Pofessional audio gear
- Thread starter aline
- Start date
Welcome to DVXUser!
At the top of the Audio forum are several yellow "stickies" that have lots of great information. The best starting point is the Audio 101 sticky:
http://www.dvxuser.com/V6/showthread.php?247260-Audio-101-Helpful-links-and-information
At the top of the Audio forum are several yellow "stickies" that have lots of great information. The best starting point is the Audio 101 sticky:
http://www.dvxuser.com/V6/showthread.php?247260-Audio-101-Helpful-links-and-information
Aline, welcome to DVXuser.
Your question is pretty large for the typical one paragraph answers people like to give. You'll get some good response if you ask questions in bite size chunks. To start with, are you just recording said events, or supplying sound for the whole event? If you are recording, what camera are you recording with? Describe the type of event; how big is the venue, how many people are speaking, etc. Do you have a budget or a crew? I think you get the idea.
Grant
Your question is pretty large for the typical one paragraph answers people like to give. You'll get some good response if you ask questions in bite size chunks. To start with, are you just recording said events, or supplying sound for the whole event? If you are recording, what camera are you recording with? Describe the type of event; how big is the venue, how many people are speaking, etc. Do you have a budget or a crew? I think you get the idea.
Grant
John Willett
Veteran
Recorder: Sound Devices 788T or (better) AETA 4MinX.
Headphones: Sennheiser HD 25-1 II.
Gun Mic: Sennheiser MKH 8060 or Schoeps SuperCMIT with a Rycote Basket Windshield kit for either of them.
Interview Mic: Sennheiser MD 42
Radio: Audio Ltd. or Sennheiser 2000 series (or Lectro if you are in the USA).
You will probably also need more radios and more mics.......
I hope this helps.
John
unclebob6958
Well-known member
Every event and every venue is going to require different audio gear and different skill sets.
The more money you spend the easier the job will be, with fewer technical hassles and faster on-the-fly adjustments, but the quality of the audio is entirely dependent upon the skills of the person capturing the audio and running the gear.
The more money you spend the easier the job will be, with fewer technical hassles and faster on-the-fly adjustments, but the quality of the audio is entirely dependent upon the skills of the person capturing the audio and running the gear.
Kit Hannah
Veteran
Where in any of the above posts does it mention or suggest "forcing" anyone to buy a certain brand? I see someone offered a suggestion on what to buy. Can you clarify what you were talking about?
Steve House
Veteran
What exactly are you planning on using this setup for?
The Sennheiser is an excellent entry level wireless kit, arguably the least expensive professional-grade wireless currently on the market. There are cheaper kits but you get what you pay for. The H4n is a popular recorder capable of descent work in many circumstances but IMHO it is not a truly professional piece of kit.
John Willett
Veteran
The H4n is OK - though, personally, I would go for the new Olympus LS-100 or something better.
The Sennheiser G3 is a great inexpensive pro. system and is actually being used by more pros now that the small receiver is diversity (the G2 wasn't). In a test in the UK last year it actually came out the best for range (which surprised me, I expected the Audio Ltd. to win).
If you go for the ew 100 ENG G3 you will get the plug-on transmitter as well as everything you get in the ew 112p G3 at a saving of about £100 of buying separately.
I would stay away from the H4n. It can be decent in the right circumstances, and is quite flexible for musicians and people doing interviews and similar, but there are better choices for field recording. If you are not using a mixer, it's preamps are noisy and the screen on a place where it's hard to monitor. If you are using a mixer, it does not have a line in, and can overload pretty easily.
For an all-in-one box, I would look at the R-44, HD-P2, PMD661/671, or FR2-LE unless you are willing to step up in price to for instance the SD702. For handhelds, either the Roland R-26, Tascam DR-100mkII, or Olympus 100. If you are going to have a mixer, then a good bitbucket is the Sony M10.
For an all-in-one box, I would look at the R-44, HD-P2, PMD661/671, or FR2-LE unless you are willing to step up in price to for instance the SD702. For handhelds, either the Roland R-26, Tascam DR-100mkII, or Olympus 100. If you are going to have a mixer, then a good bitbucket is the Sony M10.
If I was new in sound, and I read as suggestion "brand A as recorder, brand B as microphone, brand C as boom,..." I might think: "Ooh, ok, so those brands are the only good ones and everything else is bad".
I thought maybe it's better to some a few brands or to say "I have this and this and that".
Kit Hannah
Veteran
The OP asked for suggestions. In that person's opinion, those are the suggestions he gave. Nobody said anything about those being the only ones, you're jumping to conclusions and making nothing into something. I would have done the same thing, as I have things that I prefer. Nobody said anything about anything else being bad... If I said "I like country music", does that mean I think rap and rock and pop and classical sucks? Hell no. I just said I like country music and that's it. I think it's even beyond assuming, there wasn't even a hint of "that's the only thing".
Sorry, I just hate when people somehow derive and infer negative things from absolutely nothing... It's not personal, dre83, we all do it to a degree, but that was pretty blatent and I think stuff like that has to be corrected. If I even remotely saw him say something to the contrary, I would understand and not say anything, but if I were researching something and someone provided a suggestion after I asked for it, I would take it as that and look into it, but just because some random internet person said it does not mean it is the end all tell all.
Doc Bernard
Indie Arms Member
But using the H4n with a mixer, it can be a great recorder. Just like any piece of gear, with someone knowledgeable in it's usage and application, it can be many, many times better than on-camera audio. Your mileage may vary, based on experience and know-how. I have audio on network TV (Nickelodeon) and for a major camera manufacturer (Canon) using an H4n and a mixer, so......technically, that argument is not valid. No offense intended, but thinking what is possible (and what's not) is only based on experience and actually doing it, theory and belief aside. My clients were amazed at the "low quality" equipment and high quality results using the gear I fly. But you HAVE to know the deficiencies and parameters of the gear you use to replicate the results I get.
I challenge anyone, using a decent mixer and allowing the mixer pre's to do the heavy work, to tell me otherwise. A recorder's job is to translate an analog audio signal into a digital signal of 1's and 0's and well, record it on to a media. Nothing else. Sure there are higher end recorders with bells and whistles, but when the dust settles, it comes down to the signal you feed it. And that comes from your mixer, mic choice, and how you use that equipment. I have to admit, those that claim this recorder or that recorder is better, I feel comes strictly from the allure of the bells and whistles. I really like SD702T, but only for the bells and whistles it gives me. Not because it translates 1's and 0's any better than anything else. 1's and 0's are still 1's and 0's.
The stickies are a great resource. Even low end equipment can give great results, if the person using it knows how to actually use it right.
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Yes, but that was how it felt/came over for/to me... So if it was not meant like that it means it felt/came wrong to me.... That I had the wrong feeling about it.