AG-AC90 with a Zoom H5?
- Thread starter tswo1
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The first question I'd ask is, why would you want to?
The whole purpose*, in the DSLR world, for using external recorders is to get better sound quality, signal metering and headphone monitoring, and fully manual controls. A lot of this boils down to shoddy pre-amps with no XLR ins, non-defeatable AGC, and often neither manual recording input level control nor live signal metering or monitoring, which are common in DSLR cameras.
However, your camera offers all those things, with pre-amps that are at least as good as, if not better than, the Zoom H5. What do you hope to gain by using the H5 with the AC-90A?
It should also be noted that recorders like the H5 are not made specifically for DSLR folmmakers. They were originally marketed for gigging musicians to be able to make quick field recordings, but were adopted by DSLR shooters to fill a major sound gap left by the cameras. Feeding these recorders into DSLR cameras requires adapter cables, as the signal output is not designed for DSLR camera inputs, with the exceptions of the DR-60D and DR-70D from TASCAM, which both offer lower-level outputs specifically for DSLR (and small camcorders with only 1/8" mic-level in).
*In major motion pictures, sound is always recorded on a separate system, but that's a world where the sound recording system can cost 3x what was spent on the camera package. In the world of DSLR, pro-sumer camcorders, and low-cost recorders, the second system audio recorder has places where it exceeds the camera and places where it offers only as much as the camera itself.
The whole purpose*, in the DSLR world, for using external recorders is to get better sound quality, signal metering and headphone monitoring, and fully manual controls. A lot of this boils down to shoddy pre-amps with no XLR ins, non-defeatable AGC, and often neither manual recording input level control nor live signal metering or monitoring, which are common in DSLR cameras.
However, your camera offers all those things, with pre-amps that are at least as good as, if not better than, the Zoom H5. What do you hope to gain by using the H5 with the AC-90A?
It should also be noted that recorders like the H5 are not made specifically for DSLR folmmakers. They were originally marketed for gigging musicians to be able to make quick field recordings, but were adopted by DSLR shooters to fill a major sound gap left by the cameras. Feeding these recorders into DSLR cameras requires adapter cables, as the signal output is not designed for DSLR camera inputs, with the exceptions of the DR-60D and DR-70D from TASCAM, which both offer lower-level outputs specifically for DSLR (and small camcorders with only 1/8" mic-level in).
*In major motion pictures, sound is always recorded on a separate system, but that's a world where the sound recording system can cost 3x what was spent on the camera package. In the world of DSLR, pro-sumer camcorders, and low-cost recorders, the second system audio recorder has places where it exceeds the camera and places where it offers only as much as the camera itself.
If the camera sounds just as good to you, then it is just as good for wha t you do. Knowing the general quality of Zoom pre-amps, I'd be fairly confident that the camera cannot be any worse and us probably better.
Now, if we were talking about a Sound Devices field recorder, that's a whole different ball of wax.
Now, if we were talking about a Sound Devices field recorder, that's a whole different ball of wax.
There are better recorders out there. Especially, you might want to look at the TASCAM DR-60DmkII.
What do you mean by this?
Got it. That would be a small-diaphragm condenser (as opposed to a large-diaphragm condenser). More specifically, a the Oktava MK012 is a hypercardioid, or at least is used with the hypercardioid capsule when used for on-camera dialog. The hypercardioid is handy for reflective interiors where a shotgun just cannot hold up, but a good shotgun will be more the go-to. Having both means being ready for most situations.
Just out of curiosity, why?
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The NTG-3 is a great mic, and is my workhorse. It can be used for seated interviews quite well (interiors). Where the hypercardioid comes in is with interiors that are highly reflective (reverberant), where the reflections can muddy the signal.
The Oktava can sound great, but is notoriously sensitive to wind and handling noise and must be used with TLC. Plus, with increased popularity and demand, the price has gone up in the last couple of years and they are no longe as much of a bargain as they once were. There are other hypercardioids out there that are just as useful, and maybe more forgiving with handling. Check out the Audio Technica 4053b, the AKG Blueline CK93, and the Audix SCX-1 HC. The Audio Technica U873r is an often-overlooked budget solution that does quite well. On the lower-cost end, the Studio Projects C4 pair comes with hyper capsules.
Still curious why you renturned the DR-60DmkII.
The Oktava can sound great, but is notoriously sensitive to wind and handling noise and must be used with TLC. Plus, with increased popularity and demand, the price has gone up in the last couple of years and they are no longe as much of a bargain as they once were. There are other hypercardioids out there that are just as useful, and maybe more forgiving with handling. Check out the Audio Technica 4053b, the AKG Blueline CK93, and the Audix SCX-1 HC. The Audio Technica U873r is an often-overlooked budget solution that does quite well. On the lower-cost end, the Studio Projects C4 pair comes with hyper capsules.
Still curious why you renturned the DR-60DmkII.
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Just be sure to get ample shock isolation (Rycote INV-6) and wind protection (Baby Ball Gag).
The Fostex FR-2LE has a bigger display, and is a bag-friendly form factor. My biggest issue with the handhelds is, while great for handheld field recording (mostly for FX recording), they are clumsy for use with a camera or in a sound bag.
But, really, I'm not sure you'll find a small recorder with a large-print, non-cluttered display.