How can I achieve the perfect sound recording set up to accompany my HV40

[Dist0]

I was on this forum a while back in April asking for advice on a microphone set up compatible with my HV40. I received some sound advice but was still unsure as to which microphones to buy. Now that I have a new job and cant make any mistakes, I thought I'd ask again and act on that advice straight away. What I feel would be the best setup for me would be to have two sound capturing options available to me so the sound is crystal clear and gives me a back up if one capturing device fails! When I first started recording interviews (using a sony camera) the lapel mic would sometimes give of this horrible humming noise, then after upgrading to an HDV camera with the first blue tooth wireless mic (again using a Sony camera) could be so sensitive at times that it would sometimes catch all the scratching noises from the interviewee moving around.

So I need a new set up!

What I have available to me at present is an HV40 camera and an Azden: WMS-Pro
VHS Microphone system. So the "receiver" plugs into the cameras shoe and records the sound onto the HDV tape by plugging it into the Cameras microphone jack. The "transmitted" just clips onto the subjects clothing. It's o.k. but it has telescopic aerials and looks like it wouldn't take much for it to fail.


Can anyone please suggest to me the best lot of sound recording equipment that will meet my needs?
- I'd like a Lapel Microphone that I can attach to the interviewee that will record the sound directly onto the HV40s HDV tape
and
- An external microphone that is connected to a recorder (that records onto a media card of some type) that I would position on a stand close to the interviewee enabling me to record their speech on a third party device.

So the the shopping/recommendations list I need help with would include:
- A wireless lapel mic that comes with the right accessories that will enable me to record directly onto the tape.
- A shot gun (or the most appropriate type of miic).
- A stand for this mic
- And a recorder

My budget is up to $800 dollars but if this sum can't achieve this set up I can stretch it out a bit.

I really hope there is someone out there who can help me with this one.

Regards,

Patrick

[Janke]

ANY lapel mic will catch noises if it's not properly mounted, and touches clothing.

Best remedy: monitoring the incoming sound with headphones - all the time!

[Dist0]

I do my best to monitor the sound but due to my situation I have to rely on someone else to do it for me. Anyway, I've learnt my lesson and now I'm trying to find advice on purchasing the best equipment to "upgrade" my current sound capturing options.

What do you use?

[Dr. Benway]

All this plus paying close attention to ambient sound and recording in near-perfect conditions. What are you shooting?

http://www.rodemic.com/mics/ntg-2

http://www.bhphotovideo.com/c/buy/XL...4/N/4289288133

http://www.zoom.co.jp/products/h4n

http://www.bhphotovideo.com/c/produc..._Lavalier.html

http://www.singularsoftware.com/pluraleyes.html

Wired:

http://www.bhphotovideo.com/c/produc...icrophone.html

[Dist0]

I'm recording interviews on war veterans. So it will be shot in a quit room. But due to previous disasters i want to make sure i've got a back up sound capturing setup. This why I'm after a wireless lapel mic that records directly onto the HV40 HDV tape and a shotgun mic set up close to the interviewee that will capture the audio and record it on its own recorder. Basically like a network would have a cameraman and a sound man recording the audio onto his own recorder.

If you were me what gear would you look at getting?

[Dr. Benway]

If you were me what gear would you look at getting?

The list above or equivalents - that gives you lavalier into the HV40 and a shogun mic into the Zoom. Plus a stand, or two.

http://www.adorama.com/ULJSMCFB100.html

[cgbier]

First, there ain't no perfect sound setup.

In regards to gear, Doc Benway answered your question already. However, I'd not use a VHF wireless system. Rather look at the Azden 310, Audio Technica 1800, Sennheiser G3 or Sony V1 (my favorite) series. You want a UHF system with diversity receiver.
http://www.bhphotovideo.com/c/search...550+4291226455
you can offset the cost for the more expensive wireless system by choosing the Zoom H1 over the H4 and get a 20 dollar XLR > 1/8" adaptor in combination with an Azden 2X (use the short barrel indoors).

Additionally to your equipment, you should also pay attention to your room. No room, if it is not an echo chamber, is completely quiet. Air conditioner, fridges, neon lights,... can all kill your sound (even if they are next door). A good set of headphones (Sony V6 here) will and some attention will help you.

don't forget to record some 30 seconds or a minute of room noise. You might that later in post.

[Janke]

What do you use?

Audio Technica 3550 lavs (got six!), a Zoom H1 and a Tascam DR-07. Add the camera's two audio tracks and I've got 6 channels!

In addition, I have a long shotgun mic, "T-bone 9900", very good for its price of 77 euros. It needs 9-52 volt phantom power, so I built a 12 volt battery box for it.

This documentary was shot with the above equipment:



Edit:

At 6:50, I use the shotgun (+ dead cat) for the entire beach sequence.

At 15:30, I used one AT3550 lav and the Tascam recorder hidden in the pocket of the walking man (my father, then aged 89!)

[Dist0]

Thank you all so much!

Your help is really appreciated!

[1]

If you're recording "talking heads" I'd suggest to use a lapel AND a hyper cardioid mic (such as a Oktava MK012) on a stationary boom,
where the mic is JUST OUT OF FRAME, it MUST BE CLOSE to the subject.
If you think you're close, bring it in closer.
If you then think you're too close, bring it in closer.

If it gets in the frame, IT'S PERFECT, and you back it out, 1mm at a time, until it's not visible anymore.

Bring both mics into their separate channel via a good mixer (such as a MixPre from Letrosonics, or a Juicelinks),
watch the levels whilst recording, and either mix the two channels in post, or if one turns out to be crap in parts, use the other.

I used to set one hotter than the other, so if someone starts shouting or if they whisper, I still have a good take.
But I may think it's better to just monitor and adjust on the fly (the above method was when I was alone).

[1]

Being by yourself IS very difficult, as you will want: 1) to get it technically good, which in turn prevents you/me from: 2) making it interesting.

I found that i spent so much time on being a good interviewer, keeping focus on the camera, AND getting good audio prevented me from getting creative. So most of my shots are static, and quite boring....BUT with good audio and in focus, so....

[Dist0]

Because the help I receive is there to be a care support worker (i'm a tetraplegic and my hand function is paralyzed) they dont really care if the result is crap. Some do and I will always check over camera position and do sound checks etc you could basically I'm on my own as far as knowing what more to do other than follow the subject with the camera - and I'm only new to this so know hardly that much at all. I've only ever used simple sound recording measures that sound perfect if theres no problems but now that its not just a hobby I need to ensure the sound recording has a back up. So when you are on your own what sort of set up do you use and how (other than the good practical advice you've just given me) and can you please tell me how to set one mic hotter than the other?

[cgbier]

One mic is hotter than the other out of the box. You'll have to mix them separately.

I'm working most of the time by myself. If I don't use a mic stand for a separate mic, I'm using the on-camera shotgun (a short one that came with my Sony A1 - it's great indoors - outdoors, I use the Røde NTG-2) and the Sony wireless. You are getting that close in sit-down interviews that you can use an on-camera mic without issue (camera on tripod though!). I'm in the lucky position that my cameras can adjust the audio levels for both channels separately.
If I use the HV, I use my small Azden shotgun on cam, and a wired lav (ATR 3350) into the Zoom H1. The shotgun is for redundancy.

[Dr. Benway]

Being by yourself IS very difficult

It is - you have to be pedantic - but it is rewarding too. Though at times it's tiring.

[Dist0]

I only have an HV40 to use but from what I'm reading & hearing is that a
Azden SGM-2X Shot gun, plugged into the HV40 using a,
Pearstone LMT100 - Low to High Impedance Matching Transformer (1.5')
and
A wired lav ATR-355, plugged into a
Zoom Hi
Will provide me with a sound recording system that includes a shotgun mic that will record onto the HV40s Tape Source, while a ATR-355 wired lapel mic will provide a separate sound recording on the Zoom H1.
Cgbier, you said there was no perfect sound setup but from with the help from you, Dr, Benway, Janke and I, it feels like by purchasing these products I will be able to feel confident that if one component fails at least the other one will carry the can.

Cybier, when you say you use "the shotgun is for redundancy" do you mean you use that as your backup?

Is it o.k. to use the Shotgun with the Zoom H1? will the sound be as good? I ask because i'd like to record some sound in digital format but the Pearstone LMT100 - Low to High Impedance Matching Transformer (1.5') says its designed to be used for mono microphones? Is there an alternative shotgun and cable that will be compatible with a digital sound recording?

WMS-Pro, VHF Microphone system. - how will that fare in the digital word.

I use Final Cut Pro and intend to use sound track pro when doing the sound for this project that will be using the sound gear I'll be from purchasing from this post (you all deserve a commission). Will this be o.k. to mix them separately.

[cgbier]

Shotguns are mono. The sound you record into the H1 depends mostly on your microphone, but, more important, on the placement of your mic. The closer to your victim, the better your sound will be.

VHF wireless systems are not really recommended. They don't have the radio quality of a UHF system.

The ATR has a 20' cable, so it doesn't matter if you plug it into the HV or the Zoom.

Redundant sound means that you have two recordings. You choose the better one in post. STP is a terrific tool for mixing, but for a simple interview, you can mix your sound in FCP. STP is used later for sweetening your sound (Noise Gates, Compressor, filter out disturbing frequencies, EQ,...)

[Dist0]

For an interview scenario, what would be a stereo alternative to the shotgun mic when aiming to capture redundant sound (am i using that in the right context?). For example, I plug the ATR into the Zoom, what would be a good stereo mic to plug into the HV40?

I'm about ready to purchase the kit for this sound recording. I'm definitely going to buy a Zoom H1 and a wired lav ATR-355. If the shotgun is the best mic to achieve redundancy then I'll go for the Azden SGM-2X Shot gun and Pearstone LMT100. It's what you use Cgbier and you are a pro. Any other suggestions would be appreciated.

[Dist0]

Does anyone have an opinion about the: Sennheiser MKE 400 Small Shotgun Microphone?

[Janke]

Sennheiser MKE 400

More or less a toy... at least it looks like one!

[cgbier]

Stereo? - NO!

[Square Bob]

I would just add that, no matter how location sound is recorded, ROOM TONE can save your bacon in post. Get it on every setup change, even if it's in the same room.

[drapeama]

no matter how location sound is recorded, ROOM TONE can save your bacon in post.

That's why I like the Azden EX-503 lav: it captures the voice in a "sterile" way. It doesn't capture much of the ambience, so you have (in a way) to mix some roomtone in post. But that gives you more flexibility to mix it right, rather than cleaning your audio in post.