Here's the background. While shooting, we obviously got camera mike sound for all takes. But we'd rented and used a couple of shotgun mikes with a Tascam recorder for many scenes, and the sound we got from those is marvelous. Obviously, my question is about making the camera mike tracks sound a bit more like the fuller, shotgun-mike tracks. Or vice versa, if that's what's needed.

I'm not much of a sound person, so I'd have to understand the principles involved, and then learn to use the Premiere Pro or Audition tools to accomplish the job. Can anyone point me to some good tutorials that might help?

I have already MXL FR-300 but I'm pretty disappointed with it. When I boost gain enough so that I can pick sounds with high sensitivity from 1,5m - 2m, there is a lot self-noise in the signal.

To ensure that there wasn't problem with e.g. my cables, I did another test with Electro-Voice RE50 and there was absolutely zero noise. I know this is different mic since it's dynamic but atleast it proves that the connections are not the reason.

At http://www.dvcreators.net/shotgun-shootout/ there is good comparison between shotgun microphones. It seems that there is really big differences between mic self-noises. E.g. AUDIO TECHNICA AT897 has pretty loud noise, I'd say that sound clip is unusable. But e.g. SENNHEISER MKH-416 has virtually no noise at all and the tone in her voice is excellent.

I don't understand why anyone would buy e.g. AUDIO TECHNICA AT897 ? Is that much self-noise really acceptable to someone?

Anyway I'd like to get some recommendations about shotgun microphones. Based on the test above MKH-416 is a winner for me but that test doesn't cover everything. Requirements:

• Low self-noise
• Can pick sound from 1,5 - 2m away
• Good tone
• Price range <1000$

Advanced shotgun with adjustable gain

• Comes with dead cat and shock microphone mount.
• Works both with 2xAAA batteries for around 100 hours.
• High sensitivity and low noise construction.
• Output Impedance - 200Ω
• Signal to Noise Ratio - 74dB
• Sensitivity (@1kHz) - -50dB~-10dB
• Only 126g

Check additional details and price.

After some reasearch I found out I am not alone. H4n seems to have a cheap PreAmp and NTG-2 low recording level too. At the moment my bugdet is low too so what would be best to improve the situation? Buy a new affordable mic? A preamp like Rode D Power Plug or TritonAudio FatHead? It should be a portable, battery powered and able to be handled easily by one person (the one with the boom)

Thanks for sharing your experience.

So, I am looking to have a few things sorted out in the sound dept. for a doc I am working on. I have decided that the subjects will have lavs with Tascam DR-05 recording on 16GB cards (enough space for the 12hrs or so quoted by Tascam on battery life with Eneloop Pros) I can't afford wireless, so the recorders are the best combo right now for lavs (opinions welcome on this) I heard samples of Zoom H1 vs the Tascam and the Zoom has too much hiss to my taste.

On camera:

This is where I am finding a bit of a hard time deciding. I want a compact kit (preferably without a rig)

Kit 1: Roland R-26 using all of its mics recording to their own independent channel (thats 2 omnis + XY) AT875r recording into the Roland R26 Since this test showed that the Roland has a bit of a hiss, I thought that using a Fethead attached the already short AT875r will give me a lower noise floor.

• Omni + XY + Shotgun channels to mix in post along with the lavs. --For this kit, I would need to get a cage to have both the Roland and the Shotgun mounted on the GH2.

Kit 2: For a lower price as the above: Zoom H6/H5 w/ SSH-6 mic. This module mic is a XY and short shotgun at the same time, which (with Zooms software) you can then choose how much of each set (XY and shotgun) you can have in your final mix later.

Sample of software and mic tests:

• on this one is that the AT875r takes the bench of gets sold because the module replaces it. The recorder mounts directly on the hotshote (no cage, or rig)
• Not enough samples from the SSH-6 mic out there, especially indoors and with dialogue, so it's a bit of a gamble and I don't know how well the noise floor will be with that combo. -/+ XY and Shotgun only left to mix later in post with the lavs. Hearing samples from the Omni+XY+Shotgun on the Roland leaves me with a bit of nice feeling.

Kit 3: The original kit I imagined I would get.

Tascam DR-70D AT875r

• cheaper than both above
• Dr-70D pre-amps are very nice but could also compliment them with a Fethead
• DR-70D built-in mics may be stereo...but they don't really give a stereo feeling so kind of pointless and the main reason for me to look at the above

That's pretty much what I have right now as options.

I also read about the Olympus LS-100 which has nice quiet pre-amps (for the XLRs) but I was advised by a friend that the 16bit recording may be too limiting if I need to compensate for either noise or for mixing. Any opinions on that?

Sadly enough no shop in London has all of these so I can test them all in one place and see what may fit best.

Also, my doc stuff is multi-field (indoor, outdoor) fly on the wall style 95% of the time so I really like the idea of having mixing options between the lavs, stereo and shotgun.

What do we think??

1) Two MXL FR-300 shotgun mics: Very good mics with hot signal and low noise floor. Super cardioid pattern, phantom power and XLR connector.

Technical specifications:

• Capsule Size: 14mm
• Length: 10"
• Frequency Response: 50Hz-18kHz
• Sensitivity: 45mV/Pa
• Impedance: 100ohms
• Max SPL: 123db
• Signal to Noise Ratio: 75dB
• Operating Voltage: 9-52V

Nearly mint condition, windscreen and original box. Asking 100 EUR per mic + shipping.

2) One dual V-mount charger: Good and fast charger for V-mount Li-Ion batteries. It can charge two V-mount Li-Ion batteries simultaneously with up to 3A (an empty 90Wh battery takes about 2 hours). The intelligent charging electronics chooses automatically between constant voltage or constant current mode to charge every battery optimally. The state of every battery is indicated individually (charging: red LED, finished: green LED).

Due to its compact form factor, its low weight and the handy handle, it is well suited for mobile operation. Its fold-out foot keeps it steady. Additionally it can be used as a DC power supply. Up to 60W are provided via a XLR 4-pin socket on the backside for video lights, camcorders,...

Technical specifications:

• Interface: Sony V-mount
• Input: AC 90-240V, 47-63Hz
• Plug: "rubber connector"
• Switch: charge/off/DC-output
• Output(charging): 16,8V, 3A
• Output(DC-output): 15V, 4A
• Socket: XLR-4-pin
• Temperature: -10°C - +40°C
• Dimensions: 140(L) x 100(B) x 240(H) mm
• Weight: 950g

Only selling it because I got a 4 channel charger;-) Nearly mint condition, power cord included. Asking 130 EUR + shipping.

All items are located in Germany - will ship world wide.

Any questions -> please ask.

http://www.seelectronics.com/promic-laser

I accidentally started a conversation on the Driftwood patches thread on audio straight into the GH2 with the 448kbps audio patch.

I am a documentary photographer and recently joined the PV forum after deciding that a GH2 is the tool to have for my work.

I had two queries regarding spanning and in-camera playback and they both have been answered in the Driftwood patch thread: 64GB SD Sandisk Extreme Pro 95mb/s is the only card that spans with Moon T7 reliably and the 448kbps audio patch will make any clip non playable in camera.

Now, to the reason of this thread.

My needs are to simplify the gear I carry with me. I used to work with Rode Videomics plugged to my 5DII and that was that. The audio from them wasn't great.

Now, with the 448kpbs hack, the GH2 can be a great audio recorder without the need for an external recorder like an Edirol or a Zoom.

The conversation as left in the Driftwood patch forum relates to these two tests I found for shotgun mics (most of which can be plugged straight to the GH2) which are outdoors and at two distances.

The distance from where I work and from where the mics would be to my subjects is in between those two tests, both indoors and outdoors.

So far, through my DT770 32ohm which is fed by a Dragonfly, the MKE600 is a bit bassy but very good and the AT897 and the MKH 416 perform similarly at a distance. Close up, the differences are far more obvious.

Also, there has been a suggestion of using an ISK CM 60 which is battery powered:

http://www.swamp.net.au/isk-cm-60-battery-powered-condensor-microphone.html

However, I am unable to find a sample from it. @oto02 said he is getting one and getting ready to test it.

Also, @Jim_Simon mentions that the GH2 can record really good audio so I have hopes that I can work out this rather simple rig for documentary work (TV, festivals)

Many thanks for all contributions in advance.

EDIT: I just heard the tests again with my Sony V6 and still, the AT and the 416 sound roughly similar on both. I am not sure if the MKE 600 equalized would be similar to the 416 raw or if one can up the bass a bit on the AT and make it sound less flat. Both, At and 416, sound crisp.

Specs

• Battery powered with 3.5mm plug
• Includes shock mount and fur wind protection
• Dynamic Range 114dB
• SPL 134dB
• THD ≤0.5%
• Sensitivity -30±2dB
• Signal to Noise Ratio 74dB
• Battery Life ≥200h
• Weight without battery is 90g
• $119 MAP

Via: http://www.aputure.com/V-Mic-en.html

The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

Specs:

• Pick-up pattern - super-cardioid/lobar
• Frequency response 40 Hz to 20 kHz
• Sensitivity with P48 phantom power 21 mV/Pa
• Sensitivity with battery power 19 mV/Pa
• Max. sound pressure level with P48 132 dB SPL
• Max. SPL with battery power 126 dB SPL
• Equivalent noise level with P48 15 dB (A)
• Equivalent noise level with battery power 16 dB (A)
• Power supply 48 V ± 4 V (P48, IEC 61938) via XLR-3 or
• AA battery/rechargeable battery (1.5 V/1.2 V)
• Current consumption with P48 4.4 mA
• Operating time with battery approx. 150 h
• “Low Batt” indicator < 1.05 V; approx. 8 h remaining operating time after initial indication
• Diameter 20 mm
• Length 256 mm
• Weight 128 g (without battery)
• Operating temperature –10 °C to +60 °C

The MKE 600 will be available from IBC 2012.

VP83/VP83F LensHopper™ are camera-mount condenser microphones and the VP83F with integrated flash recording/ playback (MicroSDHC) that enables WAV file capture at 24-bit / 48kHz sampling rate.

• Highly directional supercardioid / lobar polar pattern
• Isolation suspension system to mount via standard-size shoe mount with a 1/4" threaded base
• Dedicated headphone audio output for real-time headphone monitoring
• Micro SD card slot allows “pop-out” card access
• Back-lit LCD screen features activity monitoring from home screen, including indicators for audio and battery metering, track information, headphone volume, mic gain, low-cut filter, and remaining recording time
• Five-position joystick provides controls for headphone monitoring, low-cut filter and mic gain adjustments, track management, and playback support (Play, Pause, Forward, and Rewind)
• One-touch Record button
• Adjustable user gain (up to 60 dB in 1dB increments)
• 10 Hours of battery life from 2 AA alkaline batteries
• Price is $350 (see, for example, B&H and Amazon)

http://www.shure.com/americas/products/microphones/vp/vp83f

VP83 Users Guide - PDF

== Preview: ==

Specs:

Lightweight Design At only 2.6 ounces,
the VideoMic GO is ideal for run-and-gun HDSLR recording without the additional weight of larger on-camera microphone options.

Integrated Rycote Lyre Shock Mount
Constructed from a single piece of hard-wearing thermoplastic, the Lyre provides superior acoustic suspension to traditional elastic solutions, and won't wear out, sag, snap, or require any rethreading to maintain its effectiveness.

No Battery Needed
The VideoMic Go does not require batteries for operation, but instead uses the plug-in power supplied via your camera's 3.5mm microphone input. Simply plug in, and you're ready to record.

• Foam windshield
• Integrated shoe mount with 3/8" thread
• 3.5mm TRS mini-jack audio output connection
• $99 price

Available at:

• http://www.bhphotovideo.com/c/product/1012003-REG/rode_videomic_go_videomic_go_on_camera_shotgun.html

AT9946CM - shotgun + stereo mike

AT9947CM - just shotgun

Via: http://www.audio-technica.co.jp/release/release_detail.php?releaseId=63

http://dx.com/p/kingma-directional-stereo-microphone-for-3-5mm-mic-jack-dv-camera-dslr-black-2-x-sr626sw-168206

Price: $105 shipped

Can't remember who posted the link, but regardless... Thanks!

Tony

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

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

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

Read my topic about using this microphone on the GH2: http://www.personal-view.com/talks/discussion/4450/akg-c747-premium-quality-mini-shotgun-works-on-gh2

Several people have asked me to make a video of how it was done, so I've finally got around to making it. I thought I'd post it here because some of you might find it interesting. Anyway, I'd like to know what you think.