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Frequently Asked Questions
(from our daily deluge of e-mail)
Why isn't your
website set up for direct on-line ordering?
There are so many products out there that it would be near
impossible to list everything in our catalog or on the website. Then there is
the constant change of new models and pricing fluctuations. And how is the
product to be used... adapters, interfaces, accessories?
By taking the time to TALK with each client, we can confirm
that, indeed, the best product for his or her specificif application is being
ordered, along with whatever peripherals might be required.
Most packages often include items that are sourced from
different manufacturers, to provide the most versatility for the cost.
At best, websites can only generalize, but they can't cover
every situation the way a human can.
It also gives us a chance to discuss the operation or set-up of the gear,
answer questions, and provide some friendly pointers.
I recently purchased a
Sony camcorder and am looking for a basic sound package to get started with in
order to shoot documentary (and the occasional, bill-paying wedding). What would
you suggest? And, of course, I am on a tight budget!
I am looking for a good on-camera shotgun mic, maybe a boompole, a wireless, and
whatever else you think I might need. Be merciful, I just graduated!
To feed professional microphones (with XLR connectors) into a prosumer camcorder
(with a stereo mini external mic jack), you will need some sort of audio
adapter. Unless, of course, you have one of the more professional camcorders
equipped with XLR inputs.
If you are using only one mic, then you could get by with just an adapter cable.
Our basic cable sells for only $18 and will put the mono mic signal onto both
your camcorder tracks (if you are shooting with Canon or Panasonic). But for
Sony, you will need the XLR-H8/DV adapter cable with built-in capacitors or else
you may experience noisy crackling, buzz, and humm at the mic jack input.
For the most versatility, we suggest either the Sign Video XLR-PRO, BeachTek
DXA4, or Studio One adapter box. They provide for one or two XLR inputs,
switchable for mic or line level, mono or stereo, with volume controls to reduce
(not amplify) either incoming signal.
A good, all purpose shotgun mic would be the Audio Technica AT897. The 897 is a
very good short (pattern, not inches) ENG style (electret condenser) shotgun. It
can power from an internal AA battery or from external 48v Phantom (available
from mixing panels and full-size professional camcorders, but not from most
prosumer models).
To mount the AT897 to your camera, you will need a shockmount. The inexpensive
(and most popular) AT8415 universal shockmount is intended for use on a boompole,
but Equipment Emporium has a brass adapter so you can use it directly on your
camera. K-Tek offers their high quality K-SM (for boompoles, or use with adapter
for camera mounting) and K-CAM (fits camcorder shoe mounts).
You will need a short XLR jumper cable to go from your mic to the adapter box.
Don't expect great sound from any mic mounted on-camera. It will sound much
better than the original camera mic, but you will not get "feature quality"
dialog from a mic several feet in front of the subject.
For Hollywood caliber sound, you need to boom the mic from a couple feet
overhead!
The RoboPole is a well-made metal pole that is economical abd almost as
lightweight as the expensive carbon fibre types. The newer Mark II version is a
4-section telescoping pole that goes from approx 3 1/2 feet to almost 12 feet.
The K-Tek Avalon series are shorter, ENG sized poles.
In terms of wireless, your best choices would include the Audio Technica Pro88
($214); the Samson UM32 ($550), the Sennheiser EW112PG2 ($499) and the Audio
Technica ATW-U101 ($559).
The Pro88 is the least expensive, quality wireless that we like. It is VHF, with
2 switchable frequencies, and comes with a great sounding lavalier. The system
is somewhat short range, clean line of sight (though sometimes you can get
better range, but you cannot bank on it!).
The Samson UM32 systems are UHF and diversity. They have amazing range without
dropout.
The Audio Technica ATW-U101 is 100 channel, UHF, true diversity and is the best
built. It is a rugged, metal constructed unit that is beefier & heavier duty,
since it was intended for broadcast camcorders and studio film production.
You will need a few more accessories to round out your package.
Headphones are critical. Without a reliable way of monitoring audio, you will
never know what you are getting. It's like shooting video blindfolded! The best
headphones are the Sony MDR7506 or the Audio Technica ATH-M30.
It would be good for your boom operator to also hear. Check out our mini duplex
cable.
And don't forget some XLR mic cables. At least a thirty footer for the boom mic.
A shoulder bracket adds stability to your rig as well as presenting a
professional look. Kind of important for event videography.
What kind of equipment would you suggest
for an independent feature film?
A basic sound package for theatrical production starts with a decent mixing
panel such as a Behringer or Mackie offering at least 4 XLR mic inputs with
48vPhantom, 3-band EQ, and Aux sends (for feeding the boom operator). One should
also have a portable cart to set it up on. AC is usually available on sets, but
remote locations may require an invertor and a 12v battery pack.
At least two or three condenser shotgun mics. The AT4073a is an excellent,
general purpose short shotgun. The AT4071a is a condenser full shotgun, ideal
for exteriors. The AT4051a or AT4041 are short range but extremely low echo --
perfect for tight interior shots. Exterior conditions will call for a good
windscreen, such as an Equalizer, K-Tek Fuzzy or full zeppelin system.
At least one good dynamic handheld mic, for loud sound effects and also for
narration.
One or two boompoles, at least 12 footers. Make sure there are suitable
shockmounts for each shotgun mic, such as the AT8415 or KSM. (Zeppelins include
their own mounts.)
Lavaliers for body worn as well as plant mic applications. Plant mics require an
open sound with good reach, such as the MT830, AT899, and ECM77. Open sounding
mics also cut better with overhead miking.
Proximity lavaliers such as the Countryman B3 and the ECM44 are useful for
isolating actors from background noise or other actors. At least two good
wireless units, such as the Samson UM32 or the Audio Technica ATW-U101.
An assortment of mic cables, including 30 footers and some 50's. Use a duplex
cable to connect to the boom operator.
Professional headphones for the sound mixer and boomperson.
The type of recorder that you should bring is dependent on the budget and the
style of post production. Standard choices include recording straight to video;
the Marantz PMD670 and the Fostex PR2 timecode.
A small minidisk or memory recorder is useful as a backup recorder or to hide on
an actor.
What minimal sound package would you
suggest for doing a wedding?
Event videography is obviously different from theatrical production.
To begin with, make sure that all of your camcorders (primary and backup) are
equipped to accept XLR mic inputs. You may need to use an audio adapter box with
camcorders that only offer a stereo mini mic input.
Three mics that are essential include a decent short shotgun, a good quality
wireless, and a handheld. In addition, you will need an extra mic for a small
audio recorder (or spare camcorder).
If your camcorder has XLR inputs with 48vPhantom powering, my choice for shotgun
would be an AT4073a.
If the budget is tight, and your camcorder (with adapter box) does not support
Phantom powering, then go with a decent ENG shotgun such as the AT897.
The wireless should be UHF diversity and capable of good distance. It should
also allow you to change channels in order to get around local interference. We
suggest the Samson UM32 or the Audio Technica ATW-U101.
Choose a lavalier on the wireless that offers strong reach and pickup. You want
to be able to eavesdrop on entire conversations, not just the single voice of
the person wearing it.The handheld mic could be the Shure VP64AL dynamic omni,
or the Audio Technica ATM29 dynamic cardioid. Both are very impressive broadcast
microphones. Add a customized mic flag with your company's and the client's
logos proudly displayed!
For the ceremony, deploy the wireless on one of the three principals (bride,
groom, clergy). Or hide the mic in the center to pick up all three voices.
Record the wireless onto one channel of your camera, and use the shogun on the
second. Do not mount the shotgun onto the camera at this point, in case you need
to pan around to shoot various cut-aways. Keep the mic pointed at the best or
main source of sound.
For protection, you should also rig an extra mic and record the audio of the
ceremony onto the second camera or a small audio recorder (minidisk, MP3, etc.)
If you lose a few seconds of picture during the ceremony, you can always edit in
some neutral cut-aways or close-ups to cover, so long as you still have the
important audio!
During the reception, use the handheld mic (with flag) for guest interviews. It
will hold back all the background noise and music!
The shotgun mic will cover the general activities. The wireless will allow you
to follow around a family VIP as they greet guests, etc.
Use the audio recorder (or spare camcorder) to record the band performing entire
songs. That allows you to create a smooth montage of dancing without the music
cutting in and out every few seconds when the shots change!
Most importantly, never forget to use professional headphones and to always
listen to what you are recording.
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We are authorities in production sound recording
for video and filmmaking. We also have lots of accessories for videography; and
are dealers for Casablanca, AVIO, and Renommee
non-linear video editors; as well as turnkey AVID & AVID Liquid (aka
Pinnacle) editing solutions.
If you would like a copy of our
2005/2006 "cowboy cover" catalog (free, of course), please phone or
e-mail us. We are working on a new 2007 catalog, coming later this year.
