Shure SM57 mic = affordable audio solution with practice

FlintMI

FlintMI

Well-known member
The following alternative choices to high-priced gear have worked for me so I'm passing them on. I only shoot about once a month, and so the gear holds up accordingly. Daily or weekly usage will most likely vary. This entire audio package costs less than $175 dollars.

A $20 articulating mic tripod from any music store can be used as a boompole. I open up the tripod legs and support them against my body and lock down the articulating arm and have a nice, slightly "V" shaped boom pole, which allows me to dip the mic nice and close. I use a rubber band to tie down the little silver tension adjust lever so it won't rattle. The "V" joint is also padded with two rubber contacts which reduce bumps to the pole from going up to the mic.

http://www.musiciansfriend.com/srs7/g=home/search/detail/base_pid/452061/

This same tripod stand works for lighting using a Flexfill reflector mounting kit and Flexfill reflector. Because of the stand's lightweight and short tripod spread, it will require a sandbag or two. I have 3 or 4 of these stands for random stuff I need to mount.

A Shure SM57 mic, only $90, is a good mic, most often used by musicians to mic their amps. It does require a fairly close proximity to get good sound. It is not as directional as a shotgun mic but it does a good job. As far as vocal audio quality is concerned, the US Presidental podium has a pair of SM57's on it and has for over 30 years. Just wish what was said into them was as good as the mics themselves.

There are windscreens and shockmounts you can get for the SM57 that are very, very affordable.

This following $15 windscreen works for handheld mic interviews, but NOT for boompole or location audio.

http://www.bhphotovideo.com/bnh/con...ls&Q=&sku=68594&is=REG&addedTroughType=search

This $30 windscreen is more industrial strength and works better as a location and boompole mic windscreen.

http://www.bhphotovideo.com/bnh/con...&kw=SHA81WS&is=REG&Q=&O=productlist&sku=68646

This shockmount, only $45, works pretty good as well. Certainly not as good as the suspension shockmounts, but still decent.

http://www.bhphotovideo.com/bnh/con...oughValue=68459_REG&addedTroughType=accessory

So in summary, if you need a mic, boompole, windscreen for simple setups, try this approach. You will need practice obviously, but it's worked for me since I already had all this stuff laying around the recording studio.
 
Ummmm, I have never heard of someone using a SM57 as a boom mic... Much different pick up pattern than you would want.

I would actually say that a simple AT55 would be a better solution. It is less expensive ($60) and actually has a shotgun pick up pattern.

Either way, the sound quality that you will get will be much better from any of the high priced mics.
 
hey, where might I be able to find one of these AT55's? I've been searching around b and h evs and others and can't seem to find it. Any help on locating one would be nice.
 
I'll let you know right off the back the AT55 isn't a great sounding mic. I have a couple just for fill ins...

Here is a link for you:
http://cgi.ebay.com/Audio-Technica-...ryZ21168QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

http://cgi.ebay.com/AUDIO-TECHNICA-...ryZ14968QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

http://www.amazon.com/exec/obidos/s..._tops-1_blended_6516882_2/002-7679975-2255207

http://www.avdeals.com/microphone/ATR55.htm

There are some links for you. I don't know why B&H doesn' thave it up, because I got one from them a while ago... Good luck!
 
The problem using dynamic mikes is the low output level ,your poor lines bad cables , additional **** on the power lines near by would be ampfide as well with your poor signal , eventually you will finish with noise floor which probably will cover part of your signal .
When the president is talking his mouth is approximately 30 cm from the mike s , the sound you get passed Threw gates ,noise reductions, eq and god knows what and eventually comes to you tv shitbox ,which cut everything under 120 hz , thats why you don't hear the noise and some parts of your president voice .
the dvx preams are quite desaster for that kind of work and would make your signal loose it shape beriad under self noise.
buyer ribbon dynamic 160 hyper cardioid is one of the only mikes that used for these matters, mostly for loud atmospheres and shouting ( republican party meetings for example) and usually with very good mixer since the output is 1/10 of the normal condenser
 
Yeah I just looked around at the AT55 and kinda decided against it, I think I'll just spend the extra money at get something at least halfway decent, does anyone have any suggestions for something in the 200 dollar range? Maybe that AT897?
 
There are tons of threads regarding this subject. What are you looking for? Run n Gun? Interiors, Exteriors? Just overall decent?

What do you want?
 
The 897 is not a bad choice for run n' gun applications, and in your price range that might be the best selection for you. One of the things that I have learned from spending so much time around the audio posts is that there is no one single magic mic to handle all of your applications. If you search a bit you will notice that a lot of the pros (Ty & Oleg) as well as a lot of the very experienced audio enthusiasts (like Matt) believe that you should have a mic, or several mics, for each individual application that you go after. Personally I have decided to move in a modular route. I liked the flexibility that the ME series from Sennheiser made available (the ability to add several different caps to change the dynamic range of the mic) so I am building my AKG Blue Line series.

My problem with the ME/66 is the hot output (have to reconcile your gain input on the DVX or else you get overdriven distorted sound) as well as the overall sound quality (it is thin sounding to the point where it is no longer natural).

I have had limited experience with the 897. I think that it is a good sounding mic, especially at that price, but its output needs to be adjusted with gain, it works well camera mounted, but I just am not a huge fan of the mic itself when comparing it to some other solutions.

Something Matt is great about mentioning to people is the additional costs required with any microphone purchase (shockmount, softie, blimp [!]). These are costs that you should consider.

I can offer two quick pieces of advice if you really want to stay in the price range that you are currently discussing:

Option 1: Look at the 897 (about $250 plus shockmount ($125) & softie ($100).
2. Azden SGM1Z (About $150), shockmount (cheap one) included, and softie ($100).

I have used Azdens, and the sound quality is not as good as the AT line, but I think it is pretty much on par with the ME series, just not as hot of an output. The other piece of advice is to look into the AKG Blue Line, or as has been mentioned in at least 200 of the audio posts, the combination of the AT4073a & Oktava ME012.

One thing that you will learn is that filmmaking breaks down to 10% visual, 10% auditory, and 80% how the two of these elements converge upon one another. Even silent films had someone playing on a piano or something. It is a sensory experience, and is you skimp on your audio you are cheating yourself from achieving your goal of creating a quality production.

One final note, I am by no means an audio expert. These are simply my opinions. I would recommend searching through Ty Fords website, listening to his samples, and using the search function on this site to read Olegs responses as well as looking at Matt's thread entitled 'Everything I know about Mics so Far'. These are great resources for you.
 
Rasquachemedia said:
Yankee, I'd like to hear your suggestions on run n gun.

thnx
Click to expand...

There is no one mic that does well in all situations. There is no audio equivalent to the zoom lens. To get a first hand idea of why you need different mics for different jobs, go to http://tinyurl.com/8yy3p

download the mp4 video and listen to my explanation with headphones.

Are you really doing run and gun or have you just picked up that phrase? Run and gun refers to situations in which you have no control over the situation and both video and audio quality take a back seat to the content.

Regards,

Ty Ford
 
thnx for the info guys. Ty I'll check out your video.

I use the term run n gun for video journalism, show up to a press conference or event and start shooting, sometimes having to walk fast or even run to keep up with the crowd or get ahead of them. Also spontaneous interviews in the field during the event and the such.

I guess in the end you guys are right. I would need a few mics because I am also interested in doing a documentary in the style of Hoop Dreams (but not sports). So I would need mics for more controlled interviews, interiors, and so on. The run n gun would be for the b rolls and such.

I would have to buy these over time though. I just can't come up with that kinda money at once (just bought my dvx over a month ago and more stuff this past week).

I'm leaning towards the AT897 as a start.
 
I have the at-897 and also have used the atr-55. Now don't get me wrong, there's a big jump in quality, both in sensitivity and overall sound. Bit the 55 is a good little mic for 60 beans. I shot a 30 minute short with it last summer, and we had very few sound problems. After stepping up the ladder I wouldn't want to go back, but I had no complaints about it. I still carry it in my audio kit for those "just in case" siuations.
 
The AT4073 is a killer mic. Ive never used it, but the Rode NTG2 sounds a killer mic - hotter output than the 897 (which has a crummy output level)...
 
All mics suck... I'm going to silent pictures... So much easier than having to sit down and figure out which mic to buy... WHO'S WITH ME
 
You must log in or register to reply here.
Back
Top