160 dollar mic -- 3 choices

Chamber005

Chamber005

Carbonite Member
Okay, did my research and, unfortunately, it comes down to price point at this stage of the game.

For 160 bucks I can either get a wired

SENNHEISER K3U with ME80 capsule

RODE NTG-2

BEYERDYNAMIC MC 736

Going to be used indoors only.

Need to purchase in the next 48 hours.

Thanks so much for all your help, guys!!
 
Rode NTG2 I guess... Not going to sound the greatest indoors, but its not too bad about picking up reflections. No used oktavas at that price?
 
Jeff Anderson said:
Rode NTG2 I guess... Not going to sound the greatest indoors, but its not too bad about picking up reflections. No used oktavas at that price?
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Haven't seen any -- that was where I went first.

I guess what really strains me is that a part of me feels like I should just get a lav. Not to go too deep into the project, it's essentially going to be like shooting a one-man show. So I'm like, "Why the hell not get a lav?"

Well, the main issue is that the actor obviously has to move around -- and the lav will have to be wired, no exceptions there. So while I can probably rig him with the wire hanging out at the bottom of his pant leg, what about when I want to record ambient sounds, etc? Wouldn't that be a severe challenge with a lav? And If I don't capture that ambient "noise" like a shotty will pick up, won't the sound come off as flat?

A second actor does come in later on, and a month or so from now maybe I could invest in a second lav for him. I just don't know. And the sound person I had got a job-job and so won't be able to help and so now I'm stuck with an inexperienced boom guy which makes me even MORE worried about using a boom for this project.

Can (wired) lavs really work effectively in scenes where the actor is moving around the location? I don't care if I have to tuck the mic under his shirt and such, but won't there be a constant shuffling from his shirt moving around?

:::sigh::: Just not sure what to do now and I have to make a decision ASAP.

Any help is appreciated.
 
Wait, okay. Found an Oktava for a little under this price point.

So if I REALLY stretched myself I guess I could pick up the Oktava and an Audio-Tech AT899.

I mean, because let's face it, there is a HUGE chance that the booming might suck considerable ass. I think I need the lav as a back-up. I just don't think we'll have something that sounds even remotely naturalistic, though, if we don't capture anything at all with a shotty. I mean, if all I use the Oktava for right now is to get the dead sounds surrounding the actors so that I can mix things effectively, it would probably be worth it.

I think I can swing both of these mics for about 220 -- which is more than I wanted to spend, but I'd have to workout something once the second actor comes along anyway, right?

Let me know if you think these two will mix well, I guess, or if there is a better (but equally inexpensive) option.

I only spent 350 bucks on the HF200 I'm using for the shoot, so I think my mic-to-camera spending ratio is pretty phenominal by any standards.
 
Of the three you initially listed, the NTG-2 probably has the best pattern for what you're looking to do. It's pretty forgiving for a new boom op, and it's not bad indoors.

No matter what you go with, don't forget a good shockmount.
 
I have a left field option (I won't call it a suggestion). I just came across a CAD mic that has been getting some good comments but that I don't have any personal experience with
LINK

I have seen these for around $50 / pair at Musicians Friend. I'm going to get some because even if they are not great for production I do a LOT of FX and a good cheap mic is very useful in dangerous situations. They don't have a lot of low and roll off the very high end and supposedly have a bit of a high mid bump (though that might be good for dialog?) but they are reported to be hot and pretty quiet. They are small and that's a plus. They are cardioid and most folks would want a hyper. I did a bunch of production with a cardioid before I had the hyper. You do get more environment and you want to be a bit closer in general but in some cases it worked out better. For one thing if your booming is less than super accurate it doesn't make as big a difference. For someone starting out with out a lot of $ these might be a good starting point. And providing they don't suck (CAD has made some very nice mics so I doubt that they suck) you can always use them as plant mics after you have upgraded.
 
Noiz brings up a good idea, there are a lot of inexpensive little cardioid condensors intended for use as drum overheads that will work pretty well on a boom. I picked up a similar pair for something like $20 at a pawn shop a while back and they've found their way onto a boom a couple times when I've had to put someone completely inexpereinced on a second boom.
 
Okay...interesting ideas...

So you're saying I should look at more "forgiving" mics overall? The CAD listed is really friggin inexpensive (new!). My only big duh is "USB connection" ???

I need to jack this into an XLR 3-pin. I would think these kind of musician mics would have that option, but I'm not sure how you go from USB to XLR...?

Quick insights?

THANKS!!!!

(and the nice thing about these is that I could literally have two running at the same time on separate channels instead of a lav and a boom -- which might end in disaster if I don't find two mics that blend well together, especially since I don't have any advanced sound equipment. This may turn out to be the best advice I've seen for ultra-low budgies like myself)
 
Alright, ordered the 2 for 49.99 w/ free shipping. It's like you said, if I hate them for voice, at least I am garaunteed some good ambient pick up and I can then just grab a lav and be done with it.

However, if the voice pick up sounds decent, these two little buggers may be all I need! Apparently there's some switch (db) that you can flick to improve vocals. Overall all the reviews seemed pretty positive. It

But it is what it is, right?

(and that USB question was on a different mic -- not these ones)

So -- we'll see!!!!

Thanks so much guys! May have just saved this poor newbie some moolah!
 
The 10dB cut can be handy when recording very loud sources, but generally you're not going to want to use it. The low cut is a gentler curve than most, and starts a little higher (200Hz, 6dB / octave) but it should still help cut down the handling noise.

If you've got an inexperienced boom op, then a more forgiving mic can really save your @$$. The tradeoff you make is that you'll pick up a some more of the sound of the room and the crew.

Now all you need is your boom. And shockmount. And cables. And headphones. (This never ends!)
 
Will it all work? Sure, probably, as long as you're framing is nice and tight and the boom op doesn't mind a workout.

That said, I've never heard of the brand, and looking over the specs raises some concerns.

First, the mount:
It appears to be one of the heavy, metal shockmounts you'd find in your neighborhood music store. At 8oz, it's actually heavier than the beefy shockmounts I use in-studio for large-diaphragm condensers. The end of the a boom is the last place you want to have unnecessary weight.

And the boom:
6.5' extended is on the short side, I've felt limited with an 8' pole indoors in the past. From the pictures it looks like they've just stripped the base off a typical mic stand and slapped a couple chunks of foam on it. As for the weight, it's about half a pound heavier than even Rode's little 2m metal pole, and Rode's poles are on the heavy side.

If you don't want to exceed the $160 you started the thread with, then the kit you link might be the only real option. I dimly recall someone linking another super-low cost pole a couple months back, if I find that I'll post a link.
 
JordanBlock said:
Will it all work? Sure, probably, as long as you're framing is nice and tight and the boom op doesn't mind a workout.

That said, I've never heard of the brand, and looking over the specs raises some concerns.

First, the mount:
It appears to be one of the heavy, metal shockmounts you'd find in your neighborhood music store. At 8oz, it's actually heavier than the beefy shockmounts I use in-studio for large-diaphragm condensers. The end of the a boom is the last place you want to have unnecessary weight.

And the boom:
6.5' extended is on the short side, I've felt limited with an 8' pole indoors in the past. From the pictures it looks like they've just stripped the base off a typical mic stand and slapped a couple chunks of foam on it. As for the weight, it's about half a pound heavier than even Rode's little 2m metal pole, and Rode's poles are on the heavy side.

If you don't want to exceed the $160 you started the thread with, then the kit you link might be the only real option. I dimly recall someone linking another super-low cost pole a couple months back, if I find that I'll post a link.
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I'd like the lightest boom and shock possible. I think having someone inexperienced is going to be hassle enough. Could you point me towards some lighter models?

So far I've only spent 49 bucks on the two mics. I need to get some XLR cables (do they make much of a difference what kinds? They say HDMI cables are different and that's a bunch of crap. Is there something specific I should be looking for in XLR cables??), but I think that should leave me with something extra for the boom and shock.

Thanks so much for your help!!!!
 
I'd like the lightest boom and shock possible. I think having someone inexperienced is going to be hassle enough. Could you point me towards some lighter models?
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As long as we are taking a trip down no budget lane... There is always the painters pole. It really depends on what you want in the end but I had my first experience with a really cheap Gitzo (sp) pole the other day and I have to say that a painter pole would be an improvement and about 1/10 the price. But flexibility and quality have a price. How about the RODE pole, it's pretty cheap but again if your not getting much better than a painter pole?

So far I've only spent 49 bucks on the two mics. I need to get some XLR cables (do they make much of a difference what kinds? They say HDMI cables are different and that's a bunch of crap. Is there something specific I should be looking for in XLR cables??)
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Long term yes there is a difference, repairability, quality of build etc. Short term not really. A cable from Guitar Center (providing it's OK when you get it) will hold up OK and if treated well should not cause problems. Really nice cables like MattinSL made are a pleasure to use and may even sound better? If they do it's a slight difference that is probably not going to make a difference at the level your at. But short of custom cables I'm not sure the $$$ is getting you enough to justify the cost. You can certainly pay $$$$$ for cables but I haven't really seen the difference to justify it in most cases.
 
Chamber005 said:
I'd like the lightest boom and shock possible. I think having someone inexperienced is going to be hassle enough. Could you point me towards some lighter models?

So far I've only spent 49 bucks on the two mics. I need to get some XLR cables (do they make much of a difference what kinds? They say HDMI cables are different and that's a bunch of crap. Is there something specific I should be looking for in XLR cables??), but I think that should leave me with something extra for the boom and shock.

Thanks so much for your help!!!!
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1. Yes there is as difference in XLR cables! Stay away from the cheap-o Radio shack stuff. Some of it is not really balanced. I made that mistake one day in a pinch. Got all kinds of RFI so I opened it and it was just one conductor with a shield. (not balanced) even though it XLR conns on both ends. For the most part, though I would check, GC and SA's mike cables are pretty safe. Even their store brands.

2. You can go fiber, or aluminum. Those are the lightest I know of. Just remember, if you buy it on the cheap, you pay for what you get. Personally, if I had a choice of one of the cheap booms or a decent home-made one, I go with the home-made painter pole one. I have used one, and it wasn't that bad, just secure the cables well to get rid of cable slap.

Hmm, should read all posts first. What I meant to say is "Exactly what Noiz2 said"
 
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I hate renting. If you are needing it for awhile but in broken days, by the time you are done, you could of bought one.
 
Your best bet is the Studio Projects B1. It is the closest you can get to a quality microphone for cheap. It is rather bulky, but the sound is not that different from my high end mics, and I have compared it to all of them. The other models are not as good in the studio projects line, although the small diaphragm series has some excellent uses as a spot mic. I can also recommend with some hesitation the MXL 603S if you need something smaller. It is definitely not as good as the B1 but it is even cheaper and can be modded. Modded, however, it is still not quite as good as the Oktava or the Elaton (Elation). The electronics in the B1 are excellent out of the box.
 
Doc Bernard said:
I hate renting. If you are needing it for awhile but in broken days, by the time you are done, you could of bought one.
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well you can rent an mkh60 for $25 bux a day
so that would be basicly 60 days before you'd actually pay the equal amount.
Thats separate days.


If you rented it monthy
4 day week, 3week month

you'd basicly have it for 150+ days


And obviously the most important thing, a major quality difference over
a $100 mic.

Its a very viable solution in particular situations for people who want top end results but have low end budgets.

Of course this only works for people who actually PLAN and SCHEDULE shoots. (like they should)
If tom teenager wants to pick up his camera after school and shoot in his backyard on random days..
of course this isnt a solution.
 
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