Does anyone here have experience with the SGM-2x? I'd like some reviews in regards to range and wideness of pickup pattern if possible. My current means won't allow for a good boom or boom operator, so I need something that we can leave on its own decently. That means not following the actors much if at all. Any other suggestions for something usable (maybe even less expensive while still working well?) would also be appreciated.
Azden SGM-2x
- Thread starter Casalen
- Start date
Steve House
Veteran
You're seeking the impossible when you say you want something that you can set-and-forget. You can't do that with the camera and get good pictures and you can't do it with a microphone and get good sound. Don't expect sound to require less attention than picture just because you can't see it. That particular mic you mention is a shotgun mic - for optimum results it needs to be placed about 3 feet or less from the talent, maybe you could get away with 4 in a really quiet space, and aimed approximately at their throat. You have an aiming leeway of a circle about 8 inches in diameter around that point before the sound quality starts to fall off. As you go to mics with wider patterns the aim is less critical but the working distance gets smaller (you have to get it closer to the subject). A cardioid, for example, picks up across a hemisphere ranging about 90 degrees on either side of the mic's axis. Great for not having to follow the action with it BUT for best sound quality on speech it has to be about 10 inches from the speakers mouth, making it all but useless for dramatic work.
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And, regardless of placement, you are starting with a terrible mic. Avoid anything Azden. If you really need a mic in that price range, look at the Rodes (not the VideoMic).
Otherwise, just use the built-in mic on your camera, your sound won't be any worse. And, get a boom and a boom op - you can get the Rode boom for like $99 and I'm sure you have a friend that can stand and hold it (buy him a Mickey D's lunch). If you can't even do this, then why are you attempting to make a movie?
Phil
Otherwise, just use the built-in mic on your camera, your sound won't be any worse. And, get a boom and a boom op - you can get the Rode boom for like $99 and I'm sure you have a friend that can stand and hold it (buy him a Mickey D's lunch). If you can't even do this, then why are you attempting to make a movie?
Phil
Nobody is trying to be rude here. It's just that this question is asked ALOT, "How do I get good sound with an on camera mic?" Well, you don't. Even an inexperienced person holding a boom is loads better, simply because at least the mic is close to the talents. And you say you don't have time to have someone come in? Imagine how much work you'll be doing in post when you discovered that the camera mounted mic gives poor audio. If we can get decent sound just from mounting a mic on a camera, a lot of sound people will be out of work. You've already taken the time to schedule the shoot, might as well go the extra mile.
Casalen,
I honestly wasn't meaning to be rude. If I came off that way, I apologize. But, I still stand by what I said. We see way to many people in this forum that have invested significant dollars in a camera, locations, etc. and then want to know how to get great movie sound for $50. (I'm not saying you said that, I'm just making a general statement). But, what I said is the truth, as hard as it is to hear. I have two movies in pre-prod right now, and I won't start either project until I have sufficient funds to do each one properly. (Alan and/or Scott, if either of you is around, I want to talk with you about coming in to do sound... ;-)
BTW, I know several people that actually enjoy booming, and see it as an exciting part of the movie making process. And, they're actually on set, unlike me sitting 100' or so away, watching the whole thing on TV.
Finally, if on any low budget project the director doesn't find out that the sound is terrible until the editing room, then shame on him/her. Headphones are an essential part of any movie making process, and need to be used religiously, especially if you have a novice boom op.
Phil
I honestly wasn't meaning to be rude. If I came off that way, I apologize. But, I still stand by what I said. We see way to many people in this forum that have invested significant dollars in a camera, locations, etc. and then want to know how to get great movie sound for $50. (I'm not saying you said that, I'm just making a general statement). But, what I said is the truth, as hard as it is to hear. I have two movies in pre-prod right now, and I won't start either project until I have sufficient funds to do each one properly. (Alan and/or Scott, if either of you is around, I want to talk with you about coming in to do sound... ;-)
BTW, I know several people that actually enjoy booming, and see it as an exciting part of the movie making process. And, they're actually on set, unlike me sitting 100' or so away, watching the whole thing on TV.
Finally, if on any low budget project the director doesn't find out that the sound is terrible until the editing room, then shame on him/her. Headphones are an essential part of any movie making process, and need to be used religiously, especially if you have a novice boom op.
Phil
No problem there, I definitely understand the sentiment. While most of my budget needs to go to food and the like, I also don't expect anything in this field to be cheap and easy without making the video look like it was done cheap and easy. That said, are there any opinions on this package:
http://www.bhphotovideo.com/c/product/421940-REG/Rode__NTG_2_Shotgun_Microphone.html
It'll take everything I have right now, so it's not a decision to take lightly. There's nowhere in this area I can rent or otherwise find this kind of equipment to test, so whatever's said here is all I have to go off of on opinions.
http://www.bhphotovideo.com/c/product/421940-REG/Rode__NTG_2_Shotgun_Microphone.html
It'll take everything I have right now, so it's not a decision to take lightly. There's nowhere in this area I can rent or otherwise find this kind of equipment to test, so whatever's said here is all I have to go off of on opinions.
Casalen,
Rather than go with that kit, if you can swing a bit more, here's what I'd recommend:
Rode Boom Pole ~ 99.00
NTG2: 249.00
Ktek K-zepp: $379.00
2x 25' XLR cable: $28.00
(Keep in mind, these are retail prices, so you should be able to negotiate down a bit if you call Trew Audio or Coffey Sound or one of the other dedicated sound shops.)
Okay, I know it's more than a bit more, and yes, I know there is better equipment out there, but I think you'd be better served at the very least with the ktek zepplin rather than the rycote. And you don't really need the handle or the bag. And for just a bit more money, there is a Gitzo boom pole that people here are very fond of (I haven't used it, so I don't know...all my poles are k-tek.)
Anyway, that kit isn't a bad one, but I find that B&H generally throws stuff in the kit that you won't really need, but charges you for it anyway.
Just my $.02.
Hope this helps.
Phil
Rather than go with that kit, if you can swing a bit more, here's what I'd recommend:
Rode Boom Pole ~ 99.00
NTG2: 249.00
Ktek K-zepp: $379.00
2x 25' XLR cable: $28.00
(Keep in mind, these are retail prices, so you should be able to negotiate down a bit if you call Trew Audio or Coffey Sound or one of the other dedicated sound shops.)
Okay, I know it's more than a bit more, and yes, I know there is better equipment out there, but I think you'd be better served at the very least with the ktek zepplin rather than the rycote. And you don't really need the handle or the bag. And for just a bit more money, there is a Gitzo boom pole that people here are very fond of (I haven't used it, so I don't know...all my poles are k-tek.)
Anyway, that kit isn't a bad one, but I find that B&H generally throws stuff in the kit that you won't really need, but charges you for it anyway.
Just my $.02.
Hope this helps.
Phil
SMuir
Well-known member
You know, its statements like that that really scorch my bacon.
The boom op's job is physically demanding and requires a great deal of skill and finesse, but to call it an unpleasant job implies a level of contempt that is precisely why experienced production sound mixers are often reluctant to take on low-budget shows. The boom guy/gal's job will only be as unpleasant as you make it.
If your budget does not allow for the barest minimum of sound recording equipment and labour, then you will be faced with four options: convince someone with their own gear to make your movie for you for free, delay production until the budget can be re-worked, re-record everything in post-production at a much greater expense, or proceed as planned and live with sub-par sound.
Ignoring sound in a film budget is like designing a car but forgetting the wheels.
Alan H. Chang
Veteran
1.) I have had the opportunity to try out the Azden and I will not recommend it to anyone. The type of sound that you want is not what this mic has to offer. Add $50 more or so and you can get a Rode NTG-2 or the Audio Technica AT875R.
Phil's recommendation can cover both interior and exterior locations. Add a hypercardiod or even a cardiod and you're all set to go. The K-tek Zepp will be your all-in-one shockmount/wind protection accessory, much better than the softie.
Phil's recommendation can cover both interior and exterior locations. Add a hypercardiod or even a cardiod and you're all set to go. The K-tek Zepp will be your all-in-one shockmount/wind protection accessory, much better than the softie.