All I need to make Oktava MK012 work- Help Please

J

jcool

Active member
Hi Dear DVXUsers,
I am not a sound guy but want to buy sound equipment and start learning.This is the starter kit I am trying to buy and budget is strictly $1000.

I was going through lot of information regarding mics.I would really appreciate if someone can help me be done with this...I am really lost.

I just ordered Oktava MK012 with Hyper Capsule along with a -10db cap.
Also ordered BBG and Rycote Windscreen.

1)I want to buy Gitzo boompole and Ktek-KSSM shock mount with soft rubber pads.But not sure which models and from where.

Can anyone please give some links where I can buy them from.

Now I have been looking at numerous posts and am still confused.

2)What is phantom power and which one should I buy for Oktava MK012.I would like if that can be used for other mics also that I might buy in future.
3)What length XLR cables should I buy and are there any specific specifications?
4)I read somewhere that HVX can supply phantom power to Oktava.How and what should I buy to make that happen and what are the limitations?
5)Is it a necessity to buy a Mixer to power Oktava,if yes which is the one I can get within my budget?

Scold me,thrash me,abuse me for my questions if they look silly but please HELP!

I have to travel to India by Nov first week and I need to have all of these asap.

Thanks
Jay
 
1. Here is a link for the shock mount: http://www.bhphotovideo.com/c/product/323324-REG/K_Tek_K_SSM_K_SSM_Shock_Mount.html

As for the boompole you didn't specify which length you wanted so here is a link for the 155" carbon fiber one: http://www.bhphotovideo.com/c/product/475913-REG/Gitzo_GB3560_3560_Six_Section_Carbon.html

2. this can supply phantom power for your mic as well as just about any mic if you are needing a 1/8 output to the camera: http://www.bhphotovideo.com/c/product/563070-REG/juicedLink_CX231_CX231_Audio_Mixer_and.html

3. It depends on if you are going to be boom mounting it or camera, if boom you want probably 30' or so, audio technica makes good cables: http://www.bhphotovideo.com/c/product/68100-REG/Audio_Technica_AT8314_30_3_pin_XLR_Male_to.html

If it is to be camera mounted then 1.5ft should suffice, also it would be angled which is nice: http://www.bhphotovideo.com/c/product/262152-REG/Audio_Technica_ASP00127_XLR_Male_to_XLR.html

4. Yes it can supply phantom, there should be either a switch near where you plug in the XLR, or maybe there would be a setting in the menus.

5. To get a decent mixer you would be looking at spending at least $1,000, like a sound devices one: http://www.bhphotovideo.com/c/product/292980-REG/Sound_Devices_302_302_Portable_3_Channel.html

Hope that helps, also if I was wrong about anything some of the other people feel free to correct me as I am not "pro" status yet
 
I'll add only a few more thoughts on a few of your questions.

1) Boom poles come in two flavors: internally cabled and uncabled. You can guess what the difference is. Me, I prefer uncabled for flexibility, but lots of pros like internally cabled. YMMV.

3) Most location sound folks prefer StarQuad-style cables. A quick Google search will let you learn more about this, if you're curious.

Given your enthusiasm, I'd recommend that you actually read two books before you dive into any purchases: Jay Rose's "Producing Great Sound for Film & Video" and Ric Viers' "The Sound Effects Bible." You can tell from the titles that both books have different focus areas, but I recommend them both to ensure that you cover the basics of audio to make more informed gear decisions...so you don't waste money buying the wrong thing! :) If you only read one book, make it Jay's. It concatenates a ton of info that's just not well organized online.

Ty Ford's also got a great video on mic selection here: http://www.revver.com/video/479002/professional-video-microphone-tutorial-when-to-use-what-mic/
 
jcool said:
I just ordered Oktava MK012 with Hyper Capsule along with a -10db cap.
.....

1)I want to buy....Ktek-KSSM shock mount with soft rubber pads.

Jay
Click to expand...
really bad choice for a shockmount for that mic.
I own the mount, it does very little dampening..and for any mic that
has a strong low freq response you're going to hear every single
hand movement on the pole.

You need a mount that has a lot more "give" in it.
 
i have the AT 8415 with an MK012-01 bello nero. ..same -10db pad and all, but i dont have it on there. i use the K-SUS ( http://www.bhphotovideo.com/c/search?Ntt=k-sus&N=0&InitialSearch=yes ) suspension in the mount and took out the standard bands. using an internal coiled K-TEK boompole apx 12' (sorry ..not really sure which exact model # pole ive got here.. dont remember. its not marked on the pole ..could look it up on old reciept, but you should just get the one thats the right length for you anyway. 12' does most jobs fine for me. mine is aluminum with side XLR exit on base of pole)

anyway, sounds like youve got some other great accessories for it already, so if you have an hvx or other cam in its family as others said you can just use it to power the mic by turning on phantom power. check the manual for the switch to simply turn it on. buy some nice balanced and shielded Star-Quad XLR cable in whatever length you need, and your good to go.

hope these reccommendations help. :)
 
Jared hit the basics okay.

Phantom power: Almost all condenser mics need an electrical charge in order to work properly. Until relatively recently (the last 30 years, or so) the power was supplied through the mic cable (as if by some magical entity or phantom - a technical joke). These days some mics use an internal battery to supply the required power. Some mixers supply phantom power.

There's a lot of info we don't have. However, I'll make a few assumptions and make a few suggestions. Assumption one: You are recording the audio direct to camera. Assumption two: Someone is swinging the boom. Assumption three: There are no other audio sources being recorded at the same time.

Since you are going someplace where resupply and repairs will be hard(er) to come by reliability, portability and convenience should be very high priorities. So should economy of use.

I would suggest getting the Sound Devices MM-1. It is a single channel mixer that supplies phantom power. The boom-op could wear the MM-1 on his/her belt; a long cable (30' to 50') connects the MM-1 to the camera. The boom-op has relative freedom of movement, has a headphone feed to hear what s/he is booming and can adjust the mic level easily. The director can listen in on headphones from the camera. If you're doing run & gun all the boom-op has to do is disconnect the audio cable from the camera.

Being a Sound Devices product it is built like a tank, highly reliable and sounds great; it supplies phantom power and is frugal with battery power; changing the battery is easy; it's very compact. Here's where economy comes in - you will use substantially fewer batteries. Even at $2 each (probably a lot more in India) twenty-five 9V batteries is $50. You've already made up the difference between the MM-1 and one of the juiced-Link or Beachtek mixers. You continue to save money on batteries for as long as you own the unit. It becomes part of your expanding audio kit, it's not a one-fix-wonder. Oh, there's a Sound Devices authorized reseller in New Dehli.

You can limit your boom-pole length to 20'. Make sure that you get a good case for it.

I would recommend the K-Tek K-GPS shock mount; better suspension, will accommodate shotguns well. You would have to check that the Oktava will fit, however.

As far as cables go I would recommend Pro Co cables. I've used them for years - literally, and I was a touring musician. Again, economy. If you have to replace a cable in India it may get expensive. Just my personal experience... If the boom doesn't have an internal cable you'll need a 25' XLR cable for a 20' boom pole (if it does you'll only need a 5' XLR cable), and a 30' XLR between the MM-1 and the camera.

Don't forget headphones - again, good ones.

The Rode Blimp is $250, one of the better deals out there. Just a suggestion...

Oh, last bits of advice... If you have a lobar or line/gradiant microphone never call it a "shotgun" when you're at the airport (or in Washington D.C.), you'll have security all over you. And it's a Fish Pole, not a "Boom."


Edit - the point is to pay the extra money up front with the savings to come. You'll use the MM-1 even when you have $10k worth of gear. The Rode Blimp will save you endless wind noise headaches, the shock mount is built into it (saving you that expense) and is another investment in your future.
 
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I gotta back up Bob's statements on the value of the Rode Blimp and the quality of Sound Devices. Every Sound Devices, er, device I've ever bought has been pricey but entirely 100% without regret or second-guessing.
 
I definitely agree with the sound devices MM-1, I had totally forgotten about that. It has phantom power, will last forever, durable, and same price or cheaper than a JuicedLink.
 
Hi jaredgiese,atomick,Rippie,tflak,Neil Rowe,Bob,

I can't appreciate enough for all those quick responses you all have given which makes me feel more proud
about the artists community.Each and every response is very valuable to make a good decision.
As I read through all the suggestions ,everything is in my mind, but I am so exhausted right now at almost 1:00 AM
in the morning.
I am going to carefully read again all your suggestions and arrive at a conclusion.As of now my feeling is ,as Bob pointed,
it would be more expensive and also not easy to get access to whatever I want in India ,I want to go with the best
I can,even if it means that I have to spend those extra bucks to get quality sound.(Have to leave some money to buy a flight ticket to India though :)...just kidding)

Oh, last bits of advice... If you have a lobar or line/gradiant microphone never call it a "shotgun" when you're at the airport (or in Washington D.C.), you'll have security all over you. And it's a Fish Pole, not a "Boom."

LOL,I will keep that in mind :).

Thanks again all of you ,please let me know if there is anything else I could very easily miss though.
For the lack of words THANKYOU VERY MUCH :).
I will look at all these again tomorrow and try to take a good decision.

Regards
Jay
 
Hi Bob/atomik,
Few doubts though.
1.I already ordered BBG and Rycote Windscreen for Oktava.To start with as I am thinking of just Oktava MK012,what would be the use of Rode Blimp,I mean how ould it fit in there?
2.I guess at any give point of time I can use either Rycote BBG and windscreen or Rode Blimp,right?
3.If that is true ,what I understand is I should use BBG,Rycote windscreen and Rode shockmount when indoors and if I intend to use it outside then i should use Rode blimp with some softie like a Rycote softie or something .Please correct me.

4.Can I use MM1 mixer like this.I would record just dialogues connecting it with cable to Camera .If I need to record some ambient sound or some sounds like "door opening" and other such miscellaneous sounds,I would uncable it from the camera and cable it to a recorder like H4N and record those sounds and later sync them in post.

Would that work?

PS: I would be mostly take help of my friend to take care of sound and he is just like me learning while using,so I want to get something which would help us minimise those issues that occur because of "Not Good" accessories.

I have taken a decision on the mic as Oktava and already ordered it.Now for that to make it work to get best results,I want to buy whatever best I can afford (Like Bob suggested :to pay the extra money up front with the savings to come),otherwise it wouldn't make ay sense.
Please let me know.

Thanks
Jay
 
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Double check with your vendor that the Oktava will fit in the Blimps shock mount okay. I'm sure that you'll be using it outdoors on occasion. And "swinging the boom" can be taken literally; when you move the mic quickly - even indoors - it will generate its own wind. Or, if you know for a guaranteed 100% fact that you will always be indoors forego the Blimp and get a shock mount and a softie.

Why get a separate recorder for dialog wilds and wild sound FX? Just roll some tape on the camera! (Make sure that you log it on the tape logs properly.) Don't forget to record room tones!

The whole point of my selections is to be lean, dependable, economical and able to be used to build a production sound kit without needing to replace things in the near future. When you're working on the road - and I did it for over 20 years - think of everywhere you go as hostile territory. You can't resupply, you can't get repairs, you don't want to keep track of a lot of stuff, and the stuff you have must be dependable, tough, easy to set up and break down, and easy to transport. Don't forget a good case for everything.

Oh, food for thought - you may want to ship all of your gear to yourself via FedEx or someone similar; you'll avoid all of the airport hassles and it probably isn't much more expensive than the airlines per bag charges plus you can insure it. You could also ship a sleeve of batteries with it which you couldn't bring onto a plane. Worth checking into.
 
unclebob6958 said:
Why get a separate recorder for dialog wilds and wild sound FX? Just roll some tape on the camera! (Make sure that you log it on the tape logs properly.) Don't forget to record room tones!
Click to expand...

Exactly what he said. OR if you have a secondary camera that is cheaper you could take that around outside and record sounds to run in the background, such as cars going by, people honking, birds chirping, the wind, a train maybe, basically anything.

And also what he said VERY important to record room tone in every new scene, in other words every time you set up in a new place get room tone. For instance say you are outside on one scene, record 30 seconds-1 minute of just pure audio of the environment, make sure the set is absolutely silent. Then say you move indoors to a bedroom, do the exact same thing, as well as for every new room you go to.

As far as the rode blimp versus using the rode shockmount and a fuzzy, the rode blimp when you buy it does come with a deadcat which attaches to the outside, so for all outdoor shoots the rode blimp and the deadcat it comes with will be perfect. And the blimp DOES attach to a boompole, it has a thread adapter with it. Now if there is minimal wind outside you might as well just go with the rode shockmount and fuzzy because it will weigh alot less, and every ounce counts when your holding that thing up there for a few minutes :)
 
Exactly what he said. OR if you have a secondary camera that is cheaper you could take that around outside and record sounds to run in the background, such as cars going by, people honking, birds chirping, the wind, a train maybe, basically anything.
Click to expand...
I have a canon HV30 with me as a secondary camera so probably I would use this for recording all those sounds:).And I shall record the room tones too.Great learning all these from you .

I will use Rycote BBG+Rycote Windshield(Fuzzy)+Rode Shockmount indoors and use Rode Blimp System outdoors.

After going through all the valuable suggestions,As far as these things are concerned the list I would order would be ((except the things I already have):
Rode Blimp System
Rode Shockmount SM4
Rode Silicon Replacement Bands.
Sound devices MM1 :)

The pending things would be Boom Pole and Cables.
Two options I am thinking of for a boompole are (one pricey and another less expensive):
Gitzo:
http://www.bhphotovideo.com/c/product/475913-REG/Gitzo_GB3560_3560_Six_Section_Carbon.html
KTEK :
http://www.bhphotovideo.com/c/product/292880-REG/K_Tek_K_152CCR_K_152CCR_5_Section_Klassic_Series.html
Which one is better for a long run.I would love to hear the Gitzo is good too as KTEK is almost double the price.What is the difference that KTEK is so expensive?Does it really add that much value?

Depending on the boompole selection I would like to buy the XLR cables.30' one to connect from Boom Pole to camera if KTEK
or
30' + a 25' XLR cable if Gitzo as it would not have internal cable right?

Thanks Again for all those suggestions.This link would help a lot of guys like me who are new to Audio.

Thanks
Jay

 
One thing I would personally change to the list of items you will be ordering is the replacement bands, these will probably do a better job for you:

http://www.bhphotovideo.com/c/product/292948-REG/K_Tek_K_SUS_K_SUS_Microphone_Suspenders_Pair_.html

Then as far as fuzzy vs blimp indoor outdoor, what you have listed sounds good, blimp with it's deadcat outdoors, and the rycote stuff for indoors.

As far as the boom pole the K-Tek will be better for the long run in my opinion, I have used their internal cabled poles before and been very pleased, plus 12' will be enough for just about anything. BUT if money is a big issue, the Gitzo one will be fine for now. The reason the KTek one is more expensive is basically the internal cable, that bumps the price up a good amount.

As far as cables, if you do decide to go with the K-Tek, you will want a 10' cable, then plug that cable into the MM1 which should be on your body somewhere typically, and then a 30' cable to go from the MM1 to the camera. If you went with the Gitzo you would want a 20' cable to go into the MM1, then a 30' cable to go out of the MM1.

Hope that helps.
 
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