Mics for sound effects recording
- Thread starter Gohanto
- Start date
Second on Noiz2. What you record in the field primarily accounts for ambient sound beds, and that's where stereo mics come in handy.
I have a Shure VP88 (MS) that I use for stereo beds, plus a Zoom H4 for places where I need to plant a recorder. That's a pretty beg disparity in mic quality, since the VP88 has much better response than the Zoom's built-in XY. But the truth of the matter is that most ambient sound beds are so buried in the mix that lesser mics can still record a very usable bed.
I have a Shure VP88 (MS) that I use for stereo beds, plus a Zoom H4 for places where I need to plant a recorder. That's a pretty beg disparity in mic quality, since the VP88 has much better response than the Zoom's built-in XY. But the truth of the matter is that most ambient sound beds are so buried in the mix that lesser mics can still record a very usable bed.
SMuir
Well-known member
The NT4 is a rather nice mic for the money, although I found it to be a bit dark-sounding (compared to condensor mics that are many times the price). You may find that its self-noise is a bit high for some quieter atmosphere recording.
Most of time I rely on an MKH416t/MKH30 M-S pair for effects (we're also using a `416 in the foley studio). That said, I always bring along a couple different dynamic mics for when things get loud. The Shure SM-58 is a good addition to any location bag, but my favourite "stunt" mic is the Electrovoice 635.
A DIY contact pickup made from an old piezo buzzer is handy for getting some rather unusual sci-fi textures. From time to time I also use an AKG D-112 kick-drum mic. I haven't used it that often, but when its on the right sound it'll suck the air right out of the room.
Most of time I rely on an MKH416t/MKH30 M-S pair for effects (we're also using a `416 in the foley studio). That said, I always bring along a couple different dynamic mics for when things get loud. The Shure SM-58 is a good addition to any location bag, but my favourite "stunt" mic is the Electrovoice 635.
A DIY contact pickup made from an old piezo buzzer is handy for getting some rather unusual sci-fi textures. From time to time I also use an AKG D-112 kick-drum mic. I haven't used it that often, but when its on the right sound it'll suck the air right out of the room.
Rippie
Veteran
whats your budget?
Personally im a schoeps guy. I'd go with a M/S stereo pair for quieter things
or a lot of the times mono is actually prefered unless its an ambience.
Get a couple good dynamics for louder things like gunshots, motorcycles, race cars..etc.
Tough though to give you advice when we dont know what you want to spend.
Gohanto
Veteran
Thanks for all the advice.
I don't have a set budget at the moment as I don't have a pressing project that's forcing me to buy quickly. I'm in more of the "wait and buy what I need and what'll still be useful a few years down the road" category.
Plus stating a budget tends to draws responses away from high quality mics at lower price levels even if for some applications they're better suited (like an SM58).
I don't have a set budget at the moment as I don't have a pressing project that's forcing me to buy quickly. I'm in more of the "wait and buy what I need and what'll still be useful a few years down the road" category.
Plus stating a budget tends to draws responses away from high quality mics at lower price levels even if for some applications they're better suited (like an SM58).
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Noiz2
Sound Ninja
OK maybe it's better if folks just say what they use and why?
I use an Oktava cardioid pair for stereo, they are in a zep and are probably narower than most XY set ups but in FX it's actually pretty rare that you want a really wide field. I would probably have Schoeps but I couldn't afford them and I've grown to really like the Oktava's. I also have an Oktave Hyper for those mono things and on my sporadic production gigs. I have a bunch of shotguns that I don't use much and a 4073 that I do. I'm tempted to try an NTG-3 but haven't yet. I got a bunch of Nakamichi mics a long time ago (set of three with all the capsules) that I use occasionally in more dangerous situations. I lusted for an RE20 but ended up getting a Heil PR40, a really great mic that does pretty much what the RE20 does but a little cleaner (opinion). An SM58, for straping on to bumpers and such, just about unbreakable. A handful of Contryman wired Lavs, great to plant in and on things. An old crystal unbalanced fight announcers mic. It sounds horrible but it makes everyone sound like a fight announcer! An old dispatch mic and an assortment of really junky mics that just sound funky, for all those times you need that funk. An old Sony ribbon mic, partly because of lust but also because some things really sound great in it. A bunch of homemade contact mics, because I can and nothing picks up that kind of strangeness. I also have a Sennhiser stereo, that I don't use (the Oktava's sounded a lot better and lower noise) and a cheap (~~$300 or so) sony stereo mic that has a mini plug for going into small recorders. And some Radio shack lave that I use in some stealth modes. Oh and three or four PZM's made bt Crown, sold by RS and modified for lower noise, higher output and balanced outputs. They are great if you can plant them on a big flat surface.
The thing is a big collection is really useful but if you just pick up bargains and things you need you get there. I've never spent a whole lot at any one time and quite a few of the above I got used or in garage sales. I've used every one at some point or other for paying gigs. 99% of the time you will use a stereo or mono set up, the rest come in when they go "we just can't get that old fight mic sound" and you get to say "I have one!".
Cheers
SK
I use an Oktava cardioid pair for stereo, they are in a zep and are probably narower than most XY set ups but in FX it's actually pretty rare that you want a really wide field. I would probably have Schoeps but I couldn't afford them and I've grown to really like the Oktava's. I also have an Oktave Hyper for those mono things and on my sporadic production gigs. I have a bunch of shotguns that I don't use much and a 4073 that I do. I'm tempted to try an NTG-3 but haven't yet. I got a bunch of Nakamichi mics a long time ago (set of three with all the capsules) that I use occasionally in more dangerous situations. I lusted for an RE20 but ended up getting a Heil PR40, a really great mic that does pretty much what the RE20 does but a little cleaner (opinion). An SM58, for straping on to bumpers and such, just about unbreakable. A handful of Contryman wired Lavs, great to plant in and on things. An old crystal unbalanced fight announcers mic. It sounds horrible but it makes everyone sound like a fight announcer! An old dispatch mic and an assortment of really junky mics that just sound funky, for all those times you need that funk. An old Sony ribbon mic, partly because of lust but also because some things really sound great in it. A bunch of homemade contact mics, because I can and nothing picks up that kind of strangeness. I also have a Sennhiser stereo, that I don't use (the Oktava's sounded a lot better and lower noise) and a cheap (~~$300 or so) sony stereo mic that has a mini plug for going into small recorders. And some Radio shack lave that I use in some stealth modes. Oh and three or four PZM's made bt Crown, sold by RS and modified for lower noise, higher output and balanced outputs. They are great if you can plant them on a big flat surface.
The thing is a big collection is really useful but if you just pick up bargains and things you need you get there. I've never spent a whole lot at any one time and quite a few of the above I got used or in garage sales. I've used every one at some point or other for paying gigs. 99% of the time you will use a stereo or mono set up, the rest come in when they go "we just can't get that old fight mic sound" and you get to say "I have one!".
Cheers
SK