Zoom H6, RODE NTG-3, RODE NTG-4 and Wireless System

C

cs259

Member
Hey guys, I have some questions and thoughts that I want to ask to you.

So recently I've bought Zoom H6 with its accessories. Do anyone have thought on its carrying case? I think the carrying case that Zoom gives doesn't give any protections and a little bit fragile. Should I buy Pelican cases or bag for storing? If yes, could you give me any recommendations?

Secondly, I am considering to buy a shotgun mic such as RODE NTG-3 & RODE NTG-4. Any thougts on those? What do you think I should buy? Should I wait for the RODE NTG-4 to come out? How's the quality of those mics? Which is better? Could you give the pros and cons of those mics?

I am also wondering what Wireless System that has good quality and gives 48v Phantom Power for the boom. Could you give any recommendations? Thanks.

Cheers,
Chris :beer:
 
Hi, Chris, and welcome to DVXUser!

Regarding a case for your H6, you might want to take a look at Porta Brace or Strut for protective cases that are designed for use during operation. I'm always a fan of hard cases for transport, and keep my field audio kit in a Pelican. Which one depends on the size of your kit (mine requires a Pelican 1650).

The RØDE NTG-3 is their top-of-the-line shotgun offering, while the NTG-4 (which was just announced) was designed to bridge the gap between the 2 and the 3. Always go for the best you can afford if you are working professionally, or the best you can justify if you are a hobbyist. I have not yet had any opportunity to plat with an NTG-4 or 4+, but the NTG-3 is my workhorse and it is a fine mic.

There is a sticky (yellow thread at the top of the sound forum) all about wireless systems. You can read it HERE. As for phantom powering options on XLR plug-on transmitters, read the specs of each device as they will tell you if the transmitter offers it or not. As for how different transmitters with phantom power perform, read THESE POSTS in the wireless sticky for one comparison.
 
Thanks for the reply, sir! I'm going to check those cases. I will wait until the NTG-4 released and compare both of them. Ah, my bad, I'm sorry I didn't see the sticky section.

By the way, I usually see on a big budget production, they use a bag with field mixer in it. Are there any bags that suit best for Zoom H6? Or should it be hung to neck with a strap? What do you prefer?

And I don't want to spend a lot of money on boom poles, any boom poles recommendation that cheap and sturdy?
 
cs259 said:
By the way, I usually see on a big budget production, they use a bag with field mixer in it. Are there any bags that suit best for Zoom H6? Or should it be hung to neck with a strap? What do you prefer?
Click to expand...

On big-budget motion pictures, you'll actually see a cart-based system. Bag systems are used in reality TV, news gathering, and lifestyle programming, and on modest-budget and low-budget indie films.

The cases from Strut and Porta Brace have straps. I wouldn't worry about spending money on a proper audio organizer until you have the field mixer and wireless receivers to fill it. The most important thing is that the recorder is accessible during operation, both with the meters visible and with the controls easy to reach.

I recommend these as protective "wraps" that seerve a similar purpose as audio bags. Again, I'd suggest getting a Pelican case in addition, for storage and transportation. My audio bag fits in my Peocan, along with all my other cables and gear.

cs259 said:
And I don't want to spend a lot of money on boom poles, any boom poles recommendation that cheap and sturdy?
Click to expand...

Gitzo and K-Tek have some good, lower-cost offerings. Cost will depend on how long a boom pole you want, and whether it is internally cabled.

Also, don't forget that you will need an isolation mount and wind protection for your shotgun mic. And you have made no mention of headphones. Do you have reliable headphones? Bose noise-cancelling headphones do not count.
 
The only Phantom Powered transmitters I'm aware of are the plug-on (aka, butt plug) type, which are considerably more expensive than the standard non-powered. OTOH, most lavaliere mic (elements) only require bias voltage (aka, Plugin power) which most body pack transmitters supply. There is a huge difference in voltage and connection/configuration between Phantom and Plug-in power and severe damage can result to the mic and/or preamp if the two are confused.
Yes, by all means read the 'The $500 Wireless Question' sticky.
 
Alex H. said:
Also, don't forget that you will need an isolation mount and wind protection for your shotgun mic. And you have made no mention of headphones. Do you have reliable headphones? Bose noise-cancelling headphones do not count.
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Thanks for the answer. I'm considering to buy the new RODE Blimp but in my local camera store, the newer version of the Blimp hasn't came out. They sell the older version of the Blimp. I don't know does the new version of Blimp really make a big difference than the older one or not. Hmmm, about the headphone, I usually use my Sony MDR-XB600 which I bought in Japan 2 years ago. Actually, I am not really concerned about the headphones, Level meter does quite a good job, doesn't it(?)

Rick R said:
The only Phantom Powered transmitters I'm aware of are the plug-on (aka, butt plug) type, which are considerably more expensive than the standard non-powered. OTOH, most lavaliere mic (elements) only require bias voltage (aka, Plugin power) which most body pack transmitters supply. There is a huge difference in voltage and connection/configuration between Phantom and Plug-in power and severe damage can result to the mic and/or preamp if the two are confused.
Yes, by all means read the 'The $500 Wireless Question' sticky.
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Thanks, sir! I'm absolutely going to read that.
 
The effectiveness of the new RØDE Blimp is improved due to the revised shockmount system, but the orignal does a fine job. Where you'll notice the biggest difference is in the weight: the new one is lighter, and that matters at the end of a boom pole.

You can also get by in most places with the PG-2 pistol grip and the WS-6 furry windscreen. That won't work as well in higher winds, but for calm days and interiors it'll do just fine. Get the blimp if you can.

cs259 said:
Hmmm, about the headphone, I usually use my Sony MDR-XB600 which I bought in Japan 2 years ago. Actually, I am not really concerned about the headphones, Level meter does quite a good job, doesn't it(?)
Click to expand...

So do you just point your video camera at the subject and hit record without looking through the viewfinder? The red light does a good job of telling you that it's recording, doesn't it?

Without monitoring, you have no idea what you're actually recording. I mean constantly monitoring, not spot-checking every few minutes. The meters will tell you that something's there, but what? Is the audio distorted from poor gain staging? Is the wireless system suffering from RF interference? Is the boomed mic aimed improperly? All of these things will make the meters move, but you won't know unless you're listening to it.
 
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The Sony UWP-D16 kit has a plug on transmitter that will deliver phantom power to the mic..... A lot of TV networks in Australia are now using them as reporter mics Tx units.
 
Alex H. said:
The effectiveness of the new RØDE Blimp is improved due to the revised shockmount system, but the orignal does a fine job. Where you'll notice the biggest difference is in the weight: the new one is lighter, and that matters at the end of a boom pole.

You can also get by in most places with the PG-2 pistol grip and the WS-6 furry windscreen. That won't work as well in higher winds, but for calm days and interiors it'll do just fine. Get the blimp if you can.



So do you just point your video camera at the subject and hit record without looking through the viewfinder? The red light does a good job of telling you that it's recording, doesn't it?

Without monitoring, you have no idea what you're actually recording. I mean constantly monitoring, not spot-checking every few minutes. The meters will tell you that something's there, but what? Is the audio distorted from poor gain staging? Is the wireless system suffering from RF interference? Is the boomed mic aimed improperly? All of these things will make the meters move, but you won't know unless you're listening to it.
Click to expand...

Ahhh, you got me! I never thought that far. To be honest, I never use the real shotgun mic, so I never thought of those things. I usually use my RODE Videomic Pro which is attached to a monopod and Zoom H1 as my recorder. I am just using standard headphone such as written above. Have you ever tried it? What do you tink of Sony MDR-XB600? What headphone do you use usually for monitoring?
 
The "XB" stands for "extra bass" with those Sony headphones. In other words, they're deceptive as to what you're actually hearing. Those are designed for listening to music as an end-user.

For critical monitoring during production, you want neutral and uncolored. One of the standard go-to headphones in TV and film is the Sony MDR-7506, and there are some using it's sibling the MDR-V6. I use the 7506.
 
As Alex stated, the 7506/V6 are popular for location sound... and what I been using as well (since 1990).
There are others, for instance the Sennheiser HD 280 pro is popular as well, but sounds totally different than the above. HP choice is subjective for comfort and sound. The has been discussed at length, here and on other location sound forums. Search..
HPs are generally avoided for post sound mix decisions.
 
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