rode shotgun microphone
- Thread starter Ed Kishel
- Start date
MattinSTL
Sound Modulator
I think you could call any mic with the shotgun pickup pattern either supercardioid or "line+gradient". I interpret "line+gradient" as referring to the fact that anything that's directly in LINE with the mic (as if it were a flashlight) is heard (illuminated) the best... and as sounds gradually move away from that point they are heard less and less precisely. (or more and more in the dark, as it were)
For some reason AT has chosen to set itself apart from the other manufacturers with this terminology. Almost all other shotguns are categorized as supercardioid... even the long guns and short guns from the same manufacturers are both called supercardioid.
I'm glad to hear that the Rodes are kickin' ass... I've always felt like that segment of the market would be ripe for the picking if a mic company really wanted to go for it... and I'm a big fan of Rode mics.
For some reason AT has chosen to set itself apart from the other manufacturers with this terminology. Almost all other shotguns are categorized as supercardioid... even the long guns and short guns from the same manufacturers are both called supercardioid.
I'm glad to hear that the Rodes are kickin' ass... I've always felt like that segment of the market would be ripe for the picking if a mic company really wanted to go for it... and I'm a big fan of Rode mics.
I actually owned the a AT897 and shot a film with it. I was pleased with its performance. A few weeks ago I acquired the Rode NTG 2. I am also pleased with its sound. Bare in mind that these are still rather low end shot guns. That being said, I found both to be natural sounding and either one will handle a low budget filmmaker's audio needs very nicely. As to the Rode being an"AT897 killer"; well, that is a bit overstated - I found them to be equals.
TyFord
Well-known member
The Rode NTG-1 and NTG-2 were modelled after Sanken shotguns; not a bad target if you're looking for something to sound like.
As mentioned above though, don't kid yourself. The difference between these Rodes and a Sennheiser 416 expalins their cost. Some folks will never get to compare their choices with a 416, 816, MKH 60 or Neumann 82. Until you do, you don't really know what you have.
Regards,
Ty Ford
As mentioned above though, don't kid yourself. The difference between these Rodes and a Sennheiser 416 expalins their cost. Some folks will never get to compare their choices with a 416, 816, MKH 60 or Neumann 82. Until you do, you don't really know what you have.
Regards,
Ty Ford
fixitinpost
Well-known member
I have used the NTG-1 for several months, and am very pleased with the results so far. For the price, and what I use it for (mostly events and run and gun doc stuff), it has produced excellent results.
MattinSTL
Sound Modulator
What I'd REALLY like to hear is an actual comparison of the Rode and the AT-897... and then put THAT winner in a direct comparison with the ME66.
One of my biggest pet peeves is that we still can't put mics in a direct line of "what to buy". Okay stay with me for a minute... I KNOW that preferrence comes into play... and so do a couple other factors, but BASICALLY there really is a "best choice" at a given dollar amount, especially if we're all using DVX cams and running the mic directly in.
If somebody tells me they're going to spend between $450-$550 on a shotgun I'd tell them to get a 4073a and that they'd be nuts to even consider anything else.
In my opinion, from that point on down, we really should be able to put mics in order of sound quality and performance (regardless of price). Amazingly enough, in the whole WORLD there just aren't many people who have access to several mics at once AND (important part) are willing to take the time to directly compare them AND report about their findings.
I've had an me66 and I'm not buying another one... and really there's little point for me to buy any of the more affordable guns since I've been way beyond that for a couple years... but man I sure wish some of you guys who have a couple of the models discussed would do a split stereo A/B just so everybody could get a handle on which one to buy and why.
One of my biggest pet peeves is that we still can't put mics in a direct line of "what to buy". Okay stay with me for a minute... I KNOW that preferrence comes into play... and so do a couple other factors, but BASICALLY there really is a "best choice" at a given dollar amount, especially if we're all using DVX cams and running the mic directly in.
If somebody tells me they're going to spend between $450-$550 on a shotgun I'd tell them to get a 4073a and that they'd be nuts to even consider anything else.
In my opinion, from that point on down, we really should be able to put mics in order of sound quality and performance (regardless of price). Amazingly enough, in the whole WORLD there just aren't many people who have access to several mics at once AND (important part) are willing to take the time to directly compare them AND report about their findings.
I've had an me66 and I'm not buying another one... and really there's little point for me to buy any of the more affordable guns since I've been way beyond that for a couple years... but man I sure wish some of you guys who have a couple of the models discussed would do a split stereo A/B just so everybody could get a handle on which one to buy and why.
timapter
Veteran
Thanks MattinSTL, thats a good goal I reckon. Even as a 3rd Year Film School student, its pretty easy to rank to mics after about $400, but before that everyones opinions conflict. Surely, if everyone is saying the Rode is equally natural compared to the AT897, yet has a hotter output and costs less, then its (I would assume) a better mic?
Maybe we need to do a survey based on 1 out of 10 scores for reach, neutrality, price, and some other stuff and then I'll break out my calculator.
SURELY somewhere out there, exists the budget shotgun hierarchy (or, as I begin to think of it, The Holy Grail.)
Maybe we need to do a survey based on 1 out of 10 scores for reach, neutrality, price, and some other stuff and then I'll break out my calculator.
SURELY somewhere out there, exists the budget shotgun hierarchy (or, as I begin to think of it, The Holy Grail.)
TyFord
Well-known member
I have some mic comparisons (audio files) ii the audo folder of my online archive. Have a listen.
Go to www.tyford.com, click on On Line Archive and look in the Audio folder. I think the file names are pretty self explanatory.
Regards,
Ty Ford
Go to www.tyford.com, click on On Line Archive and look in the Audio folder. I think the file names are pretty self explanatory.
Regards,
Ty Ford
MattinSTL
Sound Modulator
Thanks Ty... I've been around your site a few times. I sure wish I had your voice!
I did several comparisons also, albeit with my crappy voice.
The thing I'd really like to hear is that type of A/B comparison with the mics that are really in competition with each other.
I've got some with 4073a vs 416, me66 vs 4073a, 416 vs ck69, schoeps vs ck63, and even schoeps vs oktava.
Since you have both... if you get a chance... an A/B split stereo of the 897 and NTG-1 and/or the NTG-2 would be a good way for these guys to make a choice at that price point. The 416 vs the others makes an excellent argument for the 416 and hopefully some of those guys can make the leap if you know what I mean.
When I first started looking for an external mic I thought $200+ was an insane amount of cash for a microphone. The first shotgun I had was an ATR55 ($60)... I later bought another one 'cause I was so excited about the improvements I got by using an external mic. I finally started to get bothered by situations where the mic wasn't working as well as I thought it should and decided to upgrade. My dream-mic at that time was an AT-835b... it was around $250. It took me a while to rationalize spending that much money! Well it took SO long that I just kept reading all the info I could on mics and learning the value of the specs... by the time I was ready to buy the 835b I decided to go with the me66 instead. (which was less then $400... I think it was $385 at B&H) At this time I was using a TRV900 and a Beachtek DXA-6... so the hot output was something you wanted in that setup. I happily used that and felt like I was in audio bliss for close to a year (maybe a little less). I always told myself that while what I heard was GOOD... that amatures like myself just couldn't get the "hollywood sound" anyway. That would take tens of thousands in gear. When the DVX came out and the audio section was so well-touted I had to have one... the 24p didn't mean nearly as much to me as the great sound. Plus I got to sell the Beachtek so that was like $200 off on the DVX. I couldn't believe how little improvement I got with my audio over my previous setup! It frustrated the hell out of me! I kept going back to my previous feelings that the hollywood sound just wasn't for the rest of us. Then an online friend of mine sent me a sound clip... it was a Rode nt1a vs the me66. I realize that these are TOTALLY different mics, but the thing was, his voice through the Rode WAS the hollywood sound! I couldn't believe my ears! Within a month I had scoured the specs on mics again and had sold my me66 and bought a 4073a. The improvement was stunning! A couple weeks later I bought my first Oktava... Wow! Interiors were now good instead of barely acceptable! After this point I simply slipped off the deep end and expensive mics have felt like investments rather then foolish luxuries... I'd ocassionally use a 416 and a ck69 simultaneously! (and those two mics are the same price, BTW).
The moral of the story is that had my friend never shown me the light (or sound) I'd have stayed frustrated that "WE" just couldn't have the hollywood sound.
Your site does a huge service to show the new guys that they CAN have the hollywood sound... and I'd like to see a couple more rungs on that ladder for the little guys who can't afford to make the decision between $1K and $250.
I did several comparisons also, albeit with my crappy voice.
The thing I'd really like to hear is that type of A/B comparison with the mics that are really in competition with each other.
I've got some with 4073a vs 416, me66 vs 4073a, 416 vs ck69, schoeps vs ck63, and even schoeps vs oktava.
Since you have both... if you get a chance... an A/B split stereo of the 897 and NTG-1 and/or the NTG-2 would be a good way for these guys to make a choice at that price point. The 416 vs the others makes an excellent argument for the 416 and hopefully some of those guys can make the leap if you know what I mean.
When I first started looking for an external mic I thought $200+ was an insane amount of cash for a microphone. The first shotgun I had was an ATR55 ($60)... I later bought another one 'cause I was so excited about the improvements I got by using an external mic. I finally started to get bothered by situations where the mic wasn't working as well as I thought it should and decided to upgrade. My dream-mic at that time was an AT-835b... it was around $250. It took me a while to rationalize spending that much money! Well it took SO long that I just kept reading all the info I could on mics and learning the value of the specs... by the time I was ready to buy the 835b I decided to go with the me66 instead. (which was less then $400... I think it was $385 at B&H) At this time I was using a TRV900 and a Beachtek DXA-6... so the hot output was something you wanted in that setup. I happily used that and felt like I was in audio bliss for close to a year (maybe a little less). I always told myself that while what I heard was GOOD... that amatures like myself just couldn't get the "hollywood sound" anyway. That would take tens of thousands in gear. When the DVX came out and the audio section was so well-touted I had to have one... the 24p didn't mean nearly as much to me as the great sound. Plus I got to sell the Beachtek so that was like $200 off on the DVX. I couldn't believe how little improvement I got with my audio over my previous setup! It frustrated the hell out of me! I kept going back to my previous feelings that the hollywood sound just wasn't for the rest of us. Then an online friend of mine sent me a sound clip... it was a Rode nt1a vs the me66. I realize that these are TOTALLY different mics, but the thing was, his voice through the Rode WAS the hollywood sound! I couldn't believe my ears! Within a month I had scoured the specs on mics again and had sold my me66 and bought a 4073a. The improvement was stunning! A couple weeks later I bought my first Oktava... Wow! Interiors were now good instead of barely acceptable! After this point I simply slipped off the deep end and expensive mics have felt like investments rather then foolish luxuries... I'd ocassionally use a 416 and a ck69 simultaneously! (and those two mics are the same price, BTW).
The moral of the story is that had my friend never shown me the light (or sound) I'd have stayed frustrated that "WE" just couldn't have the hollywood sound.
Your site does a huge service to show the new guys that they CAN have the hollywood sound... and I'd like to see a couple more rungs on that ladder for the little guys who can't afford to make the decision between $1K and $250.
TyFord
Well-known member
Thanks Mattin,
I remember last year at one off my Bootcamp Seminars I had folks listen to the difference between the mic that comes with a PD150 versus a 416. I had not heard the Sony mic myself until then, but had confidence that the 416 would be better.
We were absolutely floored by the difference! I could have spent hours describing it in words, but five seconds of hearing the difference was all it took. But REALLY what would you expect. The 416 costs, what 1/3 to 1/4 of what a PD150 does!!
In a recent bootcamp seminar here at my studio, we compared 416 with Rodes, AT costing about half or less than the 416. The difference in quality was directly proportional to the cost.
Mixers and technique also have a lot to do with Hollywood sound. It's not just the mics. But that's another story for another day.
Regards,
Ty Ford
I remember last year at one off my Bootcamp Seminars I had folks listen to the difference between the mic that comes with a PD150 versus a 416. I had not heard the Sony mic myself until then, but had confidence that the 416 would be better.
We were absolutely floored by the difference! I could have spent hours describing it in words, but five seconds of hearing the difference was all it took. But REALLY what would you expect. The 416 costs, what 1/3 to 1/4 of what a PD150 does!!
In a recent bootcamp seminar here at my studio, we compared 416 with Rodes, AT costing about half or less than the 416. The difference in quality was directly proportional to the cost.
Mixers and technique also have a lot to do with Hollywood sound. It's not just the mics. But that's another story for another day.
Regards,
Ty Ford
Jeremy Ordan
Major Contributor
4073a, hands down no questions asked.
It is a more neutral sounding microphone that will exhibit better rear rejection, sound reproduction, and overall performance.
It is a more neutral sounding microphone that will exhibit better rear rejection, sound reproduction, and overall performance.
TyFord
Well-known member
Before we get too far down this road, let's stop andd indentify which Rode you were referring to. The VideoMic STG-1 or STG-2.
BTW, I'll soon be comparing the Sennehiser 416, Schoeps CMIT, Rode STG-1 and Audio Techinica 4073a for a review to be published in PAR and TV Technology.
Regards,
Ty Ford
BTW, I'll soon be comparing the Sennehiser 416, Schoeps CMIT, Rode STG-1 and Audio Techinica 4073a for a review to be published in PAR and TV Technology.
Regards,
Ty Ford