Rode NTG2 good for production sound and ADR?

C

CustomerGH4

Well-known member
Gonna do a short film, I was planning to use Rode NTG2 with a Rode boom pole on set. But now some reviews say that the sound it has is kinda dull and its not so good and Rode NTG3 is a big leap etc..

Is Rode NTG3 really worth the extra money and ordering time? What mic would be alternative? The Me66?
Basically Im looking for an shotgun mic under 600 that would be good for dialogue on set and also for ADR.... Will the NTG2 be sufficient or should I go the extra mile and go for a NTG3 or something better.

Thanks for replies!
 
For ADR, which is really a last resort if all else fails (it is difficult and time-consuming), it is important to use the same mic as production dialog in order to keep the edits as consistent as possible.

As for the NTG-2 vs. ____, much of this is subjective as with any mic applied properly. Some folks are happy with the sound of the NTG-2, and others prefer the ME66 or the AT875r. Likewise, there are folks who complain about the latter two. So take the ad nauseum discussions of this shotgun vs. that shotgun with a grain of salt. Listen to samples and choose for yourself.

That said, there is one major issue that is much less subjective, and this has to do with output levels of each make and model. The important question here is, which camera or audio recorder are you using? The NTG-2 has a lower output level, and many low-cost sound recorders have wekaer pre-amps that do not offer enough clean gain to get proper levels without lots of added noise.

Regarding the NTG-3, purchase the best you can up front and you won't have to worry about wasting money on an "upgrade" later. The 3 is a huge leap above the NTG-1/2, but the expense is only worthwhile if you can justify it for long-term goals (i.e. making a career and earning income from it). If this is intended to stay on the hobby/amateur/just-for-fun level, the added expense may not be as justifiable.

Last, it's never just the microphone. Are you budgeting for a proper boom pole with shock mount and wind protection? What about headphones?
 
Using the DR40, so yeah lot of people seem to get the hiss and I think you might be correct about the NTG3... so I would not upgrade in the future.
For my luck the NTG3 sounds awesome with the DR40. http://stillmotionblog.com/howtorecordaudioforaninterview/

Right now for the boom the only option is Rode´s own boom and windscreen since its cheaper than competition.

The plan right now is to have a production company with own equipment so I would not have to rely on renting and offer competition for other companies. At the moment my budget is limited since Im just starting, the difference between the two is almost 300 euros here.
229 eur vs 520 eur.
 
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I had a NTG1/2 and it was crap, buy an NTG3 if you can go to that or an AT875 which is a far better sounding budget mic.

As for hiss on budget recorders is this in your headphone monitoring or real hiss from low cost mics? Besides do you really think a 90db plus dynamic range is needed for most video applications? Get a good mic such as the AT875R at the front end and make sure you get your gain right and are not just listening to headphone amp noise and not what is being recorded and you whoudl be able to see that on the meters never mind in the cans!

Most video and semi pro recording is for limited dynamic range and you are not recording the boston symphonic here are we?
 
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Gary makes a good point on headphones. Many low cost recorders have very noisey headphone amps so you really need to check if that is what you are hearing.

As to microphone opinions, everyone has one. You will find others that think the NTG 1/2 are the best thing since sliced bread and that the AT875R is junk. The one thing pretty much everyone agrees on is once you jump out of the budget range into the more "working professional" range the mics generally get noticeably better.

In both ranges most of the opinions are based on personal preference not specific technical deficiencies.
 
Yes, as was discussed in another post on HPs, the DR-40's 20mW (x2) HP amp is quite anemic.. . A person 'may' be able to 'get by' with 50mW.
"for dialogue on set and also for ADR".
Typically for ADR, the same make/model mic would be wanted to match the on-set sound. Narration and VOs is a different story; most would pull out a large diaphragm mic.
 
I went ahead and ordered NTG3 with WS7 deadcat and Rode micro boom.

Thanks everybody for their 2 cents. It made me help to do the decision, hope it will serve me for a long time.
 
Got the NTG3, I still hear noise, a lot. Guess its just DR40 preamps.

Oh well, will just have to make due for now.
 
CustomerGH4 said:
Got the NTG3, I still hear noise, a lot. Guess its just DR40 preamps.

Oh well, will just have to make due for now.
Click to expand...

Do you hear noise monitoring from the DR-40, or have you actually pulled the files into your NLE and listened there? The DR-40 does have a little noise floor in its headphone pre-amp, as will most low-cost recorders. You won't know for sure that the remaining noise floor is in the pre-amps or the headphone amp until you pull the files off and check them on another system that has no noise floor in monitoring.
 
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Alex H. said:
Do you hear noise monitoring from the DR-40, or have you actually pulled the files into your NLE and listened there? The DR-40 does have a little noise floor in its headphone pre-amp, as will most low-cost recorders. You won't know for sure that the remaining noise floor is in the pre-amps or the headphone amp until you pull the files off and check them on another system that has no noise floor in monitoring.
Click to expand...

Of course listened in NLE and in adobe audition I can visually see the noise.
I have a Dynamic Fethead for Reporter mic, thinking of getting the Phantom Fethead for NTG3 as well. Should work fine then.
 
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