Do I need to upgrade my mics? Documentary field work.

N

NonFiction

Active member
I do mainly verite and some sit-down interview, documentary. My mics are AKG Blueline shotgun and hypercardioid (just got an Oktava too), and Audio Technica AT899 Lavs, hard wired with AT XLR module or wireless with Sennheiser G2.

My wife and I work together, and we're usually one camera each, or one camera and one interviewing. We usually put a wireless on our subject if needed, and a shotgun or a hypercardioid (AKG, or now Oktava) on top of the camera for ambience. Interviews get a lavalier and a shotgun as close as we can stick it when the subject is seated, or shotgun on top of the camera when shooting environmental.

My question really is, without somehow suddenly acquiring audio skillz we don't have, would we notice a big difference in going from the AKG Blue Line shotgun and AT lavaliers to, say, a Sennheiser 8060* and Tram lavs? All other things being equal, would this be a good investment or throwing money away, or somewhere in between?

What about if we threw a PA into the mix, trained up special by a local sound ninja? Someone who can do dedicated sound, running a very light bag (thinking maybe SD 302 and a Marantz recorder, gathering sound to camera whenever possible, and on audio safari when we're run-and-gun.

We'll be in the field, in Nepal, for approximately one month, finishing up production on this project.

I love good audio, but I really don't know very well how to make it. I'm a picture guy. I know new mics aren't going to make great recordists out of us, but will they make enough difference to make our post person glad we made the investment?

The truth is, I'd like someone to tell me there is such an incremental difference in quality between what I have and what I think I want that I would be better served just going with what I got, and just keep trying to get better at it. Not as much fun, but it'd save me some gearhead angst.

FYI, we can't afford to bring a sound person from here over there, but we're looking for a good one in Nepal. If you happen to know of any, please pass their name along.

Thanks for your thoughts.
 
Using mics on top of your camera, you won't see many (any) real benefits with buying a new mic. On the camera, it's not going to perform its best at all.

The lavs, however, could probably stand to be upgraded. If you're burying the lavs often, Tram is fine as is Countryman B6. The Sanken COS11 is also easi to bury in wardobe. Also take a good look at the RODE lab, since it can be field-swapped from XLR to the 1/8" connector for your Sennheiser.

And, though not necessary, the Sennheiser G3 is a good upgrade from the G2 if for nothing else than the diversity receiver.
 
It's all about proximity, The closer you get the mic to the subject the better it will sound. I imagine you know this. To answer your question, I don't think upgrading from what you have will make much difference.
 
@maranfilms: Thanks. That's pretty much what I was hoping to hear. Well, part of me is secretly hoping to hear I really need a sexy new mic or three, but you know what I mean.

maranfilms said:
It's all about proximity, The closer you get the mic to the subject the better it will sound. I imagine you know this. To answer your question, I don't think upgrading from what you have will make much difference.
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Thanks KarlSutton. I go back and forth on the lav vs. shotgun for interview. For me it depends on the room, and of course the shot, and availability of a mic stand of some sort.

KarlSutton said:
In sit down interviews I much prefer the Rode NTG-3 to the AT899 - brighter fuller sound.
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@Alex H. Is there going to be a difference in quality of sound between the G2 and the G3, given the same mic? If I'm not getting much trouble with RF interference, is diversity receiver important? Thanks!
 
If your G2 systems are holding strong, don't worry about then. I said the G3 systems are a good upgrade, but not necessary. There are much better lavs out there than the AT899.
 
I cannot hear a difference between G2 and G3. In fact, quality wise, even the G1 series is equally as good. Diversity reception from the portable recorder is a good plus - but doesn't make it sound better when signals are strong. Microphones are very special things - price is rarely an indicator of quality of sound. It usually denotes build quality, facilities and perhaps even lifespan. Vintage mics have a strong following, and over the past few years, so many new mics are on the market that the only thing reviewers can tell you is how they feel to the touch, what the buttons do, and explain the spec sheet. Everything else is subjective and almost impossible to quantify. Try one mic, then three weeks later, review another. Unless you do the testing scientifically, it's just opinion. It's more important to choose microphones that suit the jobs. So many are excellent at one thing and just ok at others, so your mic box gets bigger and bigger - BUT - you still go back to your favourites. The ones that you know will do the job. The worst mics I have are ones recommended by other people.
 
+1 on Alex's recommendations. I use a B3 and often bury it deep using Rycote stickies/overcovers/undercovers and I'm quite pleased with it. I can also put a brighter frequency cap on it and they're pretty much sweat/water proof. I've thought of upgrading to the Cos11D but economically, it doesn't make a lot of sense. The B3s sound great.

I invested in a couple Sennheiser MZA900P XLR to 1/8" adapters which work splendidly with my B3s for interviews.
 
The B6 is a great mic.. but unless one has to often hide it, it's a little difficult to work with due to it's extreme (diminutive) cable and element size... also very prone to wind noise if so exposed. For normal work, the B3 would be a better choice IMO. For 'side fire' type lavs, I prefer the Tram, OST and VT mics.
I agree, all things being equal, the G2/3 would 'sound' the same.
 
Hi
Your project looks wonderful! My experience is the sound differences are incremental. Placement is everything and after that you will appreciate the difference if doing an A -> B. However I think you should buy new mics because you don't want to be in Nepal without spare everything, even if traveling light. Recording with a lav on one channel and a non lav for what you are calling environment I like. The lav is dry and it is nice to have another source with more sound space to mix in if you want. Also It backs up the wireless with a wired alternative. I have the Same ATT lavs, Sennheiser lavs and the COS. Each is an improvement but your audience will not send you emails talking about the difference. Again it's when you A -> B them. Hope this helps and I look forward to seeing your project.
 
I bought a Tram TR50 off ebay. I figured I would wire it into my system (i.e., so it works both hard wired and with my Sennheiser wireless packs). I figured it's probably going to be my best lav, so I'll put one of the AT899s out to pasture for a spare.

I've just tested the Tram and the Audio Technica side by side, and I was surprised at how little difference I heard.

Started a thread about it.
 
The Tram TR50 (or OST 801- or 802) and the AT899 are a different design (end-fire vs. side-fire), both sound good, it depends on the mounting options.. In my work-flow these days, it's normally a hiding scenario. Which is better?.. It depends.
 
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