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The New Workhorse


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#1 Mark Allen

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Posted 21 April 2006 - 03:02 AM

20 years ago the answer to this question was ther Sennheister 415 (or 416?). It was the mic everyone used as the workhorse for recording location sound in a variety of situations.

I am going to be working on an extended shoot where purchasing makes more sense than renting. I'm going to rent a mic next week and I'd like to rent a mic which I would be purchasing for the longer shoot.

This is for feature, dramatic material.

Under 1000 is the price range, the lower the better of course. But quality matters. What are some recommendations and what would I expect from the mic? Locations will be... offices, hotel rooms, restaurants, parking lots, parks.

Next question... sometimes lavs can be a great back up which also can help add body to voices in combo with the boom mic. What is a recommended lav package?

Thanks in advance.
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#2 Andy Sparaco SOC

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Posted 21 April 2006 - 04:15 AM

Rode NTG1 or 2 boom

Tram Lavs
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#3 Glenn Berkovitz

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Posted 21 April 2006 - 11:04 PM

A good question - with quite a few good answers. My favorite mic (for the past three years) is the Sanken CS-3 - in my opinion, a better-sounding 416. If, as you say, your work will take you outdoors, add into your purchase a good zeppelin or fuzzy nose (both by Rycote). I would suggest you cross-post to <rec.arts.movies.production.sound> - that's where most of us soundies hang out, and I'm sure a similar discussion is archived (at GoogleGroups).

Best of luck -
Glenn Berkovitz, C.A.S. (member, Cinema Audio Society)



[quote name='Mark Douglas' date='Apr 21 2006, 12:02 AM' post='101488']
20 years ago the answer to this question was ther Sennheister 415 (or 416?). It was the mic everyone used as the workhorse for recording location sound in a variety of situations.
I am going to be working on an extended shoot where purchasing makes more sense than renting. I'm going to rent a mic next week and I'd like to rent a mic which I would be purchasing for the longer shoot.
This is for feature, dramatic material.
Under 1000 is the price range, the lower the better of course. But quality matters. What are some recommendations and what would I expect from the mic? Locations will be... offices, hotel rooms, restaurants, parking lots, parks.
Next question... sometimes lavs can be a great back up which also can help add body to voices in combo with the boom mic. What is a recommended lav package?
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#4 Matt Pacini

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Posted 26 April 2006 - 03:43 PM

I've had good luck with my Audio Technica, even though it's not an expensive mic.
I think it was a bit below $400.

For ambient, I've used my beihringer B2 as well as strategically placed PZM mics.
The PZM's work really well if you're trying to record sound that is not necessarily coming from a specific place, but the PZM will make it sound like you're micing closer than you really are, because of it's unique design which reduces the effect of reflections.
I use Radio Shack PZM's, believe it or not, after I hea rd from my old piano teacher (Chuck Wild, of Missing Persons) that he preferred them over the crowns, as did some producers he had worked with, most notably Alan Parsons. You need a lot of gain with them though.

MP
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Opal

Willys Widgets

Gamma Ray Digital Inc

Ritter Battery

CineLab

rebotnix Technologies

Visual Products

Metropolis Post

Paralinx LLC

Rig Wheels Passport

Broadcast Solutions Inc

Technodolly

CineTape

Aerial Filmworks

Abel Cine

Tai Audio

Media Blackout - Custom Cables and AKS

FJS International, LLC

Wooden Camera

The Slider

Glidecam