• Handheld SD/SDHC Recorder
• Affordable, high-quality stereo recording for any application
• Two condenser microphones in XY configuration for superb spatial imaging
• Simple controls and backlit LCD for use in low-light situations
• Auto-gain option keeps levels consistent and virtually eliminates distortion
• Record in uncompressed 16-bit PCM wav
• Easy file transfer to computer via high-speed USB 2.0 interface
• Low power consumption for hours of recording with just one AA battery
• Stand or tripod-mountable

http://www.ebay.com/itm/Alesis-TwoTrack-Handheld-SD-SDHC-Recorder-with-Built-in-XY-Stereo-Microphones-/300878282497

Specifications:

• 24 Bit WAVE / MP3 Recorder
• Recording Media: SD/ SDHC memory card (64MB~16GB)
• Sample Rate: 44.1 kHz / 48 kHz
• MIC Select: 2 MICS / 4 MICS
• Effects: 5 types ( Delay, Chorus, Room, Hall, Pitch Shift)
• Record Format: WAV 16 bit, WAV 24 bit , MP3 64 kbps, MP3 96 kbps, MP3 128 kbps, MP3 196 kbps, MP3 224 kbps, MP3 320 kbps
• Built-in Speaker
• Display: 128 x 64 dots OLED
• Input: 1/8" Stereo Line Input, 1/8" External MIC input, Built-in Stereo MIC
• Output: 1/8" Headphones.
• USB Interface: Mini-B type
• Power Requirements: AC adaptor (DC 3V) or AA size (LR6) battery x 2
• Dimensions: 67(W) x 29(D) x 107(H)mm

More info: http://medeli.com.hk/products/dr/dr-2.html

Price: below $90

http://www.ebay.com/itm/Alesis-Palm-Track-Handheld-SD-Digital-Stereo-Recorder-24-bit-Audio-/170932733029

Was a bit tight to get on, so 35 mm would be better.

Works pretty well and is dirt cheap - just ordered a set of five 35mm internal diameter foam wind screens from Ebay for well under $10 :)

i have recently watched the luminous landscapes video tutorial (dslr) i am a little confused as to which type of sound mic i should purchase? if it is at all needed for the purpose of video making ,there are some rode mics on ebay, are these a good choice for a newbie. any advice would be appreciated regards paul.

I only found two types on ebay, typically around 25 dollars for each. http://www.ebay.com/itm/UK-FUR-Windscreen-Lavalier-lav-lapel-mic-windshield-microphone-deadcat-windcut-/150993824135?pt=UK_MusicalInstruments_Other_Pro_Audio_Equipment&hash=item2327eee987

Do you know any cheaper?

So far, I prefer the ME-15 as it does not need a battery.

Are there others that may be more rugged ? The ME-15 is a bit filmsy.

For example, there is a rumour going around that Sennheiser MKH 416 has been the "industry standard" throughout 70s and 80s (and even 90s) in many Hollywood films. Is this true? If yes, which films? Please mention them. I would love to listen to those films.

There is another rumour that Rode NTG-3 (and even NTG-2) is being used in film productions. If you KNOW this to be the case, then,please, list the movies that use NTG-3. (and I don't mean movies made for Vimeo, or amateur movies that don't stand the chance of being accepted into any decent festival)

If there are other microphones that you know of, please add them to this list and please mention which movies they were used in. Movies from any decade are welcome. (like, I'd love to know what mics were used in Taxi Driver, The Godfather, Network, Blowout, Reservoir Dogs, Pulp Fiction etc)

I've asked this question to Philip Bloom and he says I'm wrong -- "because this is one man band kit…i had help here but still…why on earth would you bring a mixer unless you had a sound man?" but I still don't see why so please if you're an audio professional and have actually used a field mixer digital recorder combo get back to me. I'm sure I'm missing something here but as I've not actually do any work with an external sound recorder I'm sure what I'm saying is pure conjecture :) There is a difference I think too compared to what he was he was doing, filming a person interview in a very controlled environment compared to chasing tornadoes and trying to get audio from people in a very difficult environment.

So sound pro's your feedback please!

The sound of this little jewel, built in the well renowned german/austrian AKG house, is superb - very natural and clean, voices sound warm. It has a particular strong directional characteristic/off-axis rejection and wide frequency range. It supports very strong signals as much as it picks up clearly sounds and voices coming from the distance. Reading the reviews you can see how versatil this microphone is http://www.proaudio.com/product_info.php?products_id=3480.

It is very small, 137mm x 9mm, size of a pencil, is very light, perfect for using on any small hybrid or DSLR cameras.

Talking to the AKG tecnicians in Austria, they had their doubts whether it would work with such a low (2.5V) "power supply" of the GH2. Normally it works with 9-52V. But: it did work (Thanks Mr. Amon for your advise).

Connection is: red to "tip" and "ring" and white and ground to "sleeve". Basically the same way as described in @balazers topic. You have to cut off the 48V phantom power plug previously.

The microphone shock mount on the photo, was custom built out of a stainless steel tube, with my local boat-welder in my Marina and a few rubber bands.

The lack of any existing 2.5mm stereo plug in an angled version (I only found crap), made me change the "interor" of an angled 3.5mm plug and substitute it with the interior part of a normal metal 2.5mm plug. Works fine. No need of annoying 3.5/2.5 adapters.

For my purposes this is a very satisfying setup. With the great picture quality of the GH2, using balazers stable cake settings (thanks @Vitaly and @balazer), now I finally found a very small high end on-camera microphone with a wonderful sound quality, no need of any further batteries or power supply, and the whole thing still keeps this small, flexible, moving character which I love to work with.

The AKG C747 is not cheap, the actual version MK II costs around 500€ or more, but the previous version, which is basically the same microphone (a part from a filter and a few other things), you can find it used for around approx 300€, add approx 30€ for the Windscreen.

Would love to hear your opinions about it.

EDIT: Cheap deal on AKG C747 on ebay: http://www.ebay.co.uk/itm/150918575896?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649#ht_1249wt_1219

Price: $12-15 + shipping

http://www.ebay.com/sch/m.html?_nkw=shotgun+mount&_sacat=0&_odkw=shotgun&item=290695305551&pt=LH_DefaultDomain_0&gbr=1&_fcid=168&_osacat=0&_clu=2&hash=item43aeca594f&_ssn=wgt-1979

Next option, longer and with hotshoe mount.

Price: $25 + shipping

http://www.ebay.com/itm/Hot-Shoe-Shotgun-Mic-Shock-Mount-fr-5d-7d-ex3-ex1-/280650927490

Similar to previous and a bit pricey, but comes with rod clamp.

Price: $56, free shipping

http://www.ebay.com/itm/Shotgun-Mic-Microphone-Suspension-Mount-Holder-Hotshoe-Single-15mm-Rod-Clamp-/170870543414

A friend (sound recordist) recommended Klotz MC5000 xlr cables http://shop.klotz-ais.com/cgi-bin/quickorder/lshop.cgi?action=showdetail&artnum=M5_&wkid=2004g&ls=e so I thought to get a 3m gold-plated version of that, but they seem to exist only in XLR-to-XLR configuration. This would mean that I would need to get an additional XLR-to-3.5mm adapter, but I was told that the more connections there are the more is the loss of sound quality.

Then another another alternative would be something like this http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=170332397463 Neutrik XLR to 3.5mm

Yet another question would be regarding "balanced" vs "double screened" ... the Klotz MC5000, for example, doesn't seem to be "balanced", but "double shielded" etc.

So which cable would you folks recommend for recording cinematic dialogues, ADR, Foley sound etc?

I a using an Audio Technica with XLR phantom power attached to the DR-40, and the DR-40 Attached to the GH2.

I noticed there are 4 levels on the GH2:

Level 1: Level 2: Level 3: Level 4:

What is the best level for recording dialog?

What settings will work best for getting crisp, clear sound with very little noise?

Compared to it predecessor (which is now sold as a lite version) the interference tube has grown a bit (its still slim compared to the Videomic Pro) and there is a new switch to enable a 20dB gain. The microphone is sold as part of the „Q DSLR-Video PRO Microphone Kit“ (1) and the „Q Sniper PRO Microphone Kit“ (2).

I'm especially interested in the latter kit, since the idea of a super compact booming kit intrigues me. Another advantage of this kit is that it includes an XLR adapter which enables a true balanced connection. This gives me the option to upgrade my VDSLR setup with a powered XLR adapter like the JuicedLink RM333 later on. But I want to make sure the microphone has a good quality justifying the hefty price tag of 450$ for the Sniper Pro Kit. Videomaker published a very positive review of the kit (3), and there is also a video review (4), but both of them didn't seem very substantiated. Has anybody made experiences with this microphone? How does it compare to the Videomic Pro or the Sennheiser MKE400?

1. http://queaudiousa.com/Portfolio%20Items/q-dslr-video-pro-microphone-kit-2/
2. http://queaudiousa.com/Portfolio%20Items/q-sniper-pro-microphone-kit-2/
3. http://www.videomaker.com/article/15833-que-audio-q-sniper-pro-microphone-kit-review
4. http://oliviatech.com/que-audio-sniper-pro-dslr-shotgun-microphone-kit-with-boom-pole-and-mic-stand

Thanks

http://www.bhphotovideo.com/c/product/659062-REG/Pearstone_9111930_OLM_10_Omnidirectional_Lavalier_Microphone.html

I try to find a good solution for sound in my 5D, just for some normal interview( could be in the studio and any place clients are). Before I used HDV to get some sound, 5Dget image, and sync in post with pluraleyes. But I found a lot people do get better solution. Now I try to learn it.

So what I'm trying to do is just get the quality sound directly into my 5D2, without post work with pluraleyes. My buddies are: TASCAM DR-100, SONY UWP-V1(Radio mic)，Audio Technica AT897, also got Rode NTG-1(but this one no AA power supply). 5D2(hacked with Magic Lantern 2.3)

First, I try sony radio mic directly plugin to 5D, it's reasonable sound for event interview stuff, but definite not really good quality, as 5D doesn't have good sound handling ability( I guess).

Then I get this TASCAM thing.(A lot people use H4n, i guess similar thing). Tascam has 2 XLR input, So I use sony radio mic and AT897 (both powered by themselves). My tascam get decent sound these two mic. I used tascam's 3.5 line output, send the sound to 5D's 3.5 mic input. monitor the 5D's sound through AV mount. (wiki ML says we will need a RCA-3.5 adapter, i didn't see that before so i just plugin my 3.5 headphone in to that AV end, it works, I did get the sound there, amazing! ) It worked for a while but I don't when it suddenly just can only get one track, only left channel, there is no infos came into right channel. No matter what i try on all the settings in the ML menu, I can't get that right channel back...

Can anyone help me figure this out?

Price: $93 with free shipping

Manufacturing quality seems better than cheap shotguns. Plus it comes with mount.

Description is completely off, as it is copied from different mike page.

http://www.ebay.com/itm/SG-209-Shotgun-DV-Stereo-Microphone-Equipped-DSLR-Niokn-Canon-Olympus-Panasonic-/130802546079

For location work, the usual 6 meter range is close enough from camera to headphones, but the mic and transmitter may be further away from the camera.

Look for at at least 10 meter headphones on Ebay

Transmitters often come cheaply and with better range. I got a 12V, 10 meter model for $12.00. Look on Ebay too.

Transmitters and headphones can be bought together as a set. Of course, several crew members can receive the same sound via phones.

This is just one more example of domestic equipment which has improved (for in-car DVDs) so much that in can trickle-up to pro applications. Of course, if you're like me you'll find domestic uses as well. (Think kids, peace at home, long drives...)

There are some domestic and car appliances (eg NextBase) which already include IR transmitters. Almost all seem to share the standard stereo IR transmission frequencies of Right: 2.8 MHz. Left: 2.3 MHz.

You can get IR receivers, too. The old Sony 6V IFT-R10 also comes with good quality composite video as well as line-level audio suitable for monitoring. Maybe somebody has experience with camera-mounted IR receivers for audio signal input.

• The 664 has six ultra-low noise, high-dynamic-range analog inputs.
• The 664 can send its main left/right outputs to three cameras simultaneously.
• The 664 can record each of its inputs and its four output buses, for 10 record tracks. Recordings are saved to CompactFlash and SD cards. Recordings are either 16- or 24-bit Broadcast WAV files with extensive metadata.
• With the mixer's built-in, rock-steady Ambient time code generator, multiple devices can operate in synchronization.

See more - http://www.sounddevices.com/products/664/key-features/

On the mics that are designed for it, does 48 volts give better performance?

I'm using MXL FR 300 mics which use 9-52 volts.

Will this be possible at all?

Thanks for any input

• Three-position gain switch
• Bass roll-off (high-pass filter)
• Standard hot shoe mount
• Up to 500 hours per AAA battery
• Integrated foam windscreen

More Info: http://www.mxlmics.com/microphones/field-recording/FR-310/

Available for about $129 at:

• http://www.ebay.com/sch/i.html?_trksid=p4340.m570.l1313&_nkw=MXL+FR310+&_sacat=0
• http://www.amazon.com/Marshall-Electronics-FR-310-Shotgun-Microphone/dp/B0083HTJJ0/

Certainly "breaks the ice" when you're doing interviews.