable AA batteries which can allow for a decent backup option in the worst cases, but unless something is really broken with phantom power, use phantom power. | |||
== Gatt MOH - 7 == | |||
Number: 2 | |||
Our, ‘slightly’ off market pickup microphones. The Gatt MOH - 7s are cheap and not too great at their intended instrument pickup function, however they are very useful as cheap room tone microphones when used in an XY pair (see XY pairs). They don't deliver the best sound, with a lot of noise through vibration and a pretty flat sound profile. But, for room tone, they're very good. | |||
Small enough to mount very discreetly, they provide a decent enough sound to work in the final mix to STRM. They generally are only used on [[OB Units|OBs]] and are either mounted on a stand and pointed into the room / at the crowd or they’re bodged in some way which will allow the XY pair to pick up room tone. | |||
The phrase 'cheap and cheerful' comes to mind. | |||
== Shure wireless (FP15/83) == | |||
Number: 2 | |||
The FP15/83 system is our main use wireless sound option for both OB and studio shows. When LAV microphones need to be used for a particular event or show, we tend to have problems and use the wired ones as a very last plan solution where nothing else is working. These wireless LAVs are far better quality and so we use these whenever the situation permits. | |||
They're also useful for interviews when the microphone can be kept out of view as much as possible, remember to run the cable to the belt pack up the inside of the persons clothing. | |||
The receiver range is fairly decent in most situations however, as with the [[Teradeck Bolt|Teradek]], the range is compounded by a variety of factors which are important and common to [[OB Units|OBs]]. These tend to be, number of people in the room and number of wifi signals / wireless signals in general within the vicinity of the transmitter / receiver. There is little that can be realistically done about this while on OB or while planning, so you should just remember that this factor will be at play. | |||
On pane of assault by the technical enforcer, DO NOT put phantom power through the Shure kit when connected to a camera or a sound board. Doing this would blow the pack up and that's not good. | |||
== ZOOM H2n Recorder == | == ZOOM H2n Recorder == | ||
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Number: 1 | Number: 1 | ||
The ZOOM H2n is a microphone/recorder purchased in Summer 2013. YSTV had previously borrowed an H2n for [[hist:Campus: A Tale of Terrors|Campus: A Tale of Terrors]], which was filmed solely using D-SLR cameras, as external microphones | === History === | ||
'''Upto 2014''' Note this is for historical reasons only. | |||
The ZOOM H2n is a microphone/recorder purchased in Summer 2013. YSTV had previously borrowed an H2n for [[hist:Campus: A Tale of Terrors|Campus: A Tale of Terrors]], which was filmed solely using D-SLR cameras, as external microphones recording directly to the D-SLRs result in noise. Film review show [[hist:Front Row|Front Row]] was also filmed using D-SLRs, as the [[Sony HVR-HD1000E]]s struggle to record in the low-light conditions of the cinema. Prior to the purchase of the H2n, a Sony HVR was brought along solely to record the rifle mic. | |||
Due to numerous accidents and failures with the Sony cameras during 2013, they can no longer record to tape - hence making them unusable for pre-recorded content. This has led to increased use of D-SLRs in productions, meaning the H2n has rapidly become the de facto way of recording audio. | Due to numerous accidents and failures with the Sony cameras during 2013, they can no longer record to tape - hence making them unusable for pre-recorded content. This has led to increased use of D-SLRs in productions, meaning the H2n has rapidly become the de facto way of recording audio. | ||
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The H2n also has both a line in and line out - this allows for other mics to be plugged into and recorded by the H2n and/or have the audio being recorded sent on to another device. The H2n was used like this for [[hist:4Four|4Four]], with the H2n sitting between the DJ desk and streaming laptop. Both connections are stereo 3.5mm jack sockets, so bodge microphone cables may have to be used. | The H2n also has both a line in and line out - this allows for other mics to be plugged into and recorded by the H2n and/or have the audio being recorded sent on to another device. The H2n was used like this for [[hist:4Four|4Four]], with the H2n sitting between the DJ desk and streaming laptop. Both connections are stereo 3.5mm jack sockets, so bodge microphone cables may have to be used. | ||
=== Uses as of 2019 === | |||
The H2n is basically not used any more as of about 2018 where it was replaced in a recording capacity by the 2 privately owned ZOOM H5s which typically float around the studio during productions. These are more functional than the H2n and nicer to use. That being said, the H2n does still exist and likely will come out of temporary retirement soon. | |||
'''Two notes on external mics:''' | '''Two notes on external mics:''' | ||