I'm looking for a shotgun mic, is it necessary to buy it new, or could i get one from someone of of dvxuser? I hear the ME66 or the AT897 are good ones. Thanks in advance.
I just got a ME66 last week from Rush at EVS. Decided that it was worth the extra 100 bux over the AT897 for the extra gain that I have heard about.
I shot with it this weekend at the beach with a fair amount of ambient wind, and I am pleased with the results from what I've heard so far (I'm using the $40 something Sennheiser foam windscreen).
I wish I had some more technical answers for you. But like I said, I'm glad I went with the ME66.
I just recieved my ME66 from Rush too. It is awesome. I am using the Blimp Windscreen over it on a 12 foot Carbon Fiber Boom pole by Gitzo..It sounds absolutely fantastic...I will post some MP3's of it, if you would like to here it in action..I will have to do that this weekend...
Glendale Location. They are batting a .1000 with me and I have ordered 4 major shipments and everysingle time it was what they said, when they said and how they said.
Rush is totally mellow and patient (I ask tons of questions). Highly reccomended! And Rush takes the time to come in here frequently.
[quote author=taubkin link=board=Links;num=1086202315;start=0#9 date=06/03/04 at 12:08:58]Both written by Dan Brockett[/quote]
Boy, I would short this guy's stock picks, check out this quote on his page:
"If the Panasonic AG-DVX100 were a person, it would be the really good-looking hunk/babe that everyone wants to date, mainly because of it's much lauded 24P capability (IMHO, much 'hyped'). This feature will provide all DVX-100 users the ability to shoot their footage in 24 frame progressive mode and output pseudo "film look" footage via Firewire. Whoopee! I doubt if more than 1% of the DVX-100 users will ever output their footage to film so this feature really turns out to be a validation from a major corporation that yes, all DV users want to pretend that they are shooting 35mm film when they are actually shooting with a consumer DV camcorder. Much more importantly, perhaps this model will actually integrate decent audio recording capability? That would be really much more exciting than 24P! The unit does look promising with dual onboard XLRs integrated into the body, not some cheesy plastic adaptor hanging off of the hot shoe. If the audio is good on this unit, it will automatically be promoted to "head of class" in my book for consumer DV camcorders, mainly because the rest of the class are such audio underachievers. We have our fingers crossed. Audio Grade - New Student, remains to be seen but potential is good."
So the K6/ME66 combo looks like the way to go. I'm never going to mount that mic on my dvx, so should I just go with the 67? My next major project is going to be an outdoors documentary with large crowds of people. What do you gurus think?
get a better mike , big croud , lot of noice , the only sugestion is sanken cs-3e , never found something more usefull
working exelent interiors as well
if its only one mike -thats the one
[quote author=SirAllen link=board=Links;num=1086202315;start=0#10 date=06/03/04 at 15:44:56]
Boy, I would short this guy's stock picks, check out this quote on his page:
[/quote]
Yeah, you are absolutely true. But in this guy's defense, he wrote that before the DVX was out, meaning that was speculating. he wouldn't know the DVX would smoke any camcorder in its class regardless of frame rate, so what he wrote actually made sense. And either way, he knows about production audio enough to rate those lower-end mics, and the two articles are actually pretty good.
[quote author=AndrewD link=board=Links;num=1086202315;start=0#14 date=06/05/04 at 12:04:48]If you're going for a higher end mic, my personal suggestion would be the Sennheiser 416.
Andrew
Crystal Clear Media[/quote]
not that i dont like he 416 (i still have one for rany days) i did about 20 fitchers with that mike , but it doesnt come close to side and back regection that the sanken has (the sanken is much flatt as well(flat is good ,it doesnt bump the lows as 416 that every body love and then cut all under the 100 in the editting room), the most importent that this mike working much better then all the others shotguns in reverb space
Well, I don't think I can afford a higher end mic- the prices I've foud the me66 goes for seems reasonable, I'm just thinking, if I'm gonna spend that much, why not spend an extra +/- 100, why not just go with the 67?
I have the same doubt regarding this subject. Probably the me67 is more directionl and has a better performance on noisy outdoors, but sounds even worse on reflecting indoors because of the higher lobar sensitivity. So I guess if you are going to have a me66 and a me64, you would be better off ithe the 64/67 kit. And if you want only one mic you should be better with the more versatile me66. But as I'm only speculanting based on opinions shared here, I think the only way to truly make an informed decision would be testing the me 66 vs the 67 yourself and getting whatever sound better to you. Timbre is a matter of style as well, so you better pick the one that you like, well, better.
I'd love if anyone cound show me a situation where I, having for instance a me67 and a me64, would miss the me66.