Need Advice...What Would You Buy?

marlenedegrood

marlenedegrood

Flicks By Chics
I just bought the DVX100B. Sold all my lighting and sound equipment a few years ago and now I'm starting over with...naturally...a limited budget...like $1500 left after the camera. I really like the Sennheiser ME66 but I'm confused as to if I need the K6 power module, doesn't the DVX supply the phantom power?

I work alone so this presents a problem. Do any of you work alone and if so....what equipment are you working with? Seems the Sennheiser mounted on camera may not work too well but I'd like to hear your experience with it camera mounted. Mostly I'll be doing short documentarys and informational films.

I realize that there's tons of information on this site and I could make a decision based on past threads....but I'm just looking for a more personal account of what equipment would best serve a solo crew....crew?....does one person make up a crew?

Thanks so much!

Marlene
 
You need K6-module, but you can bye the K6 without battery. I have K6 whit battery and could use it to my Sennheiser EW112p-G2
 
You need to get the K6 module, but you don't have to use the AA battery. In fact, I think you get a better signal if you use the DVX's phantom power because it's a higher voltage.

I work alone sometimes, and mostly I use wireless mics. I have an ME66, but only use it on a boom when I have a sound person.
 
Sumfun is quite right: the ME66/K6 combo is noisier when using an internal battery. That said, I would strongly reccomend allowing yourself the option of an internal battery. Aside from the obvious reasons (eg. flexibility in situations without access to phantom power), you may find yourself needing that internal battery in some locations. When you're running phantom power down a mic cable, the line becomes much more prone to RF interference, especially over long runs. The only two solutions are to put an in-line power-supply as close to the mic as possible, or to take advantage of a battery power option (if available). This problem usually occurs near radio transmission towers or arcing electricity (like when a streetcar passes a small gap in the overhead power lines), but any high-voltage electrical system can be a problem.

Of course, the best solution is to equip yourself with T-12 powered mcs, but this somewhat arcane power option is rarely found outside of high-end location sound gear (eg. the Sennheiser MKH416-T microphone and the Sound Devices 422 mixer).

The ME66 is an excellent mic for the money, and outperforms any of the other back-electret condensor mics I've come across. Just remember to budget for a good shockmount and windscreen system. One-person shoots are trickey enough without having to worry about handling noise from your on-camera mic.

Good luck with your productions, and enjoy your new mic.

P.S. as a first-time poster, let me say that this is a nice little forum you folks have here.
 
phd, Sumfun and SMuir,
Thank you so much for your responses and input, it is greatly appreciated.

And yes.....this is a great forum with much knowledge to be gained here, not to mention saving money by avoiding wrong purchases.

Marlene
 
The me-66 is not a bad mike (it was my first add on external mike, and I still own it). But I think that there are other mikes that I would buy nowadays instead of it (like the AT 4073).

Have a listen to the shotgun shootout (linked from the sticky at the top of this section). Definitely worth the listen before shelling out money.
 
Joe knows a thing or two about good mics. While he still has an me66 he also has a 416, Scheops MK41, etc.

I'm sure some of these guys roll their eyes every time I show up in an me66 thread and say to get a 4073a. A new member said you can get a 4073a for $499 from Location Sound... and if you pay within even a hundred bucks of that for an me66 and then hear the difference you'll either wish you got the 4073a or be happy you did.

From your initial post I gather that you had the common perception that the 66 cap could be used by itself, but since you need either the phantom K6 or the battery/phantom K6 the total cost on that mic will be around $449.
 
Actually you can get the ME66/K6 combo from www.americanmusical.com for $418 w/ free shipping. I am going to piggyback Matt's comments though on this mic because I have used it a ton, and so wanted to love it. The truth is that the ME66 just doesn't sound as good as options less expensive and more expensive than it. I have never been able to get ideal levels into the DVX on it. The two of them together are like oil and water, they just don't mix. Furthermore, one of the big problems with the ME66 is that the output is way too hot and the sound comes out pretty thin. What mic to buy is going to be determined by your budget (please remember wind protection and shockmount though) and the environment you are going to be shooting in. It seems that most people are shooting in interiors, and for $525 you can have a complete interior mic set up that will perform well (Oktava w hyper cap $175, windprotection $50, shockmount $50 [all from www.sound-room.com] aluminum 9' gitzo pole $121, 20' mic cable $30, Sony 7506 headphones $100 [all from evsonline.com]) and that is right in line with the price of the ME66 alone! If you are shooting exteriors I would say that to save money the Rode NTG2 or AT897 is a solid option or for the extra $70 (if that $499 on the AT4073a is correct) that you will get a far suprior mic than the ME66.

Whatever you get, Sennheiser ME66 or whatever, you are still looking at windprotection ($50-$125), shockmount ($50-$125), boom pole ($120-$800), and headphones ($75-$200).

Mics are cheap compared with everything else.

If you want that ME66 I like www.americanmusical.com though. They do a split payment option that breaks everything down to 3 equal payments for orders under $1000. It is nice not to have everything hit your credit card at once, but they don't carry any other shotgun mics (beside the Rode Videomic). They do carry headphone amps, studio mixers, monitors, but nothing else really video orriented.

Just a nice source to split up payments.

Happy shooting!

-Jeremy
 
I was going to place my order this morning for the ME66 but decided to wait on the chance of getting differing opinions towards the ME66 in the replys to my post. You have all offered me so much valuable information!! I am so appreciative. I will most definately be looking at the 4073 tonight and, based on what I've just read in the above responses, it looks like I'll be changing my mind. It is very important to me to have a mic that resisits as much side and rear sounds as possible.

Thanks to all of you for the help.

Marlene
 
Top quality rear and side rejection starts at the 416, IMHO.

Listen to A/B comparisons with the AT4073a and the ME66 and see what you get. The best thing you can do though is to rent the Sennheiser (I have never seen a rental place that doesn't have them). If you like it then it was $50 to try. If you don't it was $50 that will save you a mountain like mistake.

Here are the mics that are $250>$500. AT4073a, ME66/K6, AT897, NTG 1/2.

In this price range of shotgun (not sure if you need a shotgun, but still) I would rate them as AT4073, NTG 1/2 (battery is the difference), AT897, ME66/K6. This is my opinion from my ears.
 
What mic to buy is going to be determined by your budget (please remember MIND protection and shockmount though) and the environment you are going to be shooting in.
Click to expand...

Jeremy, would wrapping my head in tinfoil count as adequate "mind protection"?:happy:
 
:smiley_up
Joe Kras said:
Jeremy, would wrapping my head in tinfoil count as adequate "mind protection"?:happy:
Click to expand...


That depends. I prefer the pyramid made of titanium, but people give me strange looks... But THEY can't tell what I'm thinking or plotting...

Who's the joke on now? Huh? Huh?

Don't mock my typos or lack of proofing...

:)
 
"I will most definately be looking at the 4073 tonight and, based on what I've just read in the above responses, it looks like I'll be changing my mind. It is very important to me to have a mic that resisits as much side and rear sounds as possible"




www.locationsound.com in North Hollywood. You can get the following there at these prices.
You will need to call and order.


- AT4073A $499.00 - i have not found a better price.
- Rycote softie - $97.00
- Ktek KSSM shock mount - $99.00

All brand new. You can get these prices, just ask. If you live local and you are in the business of tele/film production, they will take BOE form 6378 which will give you partial exemption from sales tax. You only pay 3%.

Good choice on the AT mic.
 
Dave_Fisk said:
I'd go with the 4073 with a good shock mount.

-Dave
Click to expand...


So many people say "good shock mount". Does the SM3 qualify as a good shock mount?

I listened to the sound test between the ME66 and the 4073, for me the choice was easy. I'm sure the ME66 is a fine mic, just seems that based on what I've read in this forum, it's not for the DVX.

So now it looks like I'm just down to the shock mount.

Thanks!

Marlene
 
I don't know why some have problems feeding the ME66 into the DVX. Mine works perfectly.

As for how to do your audio...
If the distance from camera to subject will remain at about 4' and there is not a lot of background noise, you can do fine with a short gun on a camera mount.
But if you are going to be more like 10' away or if the subject will change distance from the camera or you have background noise, then you will prefer to use a lav. You can hardwire or use a wireless to send the signal from lav to camera. With wireless, you get what you pay for...
 
xort said:
I don't know why some have problems feeding the ME66 into the DVX. Mine works perfectly.

As for how to do your audio...
If the distance from camera to subject will remain at about 4' and there is not a lot of background noise, you can do fine with a short gun on a camera mount.
But if you are going to be more like 10' away or if the subject will change distance from the camera or you have background noise, then you will prefer to use a lav. You can hardwire or use a wireless to send the signal from lav to camera. With wireless, you get what you pay for...
Click to expand...


I understand that with wireless..."you get what you pay for". I've used wireless off and on for years for just audio purposes . I have been giving some thought off and on for getting a wireless lav for my video but I've been so dissappointed with it in the past. I do sound for small concert venues and I use Shure mics, mostly M58's (wired and cordless). Personnally I prefer the sound of the cordless (no cable to screw things up).

So....what would you recommend for a decent cordless lav system?

Marlene
 
The cheapest is the G2 from Sennheiser. The rest are not going to give you good sound for film. Remember, live sound is much more forgiving than studio sound. When you do film, it is studio sound that you are after.
 
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