Sennheiser AVX ME2 vs MKE2

K

KrocanX

Well-known member
Hi,

I am using AVX system for a year or so and I am really happy with it. I bought basic mic ME2 even though people recommend to use MKE2. I have found that ME2 is good enough. But recently I was shooting in little bit more noisy environment and ambient noise was little bit distracting, actually not for me, but for producer. Before I will be looking for different solution how to record audio, I have a question. Is MKE2 better when it comes to ambient noise? I know there are many videos on Youtube comparing those mics, but none of them is comparing ambient noise, AFAIK.

Any advice appreciated!
 
OSCURO said:
This video compares ambient noise between the two
Click to expand...

Not very effectively, as the levels are not matched: this simply reflects the ME2's greater sensitivity. Given that both mics are omnis, it is hardly surprising that, if the dialogue levels are matched (as from 2 mins 20 secs in this video: https://www.youtube.com/watch?v=wPRKvK-JDr0) the ambience is the same. The reasons for buying the more expensive Sennheiser lav model are not, therefore, to do with the relative levels of dialogue and ambience.

A more directional cardioid lav may help, but, obviously, this introduces the potential problem of the dialogue level changing if the talent moves his/her head. Closer proximity of the omni lav would also help, though may not be possible in your usage.

Cheers,

Roland
 
Thanks for reply Throwback!

That's info what I was looking for. Would you suggest something like NTG4 mounted on camera? Since I don't have a sound guy, I don't have much options.
 
You haven't really provided any details of what you are doing (documentaries?), but a camera-mounted mic is very rarely a good solution: a (well-) boomed shotgun or hypercardioid mic is usually very close to the subject and usually angled downwards - both isolating the talent from the unwanted ambience. If your subject is static you could boom via a C-stand or boom-buddy on a lighting stand; if subject is moving stick with a lav and think about whether you can get it nearer the source. Of course, much better is to get a dedicated person for sound (why is this ruled out?) since, proper mic placement via booming apart, listening to and monitoring sound while also operating a camera is far from ideal.

Cheers,

Roland
 
It's one "talking head" and sometimes moving around - 2 to 5 m - docu style. Sound guy is out because of budget. I don't think there is better option then lav mic, but I want to be sure that I tried to find any better solution because I have bigger project next month which will be with 5 people in front of the camera, more reality tv style, moving around and I want to be ready for it.
 
Reality shows use a lot of mics and need sound people, there is just too much going on and no real retakes.

You could lave everyone and hope it works out but?

I will give some advice that may or may not be relevant to this gig.
Some gigs are not worth doing and you should just say no. Every Time I have talked my self out of following that advice I have ended up with another nightmare story to tell. If you need some new stories then...
Producers/ directors never have enough money for things they don't think are "fun". Want a new toy to get some impossible shot that probably won't get used you have a lot better chance than trying to get money for say a script supervisor (can't believe how many low cost projects blow that off), or someone to make sure you have usable sound, or data backups, etc.

When they are too far from reality your life can quickly turn into a purgatory. So if they don't "have the budget" to cover basics take a pass. They won't be paying you enough, it might take forever to actually get paid, and the work will not end up as anything you want your name on. There are probably exceptions but in forty years in film and theatre I have yet to encounter one.

Change the context and you would not hesitate to walk away. Hey I'm going to fly around the world in my new plane. I just got my license, you get to be co-pilot! I don't have the budget for a navigator or a GPS so you need to cover that also.

Is your answer "ooo that sounds fun", or "thanks but I have a conflict at that time" (ie I like living).
 
Most reality shows by nature are tough on gear so make sure production has certified insurance. FWIW, I lost a Lectro Tx and two Trams a few years ago on a Jersey shore type pilot when two female cast members decided to jump in the ocean and disrobe. The producers skipped town and I was out about $2k.
 
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