Looking for best inexpensive mic/soundkit for short film production

L

landolando

New member
Hello! I have been reading around, and although a lot of the mic names are still just letters and numbers to me, I thought maybe making a post would help me figure out what my group and I need.

Here is the situation:

- We are trying to get things in two or three waves. First wave, the bare minimum we can get away with, to get comfortable with equipment. Second wave, stuff we need, but not as urgently, and is maybe more expensive. Third wave, building up . improving the kit further.
- We are looking to put more money into the microphone right now, and less on other things. Having a good mic is the main concern.
- Looking for a minimum mic kit for around $500 right now, but if you have suggestions of things that are better or cheaper, the price is flexible.
- We are shooting mostly indoors, not as concerned with amazing sound quality on work we do outside, we'll probably ADR that until we can upgrade.
- The shoots will be small and with only one person dedicated to sound. With that in mind, we're not too concerned with rear access pickup, since it will be easy to have a quiet set, but having multiple microphones slung might be more difficult.
- The sound will be done by one of us, and we are fairly inexperienced. We have a painter's pole that can work as a boom (yeah, not ideal, I know), but if a better boom is needed, we're okay with getting that
- Ideally we will be getting more than one mic for different jobs, but the best thing right now, I think, is to invest in one really good mic.

So, what should we look for in a kit and mic? It seems for the mic the AKG Blueline CK93 might be the best, should we pick that over a Hyper Mk012? The AKG seems to be cheaper and maybe even better for our purposes. Thanks!
 
The NT3 is NOT a hyper. It's a HEAVY cardioid for studio applications. ( Everyone should go back and read that like 20 more times so it sinks in. )

The AKG is a better mic than the oktava, but just buying the CK93 capsule on its own isn't going to get you anywhere, you need the power unit as well (SE 300B) to make a complete mic.
 
jambredz said:
so would u recommend the oktava mk012a over the nt3 for indoor dialogue recording?
Click to expand...

The NT3 is a perfectly good mic, it's just not ideal for this use. The wider pattern means it's picking up more of the room, so you've got to get it closer to the subject. The Oktava with the hyper capsule, gives you the tighter pattern, but it's more suceptable to handling and wind noises.

Recording music or some voiceover in a proper studio, I'd go with the NT3 on a fixed stand instead of the Oktava, but on location the Oktava gives the tighter pattern with a fraction of the weight for the boom operator to swing around.
 
JordanBlock said:
The NT3 is NOT a hyper. It's a HEAVY cardioid for studio applications. ( Everyone should go back and read that like 20 more times so it sinks in. )

The AKG is a better mic than the oktava, but just buying the CK93 capsule on its own isn't going to get you anywhere, you need the power unit as well (SE 300B) to make a complete mic.
Click to expand...


Thanks for the recommendation! I think we are going to go with the AKG. What other pieces would you suggest to round out the rest of the kit?
 
thanks for the heads up.
I have the rode sm3 shock mount http://www.bhphotovideo.com/c/product/398316-REG/Rode_SM3_SM3_On_Camera_Shockmount.html

do u think it will be ok with the Oktava?

Also, do u know if the SKP 100 G2 Plug on transmitter work with the Oktava??
http://www.dvcreators.net/sennheiser-mics/

I want to get that senheiser package and the Oktava mk012a

thanks for the help thus far.
JordanBlock said:
The NT3 is a perfectly good mic, it's just not ideal for this use. The wider pattern means it's picking up more of the room, so you've got to get it closer to the subject. The Oktava with the hyper capsule, gives you the tighter pattern, but it's more suceptable to handling and wind noises.

Recording music or some voiceover in a proper studio, I'd go with the NT3 on a fixed stand instead of the Oktava, but on location the Oktava gives the tighter pattern with a fraction of the weight for the boom operator to swing around.
Click to expand...
 
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That mount should be fine.

From what I recall, the 100 doesn't supply phantom power, but the 500 does. That said, you want something absolutely rock solid if you're going to go with a wireless boom; Lectrosonics or Zaxcom. There was some discussion on the topic in a thread not long ago, but my google-fu is failing me, perhaps someone else remembers the thread.
 
A few thoughts ~
The new to Audio sticky http://www.dvxuser.com/V6/showthread.php?t=51526
kit #5 would be a good start. My issue with this is the lower end kits all build on the Oktava 12. This is due to it's outstanding sound for the dollar expended. It does have a dark side however - handling noise. While having good equipment is important, knowing how to use it is priceless. Consider the experience level of your crew.


The Sound for Film and Television DVD came out after this sticky was created -
http://www.dvxuser.com/V6/showthread.php?t=133986
should come packed with every mk12.

Sound gear will last far longer and hold value far more than your camera.

Depending on where you're located & what you're trying to accomplish, (always put your location in your sig) hiring pro sound people should always be a top consideration.

Dialogue capture is absolutely crucial, but it's only part of the sound equation.

Roam the forums - there's an unbelievable wealth of info buried here. You'll find DVXUser all the best parts of a grad school in film.

Welcome aboard.
 
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yeh well my kit is gonna be. the rode ntg2 (which i just got). sennheiser ew100series wireless lav....and the oktava mk012. i wanted to cover my bases for most situations without killing myself on the cost as sound is not my priority...cinematography is. So i'll def hire pros to do what they do...that said, i do want decent sound when i'm doing my own personal stuff :) thanks for the help.
 
If you can afford it, get either a Countryman B6 or a Sanken COS-11 Lavalier for your wireless. I use the B6 with great success. Had them wired for the locking mini plug on the Senn G2 Wireless. If you can, blimp the Octava in a Baby Ball Gag/Rycote furry and you can use it outdoors some of the time. It's an awesome mic for indoor work.
 
dido what these guys said.. if you have no clue then I can't imagine what you're doing is too elaborate stuff when you're doing your own personal jobs.. just get a hardwire lav; sanken or tram (dont even piss around with wireless its probably not worth your time, hire somebody) , run a 15' cable from lav adapter on talent to your camera, hit it with phantom power and bam... sound on tape..

If you want more elaborate, like an indoor boom mic that some body can hold on a stick and move around in a shot,, and you have no money get one of those octavas that everybody creams about and the $50 psc shockmount and some sort of foam (don't try to go outdoors with it unless there really is NO wind). Get some cheapy stick like a gitzo and some more cable and hit that with the phantom from camera and bam,, more sound on tape.. Probably keep that autogain on and the limiter too.. wind filter or whatever sony calls it.. do it up.. these are all dummy settings designed to help you out.. unless you dedidcate a guy with a real mixer and cans to sit there and mix levels and monitor this is the best you get..

and if this sounds like amateur hour then by all means feel free to hire a real guy with real gear.
 
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