camera trained, confluence-users, directors, domain users, jira-users, stash-users
38
edits
Microphones: Difference between revisions
From YSTV Documentation Wiki
m
Did a bit of counting
David.heaton (talk | contribs) (What started as adding a little bit of information I came across turned into a fairly substantial beefing-up.) |
David.heaton (talk | contribs) m (Did a bit of counting) |
||
| Line 4: | Line 4: | ||
== AKG D130 == | == AKG D130 == | ||
Number: 1 | |||
Some old handheld that seems to be quite good actually. | Some old handheld that seems to be quite good actually. | ||
== Audio Technica AT835b == | == Audio Technica AT835b == | ||
Number: 1 | |||
Also known as a shotgun mic, the AT835b is a very directional condenser microphone primarily used at the end of a boom pole. Due to its extreme directionality, it can be used to pick up sounds at a reasonable distance without picking up background noise. This does mean however, that the mic must be pointed directly at the source (within 30 degrees either side is preferable) - it won't pick up anything if it's not. The AT835b can run from phantom power off a [[Sound board|sound desk]], or from a single AA battery - be sure to check the power if it's not working! The mic has a foam cover (windshield/screen) to reduce the noise caused by moving air rapidly striking the diaphragm (the bit that picks up sound - ask a techie if you can try blowing down a mic to hear the result). In general the windshield should always be used (certainly outdoors) as the mic is quite sensitive, but it may sometimes be possible to go without when inside with no air-con or open windows - desirable because the windshield will cause a slight reduction in the mic's high frequency response. If in doubt, it's probably best to use it. | Also known as a shotgun mic, the AT835b is a very directional condenser microphone primarily used at the end of a boom pole. Due to its extreme directionality, it can be used to pick up sounds at a reasonable distance without picking up background noise. This does mean however, that the mic must be pointed directly at the source (within 30 degrees either side is preferable) - it won't pick up anything if it's not. The AT835b can run from phantom power off a [[Sound board|sound desk]], or from a single AA battery - be sure to check the power if it's not working! The mic has a foam cover (windshield/screen) to reduce the noise caused by moving air rapidly striking the diaphragm (the bit that picks up sound - ask a techie if you can try blowing down a mic to hear the result). In general the windshield should always be used (certainly outdoors) as the mic is quite sensitive, but it may sometimes be possible to go without when inside with no air-con or open windows - desirable because the windshield will cause a slight reduction in the mic's high frequency response. If in doubt, it's probably best to use it. | ||
| Line 12: | Line 16: | ||
== Panasonic WM-665 == | == Panasonic WM-665 == | ||
Number: 1 | |||
Looks a bit like a rifle mic. Need to check what it's actually like. | Looks a bit like a rifle mic. Need to check what it's actually like. | ||
== Samson QL5/PM6 Lavalier == | == Samson QL5/PM6 Lavalier == | ||
Number: 5 | |||
These are our primary lavalier/lapel/tie microphones. As with all lavaliers, mic placement is crucial when using them - too far from the subject's mouth and nothing will be picked up. Being cardioids, they should point up towards the wearer's face, and if it's expected that they'll only turn to one side they should if possible be placed on this side of the chest, to avoid big a big drop in volume when the wearer turns their head. Care has to also be taken to ensure the mic isn't touching the subject's throat or in a location that will cause hair or clothing to rub against it. Wearers must avoid touching it during broadcast/recording to prevent any nasty thumps <strike>from the sound op</strike>. To use one of these mics you'll need both a QL5 mic with clip and a PM6 adapter (silver canister) to convert the diddly mini XLR to normal sized XLR. | These are our primary lavalier/lapel/tie microphones. As with all lavaliers, mic placement is crucial when using them - too far from the subject's mouth and nothing will be picked up. Being cardioids, they should point up towards the wearer's face, and if it's expected that they'll only turn to one side they should if possible be placed on this side of the chest, to avoid big a big drop in volume when the wearer turns their head. Care has to also be taken to ensure the mic isn't touching the subject's throat or in a location that will cause hair or clothing to rub against it. Wearers must avoid touching it during broadcast/recording to prevent any nasty thumps <strike>from the sound op</strike>. To use one of these mics you'll need both a QL5 mic with clip and a PM6 adapter (silver canister) to convert the diddly mini XLR to normal sized XLR. | ||
| Line 20: | Line 28: | ||
== Sennheiser E825S == | == Sennheiser E825S == | ||
Number: 4 (1 lives with the [[Sound board|sound desk]]) | |||
These are the hand-held mics with on-off switches. Useful for interviewing people in states of considerable intoxication, as it's (slightly) less of a disaster if they get dropped than one of the nicer SM58's. Remember to take a flag (YSTV-branded triangular prism that slots on to the mic body) and, if you want to use it outdoors, an external windshield. | These are the hand-held mics with on-off switches. Useful for interviewing people in states of considerable intoxication, as it's (slightly) less of a disaster if they get dropped than one of the nicer SM58's. Remember to take a flag (YSTV-branded triangular prism that slots on to the mic body) and, if you want to use it outdoors, an external windshield. | ||
| Line 25: | Line 35: | ||
== Shure SM58 == | == Shure SM58 == | ||
Number: 3 | |||
Often considered the best touring microphone in existence, the SM58's are arguably one of the only pieces of kit we have that are used regularly in professional environments. They are extremely robust - although please don't test exactly how robust. These are primarily used as handhelds or on a mic stand for vocals. Due to their [[w:Cardioid| cardioid]] pick-up pattern, they are subject to the [[w:Proximity effect (audio)|proximity effect]] and can also be used fairly effectively to capture low frequency stuff like kick drums, bass guitar amps and cajons. | Often considered the best touring microphone in existence, the SM58's are arguably one of the only pieces of kit we have that are used regularly in professional environments. They are extremely robust - although please don't test exactly how robust. These are primarily used as handhelds or on a mic stand for vocals. Due to their [[w:Cardioid| cardioid]] pick-up pattern, they are subject to the [[w:Proximity effect (audio)|proximity effect]] and can also be used fairly effectively to capture low frequency stuff like kick drums, bass guitar amps and cajons. | ||
| Line 30: | Line 42: | ||
== Shure SM57 == | == Shure SM57 == | ||
Number: 2 | |||
Similar to the SM58 in design, the SM57 is a fairly robust cardioid microphone. Our most common use for it is for acoustic instruments (typically guitars, but with a peak at 6kHz they also do a fine job on snare drums and electric guitar amps on the odd occasion that this is necessary). Good with professionally trained singers (who can turn away slightly before plosives), but it's usually better to use a '58 (or even an E825S) for vocals, as they have more internal windshielding. The same goes for kick drums and cajons, which tend to shift a lot of air. | Similar to the SM58 in design, the SM57 is a fairly robust cardioid microphone. Our most common use for it is for acoustic instruments (typically guitars, but with a peak at 6kHz they also do a fine job on snare drums and electric guitar amps on the odd occasion that this is necessary). Good with professionally trained singers (who can turn away slightly before plosives), but it's usually better to use a '58 (or even an E825S) for vocals, as they have more internal windshielding. The same goes for kick drums and cajons, which tend to shift a lot of air. | ||
| Line 36: | Line 50: | ||
== ZOOM H2n Recorder == | == ZOOM H2n Recorder == | ||
[[File:Zoom_H2N.jpg|thumb|right|Zoom H2n, with features labelled]] | [[File:Zoom_H2N.jpg|thumb|right|Zoom H2n, with features labelled]] | ||
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 recorded directly to the D-SLRs result in noise. Film review show [[hist:Front Row|Front Row]] is 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 had to be brought along solely to record the rifle mic. | 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 recorded directly to the D-SLRs result in noise. Film review show [[hist:Front Row|Front Row]] is 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 had to be brought along solely to record the rifle mic. | ||
