I need a setup( boom, cable, mic) for under $300

[renegadewill]

Is it possible? I have a set up picked out on b and h, but a couple people have said the mic is crap and other says its ok. To be honest I will be content just to not have any camera noise on my audio.

here is the set up I might get

Azden
SGM-1X - Super-Cardioid Shotgun Condenser Microphone

Gitzo
G-556 Weekend 3-Section Aluminum Boompole - Measuring 2.5 to 6.6'
MFR #G556 • B&H #GIG556

Audio-Technica
3-pin XLR Male to 3-pin XLR Female Balanced Cable - 20 ft [URL="http://www.bhphotovideo.com/bnh/controller/home?O=cart_accessories&A=details&Q=&sku=68098&is=REG"]
MFR #AT8314-20 • B&H #AUAT831420

[/URL]
Is Azden a bad brand?

thanks
Will

 

[SMuir]

For the most part Azden mics are, indeed, crap. Of course, I haven't used that particular mic, so I can't really comment on its value as an investment other than to say that I wouldn't buy one.

Have you heard the dialogue recorded by those who recommended the mic? If they were able to get clean and useable production tracks out of it, then it may be worth a look.

However, saying that a mic is "okay" is rather like saying a cellphone video camera is "okay". It may be fun to goof around with it on weekends, but do you really want to use it for your projects.

Don't just take their (or my) word for it, though. Go to a reputable brick-and-mortar audio dealership and ask to take a listen to the mic before buying. You know better than anyone what's "good enough" to you.

Bear in mind that $300 will get you a good week's rental of a solid production sound package with tried-and-true industry workhorse equipment.

As for not having any camera noise on your audio, you'll need more than just a mic and a boom to pull that off. Video cameras are notorious for noisey preamps and audio circuitry, which is one of the reasons why pro sound folk usually opt for external mixers.

 

[renegadewill]

I'm thinking of going rode ntg1, b&h has a pack that's $250 and comes with suspension, a short xlr for on camera stuff (I was only gonna use this on little one man projects that I'm getting paid for). I'll have to buy a 20foot xlr and a boom too, for real stuff. Would that be decent, I really just want something that will sound ok and not great the second I get it outta the box.

 

[SMuir]

When someone tells me "it doesn't have to sound great" what I hear is "I don't care what it sounds like, as long as its cheap."

The forum stickies are packed with excellent reccomendations regarding entry-level production sound gear. With a budgetary ceiling of $300, I'd buy a good used wired lav', a pair of used MDR-7506 headphones, a pair of 25' XLR cables (always-always-always bring a spare) and restrict myself to sit-down talking-head interviews. Keep an eye on Trew Audio's website; I've snagged some real bargains from their consignment section.

 

[saneproductions]

I'm thinking of going rode ntg1, b&h has a pack that's $250 and comes with suspension, a short xlr for on camera stuff (I was only gonna use this on little one man projects that I'm getting paid for). I'll have to buy a 20foot xlr and a boom too, for real stuff. Would that be decent, I really just want something that will sound ok and not great the second I get it outta the box.

You would be better off with the Rode by far than going with the Azden. Add a pole later or just charge one on your credit card now.

I also really like smuir's suggestion of going with a wired LAV. Countryman EMW can be had for cheap, but I wouldn't go for anything less than that.

 

[saneproductions]

the main thing with a boom is that you need to get the mic close enough to the speaker's mouth (and point it exactly at the mouth) 18"- 2' if you want good sound. That's one reason why on cam mounting sucks... then there is the cam motor noise, the fact that if you point a shotgun straight at the subject from cam instead of from above and in front, it picks up everything BEHIND the subject too.

 

[renegadewill]

Yea, on camera mic is a last resort option that I want with the mic I buy. It's not that I don't want it to sound good, it's that I do not need to have the clarity required to record an orchestra. It's mainly going to let me to worry about the distance I am from the subject with the lense, because I will have my boom op. just outta frame. Until I get this setup I am stuck with the classic poor kid style, always having a close up when there is any form of dialogue.