Hi all,
Recently I've purchased my starter sound kit for my own low-budget shoots. I've done a lot of research, and I'd like to share my findings so that I may spare others the effort.
Who is this guide for?
Of course everybody, but it's aimed mainly at beginner filmmakers who want to step up their productions by improving the quality of their audio. I'm talking about people who are using their camera's on-board mic or a mic attached to their camera (such as the Rode Video Mic). People who want to start using a mic on a boompole. And people who don't have a whole lot of money to spend.
Don't get me wrong: in some situations, a mic attached to your camera's hot-shoe is ideal. But when you're making short films, you really want a dedicated sound person. A camera-mounted mic can only be pointed in one direction, while booming gives you and your actors freedom of movement, plus better sound
.
Disclaimer
A few FAQ's before we really get started.
Question: Will this set-up give me ultra-clean, professional quality audio?
Answer: No.
Question: But it will at least give me really, really good audio, right?
Answer: No.
Question: But will it be kinda good?
Answer: Depending on your sound person, it can be good/decent. It will definitely be a lot better than your static mic.
Look, what I'm offering in this guide is a not-too-expensive step up in sound production. But I'm going to be as honest as I can be. What I've noticed is that if you want better quality VIDEO, there are cameras in virtually any price range. This means that you have a lot of choice depending on your budget. Less so for audio. It'll take quite a lot of money to take your audio to the 'next level' (more than most people expect, anyway). Just remember that it is worth it. It may be a cliche, but audio is such a large part of your film. Good audio will make your film better.
Experienced audiophiles will probably frown at my recommendations. This is another thing that struck me during my research: the standard advice seems to be "save up for better gear". That's very good advice! More expensive gear will give you better quality audio. However, my setup has cost me over $500 already, and that's a lot for me! I will save up for more and/or rent for bigger projects, but in the meantime I want to make films.
The Guide
Having said all this, on to the actual guide.
A little theory you need to know before you buy sound gear
There are many factors concerned with recording good quality audio, but I'll limit myself to the four most important ones.
. Now lets look at the gear.
The Microphone: Rode NTG2
I chose the Rode NTG2 because of the way it sounds, its price and the fact that it can be battery powered. There is a drawback: the NTG2 has weak mic-level audio. This might not be a drawback for you if you only intend to record sounds which are loud. However, it's a bit too quiet for dialogue. To compensate for the weak mic-level audio, you'll have to set the gain on your mixer/recorder at a high level. Because we're opting for a cheap field recorder, this will introduce noise into your recordings. The internet is littered with people who complain that the NTG2 + recorder ruins their audio. This can be solved by proper booming technique and a little piece of gear we'll discuss in a minute.
You might not like this mic. No problem, you can opt for another one. I recommend you look at and listen to other options in this price range. There are a few mics which are decent in our price bracket.
The Field Recorder: Tascam DR-40
The DR-40 is a handy all-round recorder. You'll find its features listed on other webpages, so I won't go into too much detail. It's sufficient to know that it features two XLR inputs, which means we can connect the NTG2 to it. It also gives us phantom power and dual-track recording. One thing that the DR-40 doesn't have is good preamps. Then again, in this price bracket no field recorder has good preamps and from what I've read, people seem to agree that the DR-40's are the best in its category (by a small margin).
The Zoom H4n is a similar field recorder. Why not choose that one instead? Because it has the same features as the DR-40, but is more expensive and has worse preamps. 'Nuff said.
The Triton Fethead
Alright, so we have a recorder and a mic. We've established that the mic-level output needs a little push. Now what? Enter the Triton Fethead. It clips into your mic on one side, and into the cable on the other side. This little baby only does one thing: it boosts the mic's audio by 20 dB. That means that the audio arriving at your recorder is a lot louder, which in turn means that you can turn down your gain. Lower gain = less noise = better quality audio. As always, there is a drawback. The Fethead requires phantom power. This will eat the DR-40's batteries like there's no tomorrow, so stock up on them. Also, if your mic requires phantom power, you'll have to purchase the Fethead Phantom, which allows phantom power to flow through it to the mic. The NTG2 can be battery powered, so if you choose this mic you don't have to worry.
While researching I encountered many people who asked the question whether the Fethead works, but I didn't find any reviews or audio samples (except on a German board). That's why I've included some at the end of this guide, for comparison. Audio professionals complain that the Fethead is a band-aid, instead of a solution. They're right. The real solution is to get a good-quality preamp. However, since we're on a budget... you get the point. I was pleasantly surprised about what the Fethead can do. To record dialog I had to set the gain at 80-90 without the Fethead. With it I can leave it at 35.
Headphones: Sennheiser HD 380 pro
You have to monitor sound through a pair of headphones. The sound monitor on the DR-40 will tell you a lot, but not what it is recording. You or your soundperson has to hear it. Although you could use your regular earbuds, I'd recommend studio headphones. The difference between these and regular headphone/earplugs is that they represent sound more accurately, whereas conventional headphones/earplugs will try to make audio sound better. Studio headphones also shut out external noise way better.
The Little Things
I made three recordings, and in all three I read a news article out loud. I didn't do any post-processing, apart from stitching the samples together in Audacity. The distance between my mouth and the mic is ~50cm/1,5ft. The audio are 24-bit WAVs @ 48 kHz (although I don't know what Soundcloud does to them). My living room isn't particularly suited for audio recording, and my house is on a busy road, but it's good enough to hear the difference. In case you're wondering, I'm Dutch, so you're listening to Dutch news.
Recording 1 - you'll hear a) no Fethead at 90 gain (highest setting), b) no Fethead at 35 gain, c) Fethead at 35 gain.
https://soundcloud.com/qopzeep/india-90-35-35f
Recording 2 - you'll hear a mix of non-Fethead audio and Fethead audio, at approximately the same dB-level.
https://soundcloud.com/qopzeep/india-mixed
Recording 3 - you'll hear a different news article with a) non-Fethead at 90 gain, b) Fethead at 35 gain.
https://soundcloud.com/qopzeep/robobee-90-35f
As you can hear, a remarkable difference. The Fethead dramatically improves the audio quality. It removes a lot of noise (although I find the audio slightly more 'tinny'). Combine that with a sound person who knows how to boom, and you'll be recording very decent dialogue.
Conclusion
These are my two cents for other starting filmmakers out there. I hope it's helpful for you. If it was, consider leaving a reply. If you know something useful that I forgot to include, or disagree with what I've written, I encourage you to reply as well, whether you're experienced or not. If you have used this kit or a similar one on your project, please share the link! When I've finished my next short, I'll post it here.
Good luck on your projects!
~ Qopzeep
PS - a BIG BIG thanks to everyone who posted on this board and elsewhere on the internet. You have helped me a lot.
Recently I've purchased my starter sound kit for my own low-budget shoots. I've done a lot of research, and I'd like to share my findings so that I may spare others the effort.
Who is this guide for?
Of course everybody, but it's aimed mainly at beginner filmmakers who want to step up their productions by improving the quality of their audio. I'm talking about people who are using their camera's on-board mic or a mic attached to their camera (such as the Rode Video Mic). People who want to start using a mic on a boompole. And people who don't have a whole lot of money to spend.
Don't get me wrong: in some situations, a mic attached to your camera's hot-shoe is ideal. But when you're making short films, you really want a dedicated sound person. A camera-mounted mic can only be pointed in one direction, while booming gives you and your actors freedom of movement, plus better sound
.Disclaimer
A few FAQ's before we really get started.
Question: Will this set-up give me ultra-clean, professional quality audio?
Answer: No.
Question: But it will at least give me really, really good audio, right?
Answer: No.
Question: But will it be kinda good?
Answer: Depending on your sound person, it can be good/decent. It will definitely be a lot better than your static mic.
Look, what I'm offering in this guide is a not-too-expensive step up in sound production. But I'm going to be as honest as I can be. What I've noticed is that if you want better quality VIDEO, there are cameras in virtually any price range. This means that you have a lot of choice depending on your budget. Less so for audio. It'll take quite a lot of money to take your audio to the 'next level' (more than most people expect, anyway). Just remember that it is worth it. It may be a cliche, but audio is such a large part of your film. Good audio will make your film better
.Experienced audiophiles will probably frown at my recommendations. This is another thing that struck me during my research: the standard advice seems to be "save up for better gear". That's very good advice! More expensive gear will give you better quality audio. However, my setup has cost me over $500 already, and that's a lot for me! I will save up for more and/or rent for bigger projects, but in the meantime I want to make films.
The Guide
Having said all this, on to the actual guide.
A little theory you need to know before you buy sound gear
There are many factors concerned with recording good quality audio, but I'll limit myself to the four most important ones.
- Mic level vs. Line level audio - when a sound is recorded by a microphone, a tiny electrical current is generated. This travels through the cable to a recorder. However, it's not the audio that you listen to, because this signal is far too weak. The recorder brings it up to line level, which is the level at which you listen. For more info, read this excellent post by Alex H.
- Preamp - a preamp is the part in a mixer or a recorder that brings the audio up to line level. The better the preamp, the cleaner your audio will be. A bad preamp will add more noise to the audio than a good one. Noise is a continuous hissing or buzzing sound under your recorded audio. Generally, a more expensive mixer/recorder will have a better preamp.
- Gain - the gain determines to what height the mic-level audio is increased. If you're recording a rock concert, you'll generally want to set the gain low. If you're recording an insect's footsteps, you'll want to set the gain high. I like to compare gain to ISO/gain on cameras. If you're recording in a low-light environment, you can set a higher ISO or gain value to compensate, but this will introduce noise into your video. The same goes for sound, though it's much more noticeable by your audience. Rule of thumb: the higher you set the gain, the more noise is introduced into your audio, so you'll want to keep it as low as possible.
- Clipping - audio clips when it goes up to a certain level. Time for another comparison to video
. When your film is over-exposed, you'll get pure white areas in your image. You can't color-correct this, since there is no detail left in it. It's just white. Clipping is like this. When recording, you set the gain at the level appropriate for your recording. If a sound is recorded which is far too loud, the recorder will reach its peak and cannot record anything that goes beyond that. The audio will distort. You can't correct this in post, because - like the over-exposure in film - there is no detail in it. That's why it's best not to set the gain too high when recording.
. Now lets look at the gear.The Microphone: Rode NTG2
I chose the Rode NTG2 because of the way it sounds, its price and the fact that it can be battery powered. There is a drawback: the NTG2 has weak mic-level audio. This might not be a drawback for you if you only intend to record sounds which are loud. However, it's a bit too quiet for dialogue. To compensate for the weak mic-level audio, you'll have to set the gain on your mixer/recorder at a high level. Because we're opting for a cheap field recorder, this will introduce noise into your recordings. The internet is littered with people who complain that the NTG2 + recorder ruins their audio. This can be solved by proper booming technique and a little piece of gear we'll discuss in a minute.
You might not like this mic. No problem, you can opt for another one. I recommend you look at and listen to other options in this price range. There are a few mics which are decent in our price bracket.
The Field Recorder: Tascam DR-40
The DR-40 is a handy all-round recorder. You'll find its features listed on other webpages, so I won't go into too much detail. It's sufficient to know that it features two XLR inputs, which means we can connect the NTG2 to it. It also gives us phantom power and dual-track recording. One thing that the DR-40 doesn't have is good preamps. Then again, in this price bracket no field recorder has good preamps and from what I've read, people seem to agree that the DR-40's are the best in its category (by a small margin).
The Zoom H4n is a similar field recorder. Why not choose that one instead? Because it has the same features as the DR-40, but is more expensive and has worse preamps. 'Nuff said.
The Triton Fethead
Alright, so we have a recorder and a mic. We've established that the mic-level output needs a little push. Now what? Enter the Triton Fethead. It clips into your mic on one side, and into the cable on the other side. This little baby only does one thing: it boosts the mic's audio by 20 dB. That means that the audio arriving at your recorder is a lot louder, which in turn means that you can turn down your gain. Lower gain = less noise = better quality audio. As always, there is a drawback. The Fethead requires phantom power. This will eat the DR-40's batteries like there's no tomorrow, so stock up on them. Also, if your mic requires phantom power, you'll have to purchase the Fethead Phantom, which allows phantom power to flow through it to the mic. The NTG2 can be battery powered, so if you choose this mic you don't have to worry.
While researching I encountered many people who asked the question whether the Fethead works, but I didn't find any reviews or audio samples (except on a German board). That's why I've included some at the end of this guide, for comparison. Audio professionals complain that the Fethead is a band-aid, instead of a solution. They're right. The real solution is to get a good-quality preamp. However, since we're on a budget... you get the point. I was pleasantly surprised about what the Fethead can do. To record dialog I had to set the gain at 80-90 without the Fethead. With it I can leave it at 35.
Headphones: Sennheiser HD 380 pro
You have to monitor sound through a pair of headphones. The sound monitor on the DR-40 will tell you a lot, but not what it is recording. You or your soundperson has to hear it. Although you could use your regular earbuds, I'd recommend studio headphones. The difference between these and regular headphone/earplugs is that they represent sound more accurately, whereas conventional headphones/earplugs will try to make audio sound better. Studio headphones also shut out external noise way better.
The Little Things
- A cable
Yup. Can't say much about it, other than that you need one. Choose one that has a male plug on one side and a female plug on the other. 5m/15ft should be enough for most uses. - Batteries + charger
You'll need a lot of these. Choose rechargable batteries, NiMH or Lithium. Since the DR-40 takes a clumsy three batteries, and most batteries come in packs of four, I'd advise you to buy 3x4 = 12 batteries. This means that you always have four to charge, which is better for your batteries. Unless you buy an expensive charger which can charge batteries individually. Final note about batteries: the DR-40 has a menu option that lets you set the battery type (alkaline or NiMH). I guess this has to do with power saving. - RODE WS6
I chose this windscreen instead of a proper blimp because blimps cost a lot. Blimps are a lot better than this windscreen at stopping wind noise, but I can't afford one yet. In the meantime, this is a budget-friendly solution. If you have some cash, but not enough for a RODE Blimp, you could go for a ProAim blimp (around $100), which also gives you a shock mount. - Painter's pole
A low-budget filmmaker's best friend. Real boom poles are expensive. A painter's pole isn't and basically does the same (they're both all pole-like and stuff). If you buy a blimp, you can find pole-to-blimp adapters on eBay. Do a search for "Make Boom Pole with Pro Adapter for Video Shotgun Mic". Yep, that's the title of the ad. - DIY stuff
I made my own shock mount and painter's pole adapter, and use it until I can afford a blimp. There are many tutorials online that can tell you how to build these.
I made three recordings, and in all three I read a news article out loud. I didn't do any post-processing, apart from stitching the samples together in Audacity. The distance between my mouth and the mic is ~50cm/1,5ft. The audio are 24-bit WAVs @ 48 kHz (although I don't know what Soundcloud does to them). My living room isn't particularly suited for audio recording, and my house is on a busy road, but it's good enough to hear the difference. In case you're wondering, I'm Dutch, so you're listening to Dutch news.
Recording 1 - you'll hear a) no Fethead at 90 gain (highest setting), b) no Fethead at 35 gain, c) Fethead at 35 gain.
https://soundcloud.com/qopzeep/india-90-35-35f
Recording 2 - you'll hear a mix of non-Fethead audio and Fethead audio, at approximately the same dB-level.
https://soundcloud.com/qopzeep/india-mixed
Recording 3 - you'll hear a different news article with a) non-Fethead at 90 gain, b) Fethead at 35 gain.
https://soundcloud.com/qopzeep/robobee-90-35f
As you can hear, a remarkable difference. The Fethead dramatically improves the audio quality. It removes a lot of noise (although I find the audio slightly more 'tinny'). Combine that with a sound person who knows how to boom, and you'll be recording very decent dialogue
.Conclusion
These are my two cents for other starting filmmakers out there. I hope it's helpful for you. If it was, consider leaving a reply. If you know something useful that I forgot to include, or disagree with what I've written, I encourage you to reply as well, whether you're experienced or not. If you have used this kit or a similar one on your project, please share the link! When I've finished my next short, I'll post it here.
Good luck on your projects!
~ Qopzeep
PS - a BIG BIG thanks to everyone who posted on this board and elsewhere on the internet. You have helped me a lot.
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