Advice on soundgear (ad upgrade path)

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radicalkat

Hey folks,

I have some questions about some sound gear I'm looking to buy. My intention is to make DSLR shorts. I have a hacked Panasonic GH1. I'm very new and looking to get started. Here are my thoughts...

I was originally thinking on getting a Tascam dr100 and running a shotgun mic into it to record audio. However, I've read that the pre-amps on the dr100 are less than spectacular and that to make such a setup work well would require a mixer going into the dr100. However the cost of the mixer and a dr100 is prohibitive, so here is a plan I hatched:

Shotgun mic into Juicedlink DT545 then into the camera.

Then, eventually...

Shotgun mic into Juicedlink DT545 then into dr100.

The idea is that for now, the Juiced link would disable the AGC on the camera and (essentially) give cleaner audio than I could get by running a mic directly into the camera. It would also allow for headphone monitoring.

Then when money allows, I could pic up a dr100 and get clean gain from the juicedlink into the dr100, thus eliminating the problem of the dr100 preamps.

I also know there is a new dr100 mkII out there, but haven't heard if the new preamps would make this problem moot.

Any feedback would be GREATLY appreciated.

Thanks
 
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The quality of mic preamps is something that most non-audio types will not notice unless there is a radical difference. The difference between the onboard preamps of a DSLR and a budget unit like the DR-100, H4n or a similar unit will be noticeable to all. However, the difference between these budget units and their more substantial cousins, like the PMD-100, FR-2 or HD-P2, will not be noticed by audio neophytes, although the difference would be noticed by someone like myself. The difference between budget audio recorders and professional gear (Sound Devices, etc.) will be heard by all.

Using something like the DT454 can be a reasonable compromise, but it's a one-trick pony. A serious down-side is that when used to suppress the AGC of a DSLR you can only record one audio channel, and you must mute or erase the tone channel in audio post. I've also heard from a few of my audio post peers that some cameras (I don't know which ones) have "leakage" problems; the tone can be heard on the other audio track. The preamps are probably about the same quality as the budget recorders.

In the current low/no/mini/micro budget indie film culture starting with a budget recorder and a mic, usually a shotgun, is the accepted path. It is also, for those who decide to continue on the journey, a way to build a pro or semipro audio kit; you add a hypercardioid, a good quality mixer like the Sound Devices MixPre-D or 302 and then start upgrading mics and the recorder. At this point in the game you don't trade in or sell the old gear, you keep them as back-ups or add-ons. However, once you've reached this level, if you are an aspiring director, you are more probably going to start hiring a production sound mixer.

As I mention so frequently, the skill with which the gear is used is much more important than the gear itself. A pro with a DR-100 and an AT875 will capture far superior sound than a green PA with a 302/702 and a CMIT5U. A great boom-op is worth his weight in gold!
 
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Alcove,

Thanks so much! That was a very helpful reply. It makes me think that shotgun mic into dr100 or dr100 mkII will be a good place for me to start. Would you say the AT875 pairs well with the dr100 (in terms of sending a strong enough signal given the dr100's preamps?)

THanks again!
 
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It will be a lot better than an AT897 or an NTG-2. For some reason mics that self power with batteries (like the AT897 and NTG-2) have weaker signals than most other mics. You may also want to consider the NTG-1. One thing, however; the low budget recorders are notoriously short on battery life when supplying phantom power, so get battery packs. It will save you money in the long run.

Don't forget that you will need a decent boom-pole, a shock-mount, wind protection and cables. The accessories significantly add to the cost of a production audio equipment budget, but should not be skimped upon. Besides, the accessories can still be used as you upgrade. Fledgling indie filmmakers have to change their view on audio gear; it's not a prohibitive expense, it's and investment in their future. Audio gear, with perhaps the exception of audio recorders, are long term investments. Even a decent budget mic will long outlast several cameras.
 
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radicalkat said:
Are the Audio Technica packages offered at B&H a good start?
Click to expand...

Yes, that's a nice package from B&H.

This is also nice:

http://www.bhphotovideo.com/c/product/461493-REG/Rode_NTG_1_Shotgun_Condenser.html

radicalkat said:
Can't the AT897 be switched between battery and phantom? If so would it function the same as the 875 when set to phantom?!
Click to expand...

It doesn't matter if the AT897 or the NTG-2 are in self or phantom power mode, the output levels stay lower than other mics either way. My AKG C1000s has the same problem.
 
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There is no appreciable difference (at least when using budget gear), just making you aware of other options. Rode is very popular right now, and they do make very good prosumer and pro gear.
 
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It would depend upon which body you got for the ME-66; there are two versions, self powered (K6) and phantom powered (K6p) . As I've mentioned, mics that self-power tend to have lower output levels. However, I've not heard of any output issues with the ME-66/K6.
 
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