Using Minidisc For Video Production

[chanyo1]

Hello,

I'm interested in picking up a sony Hi-MD Minidisc recorder to record interviews, but I was curious:Are Minidisc recorders pretty good to capture audio for like a film/video production ?I've dabbled with DAT and some low-end digital audio recorders, but never used minidisc before.

Sorry if this is an old topic.I tried using the search function to see if this topic has been brought up before but couldn't find it

[greenmachine]

If you're talking about sound quality, you can listen to some samples in the live recording archive and judge for yourself. For anything other than that, please try to specify your questions.

[yanouche]

i'm also looking forward to record audio for the film projects separately on hi-md unit i'm going to buy soon...

however, there's one thing that's not so great about it: sampling rate of audio from digital video cameras is 48 kHz, so the editing software (for example adobe premiere) is designed to work with such a sound clips... sampling rate of hi-md is 44 kHz... that means you have to convert it to 48 kHz before editing with image (for converting i'm using cool edit pro) and it takes some time... if you don't do this, audio rendered in the film editing software will have very poor quality - a kind of digital hiss on the top of your recordings...

hope it'll help...

[Andicillo]

Hello,

I'm interested in picking up a sony Hi-MD Minidisc recorder to record interviews, but I was curious:Are Minidisc recorders pretty good to capture audio for like a film/video production ?I've dabbled with DAT and some low-end digital audio recorders, but never used minidisc before.

Sorry if this is an old topic.I tried using the search function to see if this topic has been brought up before but couldn't find it

←

Let me tell you that I have recorded three musical productions already using my MZ NHF800 and the results have been amazing. The first one was recorded in HI SP and the sound quality was astounding. At that time there was no wav converter and the Hi-Md renderer was only a project which worked like a charm. I then entered this forum, learned more, and recorded two musical productions for video editing using Linear PCM. One of the productions is "Les Misérables" a broadway musical. The DVD that came out had the best sound I have ever heard of a live production. I really hope you can use it and experience the easiness and superiority of sound to DAT.

[KrazyIvan]

I have wanted to do this with a few home video's I have. I have an SP recorded disc of all the audio then mixed it with the video. I could never get the timing right though.

[Andicillo]

I have wanted to do this with a few home video's I have.  I have an SP recorded disc of all the audio then mixed it with the video.  I could never get the timing right though.

←

Oh How strange! What video editing software are you using??

[KrazyIvan]

Oh How strange! What video editing software are you using??

←

I have used the Microsoft movie editor and a product buy ULEAD software. I cannot remember the name since it has been so long since I tried.

I don't want to dtract from this thread so if you have any suggestions please PM me. Thanks!

[chanyo1]

i'm also looking forward to record audio for the film projects separately on hi-md unit i'm going to buy soon...

however, there's one thing that's not so great about it: sampling rate of audio from digital video cameras is 48 kHz, so the editing software (for example adobe premiere) is designed to work with such a sound clips... sampling rate of hi-md is 44 kHz... that means you have to convert it to 48 kHz before editing with image (for converting i'm using cool edit pro) and it takes some time... if you don't do this, audio rendered in the film editing software will have very poor quality - a kind of digital hiss on the top of your recordings...

hope it'll help...

←

I knew that there would be that bit of a sacrifice, but I figured CD sound quality(44kHZ) would work fine. I was looking for a way so that when I run sound, I wouldn't have to use the camera(Not my forte). This way I could freely capture audio, and not worry about the camera or standing in the path. As it was before, the Camera Operator would montior sound, I would hold the boom mic, and we would manuever around a mess of XLR cables.

As for editing I was just planning to convert it using quicktime, then import it into Final Cut Pro, and synch and make subclips.

[Andicillo]

I have used the Microsoft movie editor and a product buy ULEAD software.  I cannot remember the name since it has been so long since I tried. 

I don't want to dtract from this thread so if you have any suggestions please PM me.  Thanks!

←

Well I use Adobe premier and VEGAS VIDEO (this last one is very cool) You can download a trial version from download.com, or **please don't suggest illegal filesharing as a method for obtaining software** .. In general it is very easy to mix video and audio and synchronize it..

[chanyo1]

So I found this article about using mini disc recorders as a double sound system for video production http://www.kenstone.net/fcp_homepage/revie...i_disc_rec.html

It left me wondering, does this Minidisc recorder allow me to monitor audio levels, and if needed change the levels without having to pause it?

http://www.bhphotovideo.com/bnh/controller...egoryNavigation]minidiscrecorder

I didn't understand all the specifications that were listed.

[e1ghtyf1ve]

So I found this article about using mini disc recorders as a double sound system for video production  http://www.kenstone.net/fcp_homepage/revie...i_disc_rec.html

It left me wondering, does this Minidisc recorder allow me to monitor audio levels, and if needed change the levels without having to pause it?

http://www.bhphotovideo.com/bnh/controller...egoryNavigation]minidiscrecorder

I didn't understand all the specifications that were listed. 

←

I have one - it does indeed allow you to monitor the input signal and make level adjustments during the actual recording. Linear PCM mode (16-bit, 44.1kHz) sounds lovely to my ears, which are pretty spoiled.

[SteveDu]

Sure you can record it but... how you gonna sync it when you want to edit?

At least not to my knowledge that any Hi-MD deck support SMPTE... ?

[e1ghtyf1ve]

Sure you can record it but... how you gonna sync it when you want to edit?

At least not to my knowledge that any Hi-MD deck support SMPTE... ?

←

There apparently is a way: See Andicillo's posts above.

[imdurc]

Ha hah! Syncing up, eh? Well, there are two ways that I'm looking at more and more.

1. Use a set of beeps against all running gear with sound, then these can be synced up in post.

2. Or, use a visual clue when filming, e.g. a clapper board.

The one and only time I've used MD for sound was during a 35 minute interview. I set the camera and then got the MD running alongside. But I didn't use any of the above to get things in sync.

When I got it back home, I matched the MD sound to the camera sound pretty well. But because of the nature of the old hi-8 camera and tape, it went out of sync and was obvious around the 20 minute mark. But it wasn't that difficult to cut up before that point and listen/watch the tape, then sync it back up. And that was it pretty much sorted from there on.

I use Vegas Video like Andicillo. I believe there's a function where you can attach audio to certain video clips. So, you could cut together takes and that MD audio (for instance) would follow your edits! Pretty clever software. So, it's good to make written notes about what's being recorded, because then you should know where things will go with what.

Later,

Adam.

[Andicillo]

Ha hah! Syncing up, eh? Well, there are two ways that I'm looking at more and more.

I use Vegas Video like Andicillo. I believe there's a function where you can attach audio to certain video clips. So, you could cut together takes and that MD audio (for instance) would follow your edits! Pretty clever software. So, it's good to make written notes about what's being recorded, because then you should know where things will go with what.

Later,

Adam.

←

That's right. especially when you need professional sound (i.e. a musical, a concert, a movie of your own) Anyway, you HAVE to know that you are recording something in two different formats and then you just have to figure out clues that can make you know where to start synchronizing.

I think that is pretty obvious, that is why in movies they have these little boards with numbers that are used by editors and directors at the beginning of scenes.

[srizvi1]

I wanted to bring this thread back to life as I'm hoping to use my newly purchased MZ-RH1 for film and video production. My interest in Minidisc first started off in recording Stand up comedy, and in this thread over here:

Recording Stand up / Stand-up comedy - Best Minidisc Solution?, The best way to use a minidisc recorder for recording stand up comedy

A440, DrDann, and GuitarFX helped me out a great deal.

Within the recording Stand up thread, I started a little back and forth on film and video production audio recording with GuitarFX, but didn't want to steer the thread too off topic. I did a search for Film, and this seemed to be the thread that was the most relevant.

Here's my original question as posted in the recording stand up comedy forum:

Also, I know this is a bit off topic, but I'm heading to NYC tomorrow morning and really wanted to hit up the B&H Photo Video store to buy some sound equipment for this short film skit that I'm going to work on for the next couple weeks. It's a mock documentary thing which will involve scenes of indoors and outdoors, one person in the shot, many people in the shot... So I guess it'll have a lot of different types of Audio needed.

This specific thread has mainly been about recording stand up, but knowing I'm armed with just a Sony MZ-RH1 minidisc recorder, anyone have any suggestions on what else I should get for audio recording? I'm thinking boom mic, boom pole with the sound going into the minidisc, and then getting a Rode stereovideomic to get the ambient sound to mix in. Anyone want to give me any ideas for sound recording on a short film centering around a minidisc recorder?

After I posted this, GuitarFX suggested going with the AT822, but that idea wasn't really supported by the B&H guys I talked to on Sunday. They said I Wouldn't want to use a stereo like that for boom purposes.

Over at the Sonyhdinfo.com forums (FYI - I am working on this skit with 2 Sony HC1s which is why I'm on that forum), I posted this same question phrased similarly over in this thread:

2 HC1 Owners doinga Short Film/Skit - justHave an MZ-RH1 -What else to get for Audio?

And I got the following response from Doughie, a very helpful moderator there:

Hi

you could put the HiMD recorder on a boom pole with a mic attached. That would require a boom-op though of course. You could get good sound by buying a mono Videomic and plugging that into the HiMD player (nice player by the way).

OR you could buy mono Videomic and also purchase one of these :

http://www.bhphotovideo.com/bnh/controller...oughType=search

thats a 10feet extension cable.

you could mount the videomic on a boompole (hey rode make one of those tooo.... ) :

http://www.bhphotovideo.com/bnh/controller...oughType=search

and use the extension cable to connect it to one of your HC1s.

OR you could just mount the Videomic on a mini-tripod and plonk it on a nearby table or chair or shelf or something :

http://www.bhphotovideo.com/3results/contr...=ps&sq=desc

Key thing is to get the mic close to the sound source.

I have a mono Videomic and have mounted it onto a mini-tripod and done dialogue that way. Works well ! Definitely would recommend getting the 10 foot extension cable.

Instead of the mono videomic you COULD get a Stereo Videomic. Mainly depends if you're going to have single sound-source or more than one. I guess if you had a scene with 2 people talking to each other and they weren't right next to each other, the Stereo Videomic might work better. HArd for me to say really as i havent used the Stereo Videomic.

The other option is to use your Giant Squid lav and connect that to the HiMD recorder and clip the lav onto the speakers shirt / clothing and put HiMD recorder in pocket or clip it to belt or similar. That would give good sound too (have you used the GS lav with your HiMD player yet?)

On the prospect of plugging TWO lavs into the HiMD player via some sort of splitter i really have no idea if that would work. I guess ask the B&H sound techie when you're there. You could buy another lav (hmm ok not ideal i know using two different lavs) and test it out quickly in the store.

I would also, while you are in B&H get a Bescor VB-50 L-bracket as with that you can mount either mono Videomic or Stereo Videomic to your HC1. You will i think really be quite surprised by how good an external mic can sound.

http://www.bhphotovideo.com/bnh/controller...oughType=search

Personally i would go with mono videomic as i know it works well. Some people find that they have to get Stereo VM much closer than they had anticipated to get good sound. Capsules in that mic are cardioid and in mono VM they're shotgun, so that makes sense.

I may be able to check back again later today, so if you got any more Q's etc, i should be able to get back to you later today before you head over to NYC on monday.

I posted the following response back to Doughie after his help:

Doughie,

I made my visit to B&H Photo yesterday afternoon (Sunday), prior to checking out your post. It's a shame because if I had ready your post first, I would have asked more and better questions at B&H and possibly made a purchase. I left there empty handed yesterday, still a bit confused on what to get. Now, I think I know what to do (I summarized at the end).

Now while at B&H, I did ask about the Rode Mono Videomic and Stereo Videomic before even knowing it would your specific advice as I have read about them enough in these forums to know I will need at least one or the other of these videomics. The gentleman at B&H who helped me did show both these videomics to me, and when I pulled out my HC1, he did also tell me that I would need to get the Bescor mount also.

Now here's the reason why I didn't buy one of the Rode products then and there...

As you may recall in the HC1 Audio options thread ( http://sonyhdvinfo.com/showthread.php?t=5300 ) I have also been seeking a lot of advice from the minidisc forums (with my interest in the MZ-RH1 - btw, thanks for the compliment Doughie, be sure to check out the sound samples I've posted in the help with HC1 Audio thread).

So, within the minidisc forums, I posted pretty much the same question as here. And I posted this question in the main thread there that I'm a part of:

Recording Stand up Comedy

I know its not really a stand up comedy question and it's a bit off topic for the specific thread, but I was hoping to get some help from the people who had already been so helpful to me within that thread.

The one piece of advice I got back was from GuitarFX to get the Audio Technica AT822. So at B&H Photo Video, I inquired about that mic and told the B&H guy my specific purpose for this mic, which involved recording a skit / short film dialogue with varying amounts of boom pole usage. The B&H guy said I wouldn't want to work with a stereo mic like that, and he pointed me to the NTG2.

But, after re-reading the Help with Audio Options on the HC1 thread, it seems that if I'm an HC1 owner, the Videomic is option to go with instead of the NTG2 because of the mini plug and no XLR jack, right?

After reading through Doughie's response, here's what I'm thinking I should do..

(1) Get the Rode Mono Videomic

(2) Get the 10ft. extension cable

(3) Get the Boompole

(4) Get the Bescor adaptor

(5) Get the deadcat Windshield

Depending on the scene, either use the boompole or use the videomic right on the camera to get the isolated dialogue sound.

I think I should hold off on the stereo videomic for now. Not just because that would be a bit too much money dropped at once, but also because with my Sony MZ-RH1 purchase, I also purchased:

(1) A pair of Omni Mics: SP-BMC-2

(2) SUPER MINI BATTERY MODULE

between these two pieces and my MZ-RH1, I think I could get good stereo sound that could compete with what I would get with a Rode Stereo Videomic, right? I guess this pretty much would be replacement to the built in mic's sound.

As far as working with the lav goes, I am yet to use my giant squid lav, but think it might finally get its first use on this skit / short film. On a scene when just one person is talking directly to the camera, I can use it connected to the minidisc. I would probably use this if the Rode Videomic on the boompole's too much of a hassle to use or too far for the subject. Otherwise, I think that would be the better options as it would have the sound synced with the recording and all. I could also use the lav and minidisc as backup sound in this situation in case something goes wrong with my Rode Mono Videomic method.

What do you think to that Doughie? With this set up, would I be looking at professional sound? I want audio good enough to at least play in a crowded wedding hall at the hotel where our wedding will be at. But more importantly, I want to be able to use this equipment for future professional projects.

- -

What I want to figure out now is what situation would the AT822 be recommended for since it came so highly recommended by GuitarFX.

- - -

Does anyone else have anything helpful to add before I make my purchase?

Edited April 30, 2007 by srizvi1

[King Ghidora]

Just a few thoughts. Using a shotgun on a boom is great if you have someone to operate the boom or you know the person won't be moving around in his chair. A shotgun is very directional and even a little bit of movement by the person talking can result in a change in the way your audio sounds. I have a Rode Videomic and I love it. But there are limitations to mics of all kinds.

Another thing I didn't see mentioned was the fact that shotgun mics sometimes have serious problems recording indoors. Especially if your room has a lot of reflective surfaces (sound reflections of course) you can end up with off axis sounds coming into your shotgun and off axis sounds show up as a low rumble on a shotgun mic recording. That's because it's hard to eliminate the low freq sounds but much easier to remove the high freq stuff. It can end up sounding like you have a train in your room with you if you're not careful.

I disagree with the assertation made by the good folks at B&H. That's a great place to do business but IMO salesmen are usually reading something off of a script that has been prepared for them and they really don't know that much about their products. I would suggest that the AT822 would do a fine job on a boom. I've used my single point stereo mics on a boom many times and never had a problem. Some mics are better than others. Purists will tell you that voice should always be recorded with a mono mic but I disagree. Certain mic designs work well recording voice even if they are stereo mics. Any XY design mic is probably going to do fairly well and some will do real well. Some will do badly though so it's a matter of trying it before committing to anything important. A M/S design mic (a variant of the XY design in reality) will do even better recording voice.

I've had great success using my Sony ECM-MS907 mic for recording voice because it is a M/S design. You might note that the new Zoom H2 has a M/S design mic and it is certainly intended to be used for voice recording.

IMO there are other mics you might be happy with that are cheaper. I have a Nady CM-2S that I like. It isn't a perfect mic but I have yet to see a perfect mic. I also like the Sony I mentioned when recording voice. The Rode Stereo Videomic mentioned in your post is also a single point stereo mic too btw. It's an excellent mic but maybe a little expensive compared to equally good mics like the AT822.

I suggest you check out the forums at Camcorder Info where they have forums about audio. There are other forums that are geared toward pro level equipment too but for the equipment you describe you may want to start at the CCI board. It's a great board for those fairly new to video and the audio that goes with it. I've learned a lot there myself.

I do video production for a living BTW. My company is called A-frame Video. I'm currently working on a documentary about a one room school. I already have a publisher interested in distributing this project. I've done work for them in the past and they were very happy with it. I do know a little about this subject much of which I learned from CCI. But I was into sound recording for many years before I got into video. I think you'll find lots of help at the CCI board. There are Sony forums there also.

[srizvi1]

Thank you for the very in depth reply Ghidora. Back in the Recording stand up thread ( http://forums.minidisc.org/index.php?showtopic=15910 ), GuitarFX made a very strong case for using the AT822, and I was torn between going with his suggestion and Doughie's Videomic oriented suggestion over at the SonyHDVInfo.com forum: (http://sonyhdvinfo.com/showthread.php?t=9413)

After reading your post, I'm now leaning towards going with a stereo mic on a boompole. I wanted to reply and ask some further questions within your reply.

Just a few thoughts. Using a shotgun on a boom is great if you have someone to operate the boom or you know the person won't be moving around in his chair. A shotgun is very directional and even a little bit of movement by the person talking can result in a change in the way your audio sounds. I have a Rode Videomic and I love it. But there are limitations to mics of all kinds.

So this is important because we're just going to be starting off in doing this kind of video producton so we won't fully know what we're doing. If a directional mic like the rode videomic is more sensitive to this, then a different mic is definitely the way to go.

Another thing I didn't see mentioned was the fact that shotgun mics sometimes have serious problems recording indoors. Especially if your room has a lot of reflective surfaces (sound reflections of course) you can end up with off axis sounds coming into your shotgun and off axis sounds show up as a low rumble on a shotgun mic recording. That's because it's hard to eliminate the low freq sounds but much easier to remove the high freq stuff. It can end up sounding like you have a train in your room with you if you're not careful.

But a stereo mic would be better to recording indoors right? Less worry? We'll be recording both indoors and outdoors on this project.

Which brings me to my next question, for outdoor usage on the Rode Videomic, I was going to get that Deadcat thing. When I mention my mic options below, could you please let me know what similar accessory to get with which mic you recommend?

I disagree with the assertation made by the good folks at B&H. That's a great place to do business but IMO salesmen are usually reading something off of a script that has been prepared for them and they really don't know that much about their products. I would suggest that the AT822 would do a fine job on a boom. I've used my single point stereo mics on a boom many times and never had a problem. Some mics are better than others. Purists will tell you that voice should always be recorded with a mono mic but I disagree. Certain mic designs work well recording voice even if they are stereo mics. Any XY design mic is probably going to do fairly well and some will do real well. Some will do badly though so it's a matter of trying it before committing to anything important. A M/S design mic (a variant of the XY design in reality) will do even better recording voice.

I've had great success using my Sony ECM-MS907 mic for recording voice because it is a M/S design. You might note that the new Zoom H2 has a M/S design mic and it is certainly intended to be used for voice recording.

IMO there are other mics you might be happy with that are cheaper. I have a Nady CM-2S that I like. It isn't a perfect mic but I have yet to see a perfect mic. I also like the Sony I mentioned when recording voice. The Rode Stereo Videomic mentioned in your post is also a single point stereo mic too btw. It's an excellent mic but maybe a little expensive compared to equally good mics like the AT822.

Actually, the AT822 and stereo videomic are coming up to the same price at around $250ish. When I did a search for your recommended Sony ECM-MS907 within soundprofessionals.com, their own mic came up, the SP-PSM-3 (http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?item=SP-PSM-3&source=froogle ) which is $139 and they say much better than the ECM-MS907. Do you have any thoughts on this mic?

You mentioned a Zoom H2. I did a search for that in soundprofessionals.com and came across this field recorder:

http://www.soundprofessionals.com/cgi-bin/gold/item/ZOOM-H2

Is this what you are recommending?

I am hoping to take in sound using the Camera and/or my minidisc recorder so I'm not sure if I would want this field recorder too.

I suggest you check out the forums at Camcorder Info where they have forums about audio. There are other forums that are geared toward pro level equipment too but for the equipment you describe you may want to start at the CCI board. It's a great board for those fairly new to video and the audio that goes with it. I've learned a lot there myself.

I do video production for a living BTW. My company is called A-frame Video. I'm currently working on a documentary about a one room school. I already have a publisher interested in distributing this project. I've done work for them in the past and they were very happy with it. I do know a little about this subject much of which I learned from CCI. But I was into sound recording for many years before I got into video. I think you'll find lots of help at the CCI board. There are Sony forums there also.

I will go and check out the CCI board a little bit to see if I can find anymore info. Thank you for the advice.

And best of luck with your documentary, I'd love to watch it when its ready.

[King Ghidora]

After reading your post, I'm now leaning towards going with a stereo mic on a boompole. I wanted to reply and ask some further questions within your reply.

So this is important because we're just going to be starting off in doing this kind of video producton so we won't fully know what we're doing. If a directional mic like the rode videomic is more sensitive to this, then a different mic is definitely the way to go.

But a stereo mic would be better to recording indoors right? Less worry? We'll be recording both indoors and outdoors on this project.

It's not so much that a stereo mic would be better but it's a less directional mic that would be better even if it's a mono mic. A hyper-cardoid or a cardioid would be best for boom work. If you have someone experienced with a boom then you could get by with a shotgun maybe. Lots of people do use shotguns on poles but it's just a little trickier.

Which brings me to my next question, for outdoor usage on the Rode Videomic, I was going to get that Deadcat thing. When I mention my mic options below, could you please let me know what similar accessory to get with which mic you recommend?

Actually, the AT822 and stereo videomic are coming up to the same price at around $250ish. When I did a search for your recommended Sony ECM-MS907 within soundprofessionals.com, their own mic came up, the SP-PSM-3 (http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?item=SP-PSM-3&source=froogle ) which is $139 and they say much better than the ECM-MS907. Do you have any thoughts on this mic?

The sound professionals mic would certainly be better. But it's double the price too. You might get an AT Pro24 in the same price range as the Sony but it lacks the M/S mic setup which I think makes for excellent voice recording.

You mentioned a Zoom H2. I did a search for that in soundprofessionals.com and came across this field recorder:

http://www.soundprofessionals.com/cgi-bin/gold/item/ZOOM-H2

Is this what you are recommending?

I am hoping to take in sound using the Camera and/or my minidisc recorder so I'm not sure if I would want this field recorder too.

I will go and check out the CCI board a little bit to see if I can find anymore info. Thank you for the advice.

Yeah that's it. But I would wait to make sure it's as good as I think it will be. It's still new on the market. But if you have a HIMD already you should be set with what you have. If your MD is a standard MD I might think about upgrading. The Zoom H2 is likely going to sound some better than a HIMD because it's 24 bit but there's other considerations. You won't know for a while if it's going to be great. The H2 does come with it's own mics though and they are M/S design. The H2 will also record in 5.1 surround sound mode which is something special for a device with only one mic really. It's a brand new design so again a wait and see attitude would probably be best. That's what I'm doing. MD has a lot going for it too though. For one thing they make great portable players which the H2 really isn't designed to do. So if you want a dual purpose device then a HIMD is very hard to beat. That's why I'll likely keep my HIMD even if I get a H2. IMO HIMD's are superior to MP3 players as portable players but I'm sure I would get some argument on that from some boards. But the MP3 players I've seen (both of my kids have Ipods - an original model and a Nano) don't sound as good as my HIMD. And you can keep a lot of discs around for an unlimited number of songs. Mine also takes AA batteries which is a big advantage IMO. My son's Ipod is sitting around waiting on a new $40 battery. He's using one of my IFP-890's as a player now instead of the Ipod.

The H2 is a promising technology. You can get a recorder and a mic for the price of a good recorder or less than a really good mic. Both the AT822 and the Rode Stereo Videomic would be excellent choices but it could be the H2 will do it all for an excellent price. I'm hoping it will anyway. I really don't need another recorder right now but I'm thinking about getting one anyway just because of the features.

And best of luck with your documentary, I'd love to watch it when its ready.

Thanks. I was supposed to have an important interview yesterday but my uncle came in from Calif. so I had to postpone it. Hopefully I can get it wrapped it before too much longer. I've been working on it for a year and a half already and I have at least 6 months to go.

[srizvi1]

It's not so much that a stereo mic would be better but it's a less directional mic that would be better even if it's a mono mic. A hyper-cardoid or a cardioid would be best for boom work. If you have someone experienced with a boom then you could get by with a shotgun maybe. Lots of people do use shotguns on poles but it's just a little trickier.

Do you have any recommendations for a hyper-cardoid or a cardoid? If that would be best for boomwork, maybe I should get that instead. I would however like to use an additional mic on my camera instead of my built in mic. By a hyper-cardoid or cardoid probably wouldn't be a good option for that right? Probably a Rode Stereo Videomic for general use?

The sound professionals mic would certainly be better. But it's double the price too. You might get an AT Pro24 in the same price range as the Sony but it lacks the M/S mic setup which I think makes for excellent voice recording.

You're right, the Sound professionals mic is about double the price of the Sony (Amazon's got it for $67 here: http://www.amazon.com/Sony-ECMMS907-Digita...605&sr=8-1)

but if you think the sound quality is worth it, I'm ok paying. I was already planning to spend $139 for the videomic and considered the $250 stereo videomic too. So $67 is much lower than I was expecting to pay.

Yeah that's it. But I would wait to make sure it's as good as I think it will be. It's still new on the market. But if you have a HIMD already you should be set with what you have. If your MD is a standard MD I might think about upgrading. The Zoom H2 is likely going to sound some better than a HIMD because it's 24 bit but there's other considerations. You won't know for a while if it's going to be great. The H2 does come with it's own mics though and they are M/S design. The H2 will also record in 5.1 surround sound mode which is something special for a device with only one mic really. It's a brand new design so again a wait and see attitude would probably be best. That's what I'm doing. MD has a lot going for it too though. For one thing they make great portable players which the H2 really isn't designed to do. So if you want a dual purpose device then a HIMD is very hard to beat. That's why I'll likely keep my HIMD even if I get a H2. IMO HIMD's are superior to MP3 players as portable players but I'm sure I would get some argument on that from some boards. But the MP3 players I've seen (both of my kids have Ipods - an original model and a Nano) don't sound as good as my HIMD. And you can keep a lot of discs around for an unlimited number of songs. Mine also takes AA batteries which is a big advantage IMO. My son's Ipod is sitting around waiting on a new $40 battery. He's using one of my IFP-890's as a player now instead of the Ipod.

The H2 is a promising technology. You can get a recorder and a mic for the price of a good recorder or less than a really good mic. Both the AT822 and the Rode Stereo Videomic would be excellent choices but it could be the H2 will do it all for an excellent price. I'm hoping it will anyway. I really don't need another recorder right now but I'm thinking about getting one anyway just because of the features.

Thanks. I was supposed to have an important interview yesterday but my uncle came in from Calif. so I had to postpone it. Hopefully I can get it wrapped it before too much longer. I've been working on it for a year and a half already and I have at least 6 months to go.

You bringing up this field recorder is definitely interesting, but having just made my MZ-RH1 (which is Hi-MD) purchase about 2 months ago, I'll hold off for now on a separate recording device.

Just to let you know, when I bought my MZ-RH1 minidisc recorder from sound professionals, I also purchased omni mics (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-2) and a batter module (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSB-2).

As someone in video production, do you have suggestions on how I could use these while recording? Maybe I'll go with the boompole and ultimate mic I decide on (one of these: the Sony, the Sound professionals, the AT822, the Rode, the Cardoid, or the Hypercardoid) directly feeding into the camera's mic in. And I'll use the minidisc and the omni mics and battery module to capture the surrounding sound to mix in the sound to? What do you think?

[King Ghidora]

Do you have any recommendations for a hyper-cardoid or a cardoid? If that would be best for boomwork, maybe I should get that instead. I would however like to use an additional mic on my camera instead of my built in mic. By a hyper-cardoid or cardoid probably wouldn't be a good option for that right? Probably a Rode Stereo Videomic for general use?

I always suggest a single point stereo mic as the first mic a person should own. I think they are more versatile. The AT822 and the Rode SVM are both cardioid mics so both are excellent choices. I would probably choose the 822 because it has a longer track record so you know it's durable. There are of course good mono cardiods. There's such a long list of them it's really hard to narrow down the field for me. You might get better advice from someone who actually owns one and I currently don't.

You're right, the Sound professionals mic is about double the price of the Sony (Amazon's got it for $67 here: http://www.amazon.com/Sony-ECMMS907-Digita...605&sr=8-1)

but if you think the sound quality is worth it, I'm ok paying. I was already planning to spend $139 for the videomic and considered the $250 stereo videomic too. So $67 is much lower than I was expecting to pay.

The Sound Pro mics always get great reviews. The Sony is a good mic in a lot of ways but it is not really a full range mic. It drops off at low frequencies. That makes it ok for voice but not as good as it could be for music etc.. The Sound Pro mics are certainly good investments and I don't think you would be disappointed with them. If you have the money I would go with them.

You bringing up this field recorder is definitely interesting, but having just made my MZ-RH1 (which is Hi-MD) purchase about 2 months ago, I'll hold off for now on a separate recording device.

Just to let you know, when I bought my MZ-RH1 minidisc recorder from sound professionals, I also purchased omni mics (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-2) and a batter module (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSB-2).

With a HIMD like that I wouldn't worry about upgrading for quite a while. You have an excellent piece of recording gear there and only a very few people would really notice the difference between it and a 24 bit recorder (that's assuming the H2 really does a good job as a 24 bit recorder which may be assuming quite a bit). I'd stick with the RH1 for quite a while before considering an upgrade or just an additional recorder. It's really pretty hard to improve on the RH1 or any HIMD for that matter. They do sound good.

As someone in video production, do you have suggestions on how I could use these while recording? Maybe I'll go with the boompole and ultimate mic I decide on (one of these: the Sony, the Sound professionals, the AT822, the Rode, the Cardoid, or the Hypercardoid) directly feeding into the camera's mic in. And I'll use the minidisc and the omni mics and battery module to capture the surrounding sound to mix in the sound to? What do you think?

That sounds like a good plan. I use my HIMD for the front channels though and use my camera to record the rear channels because the pre-amps in consumer grade cameras aren't as good as HIMD pre-amps. As for what mic to use when it really comes down to having the right mic for the situation and that means having a bag full of different mics for different jobs. I use my Rode VM, my Nady CM-2S, my 2 Giant Squid mono omni lavs, my Sony MS907 and my Aiwa CM-S20 stereo omni lav all for different purposes. I often mount my Rode on a boom mic stand because as long as the person is sitting where you want them the sound will be excellent. For anything the Rode misses I use the GS's as a backup or sometimes as the primary with the Rode as the backup depending on the situation. I also use the Nady on the boom quite often because it is a good cardioid. And which recorder to use is another question that needs to be answered on an individual basis.

You really just can't get away from learning what different mics do well and learning which mics to get and when to use them. There are sites that are pretty good in getting you started with your collection of mics and knowing what to do with them. There are still quite a few mics I want to add to my collection. I'm thinking about the H2 with the mic that comes with it. I also need a good mono cardioid and I need a good handheld mic. Then of course I'll probably start to want better mics in each category.

You might start doing some research on sites like the mic faq on this web page or possibly the mic glossary on this web page is very useful. I also have used Wikipedia often to learn about mics. I like this web page quite a bit also. It explains things well IMO. Ty Ford has some very useful info on his site. It's the Audio Bootcamp but I can't remember the url right now. You can find it through Google I'm sure. And there's a FAQ that I think covers a lot of important ground for recording audio for video especially as M/S design mics relate to recording voice etc.. It's on this web page. There's a lot of technical stuff there too but there's some important info on mic design that helps on determining what mic to use when.

There are actually quite a few other places to look but this should give you a good start. I could write a lot of this stuff down here again but it's already written out and explained better than I could explain it on these sites. I'd give them a whirl if I were you.

[srizvi1]

I always suggest a single point stereo mic as the first mic a person should own. I think they are more versatile. The AT822 and the Rode SVM are both cardioid mics so both are excellent choices. I would probably choose the 822 because it has a longer track record so you know it's durable. There are of course good mono cardiods. There's such a long list of them it's really hard to narrow down the field for me. You might get better advice from someone who actually owns one and I currently don't.

The Sound Pro mics always get great reviews. The Sony is a good mic in a lot of ways but it is not really a full range mic. It drops off at low frequencies. That makes it ok for voice but not as good as it could be for music etc.. The Sound Pro mics are certainly good investments and I don't think you would be disappointed with them. If you have the money I would go with them.

Following your advice, I've decided to buy both the AT822 and the Rode Videomic. For the Rode, Doughie over at the Sony HDV forums suggested getting the deadcat windshield thing. Do you have a similar suggestion for the AT822 - for wind protection? What about other accessories in general?

That sounds like a good plan. I use my HIMD for the front channels though and use my camera to record the rear channels because the pre-amps in consumer grade cameras aren't as good as HIMD pre-amps.

That's probably the advice I'm going to follow. I feel like there will be a bit of sacrifice here though however. GuitarFX speaks very strongly about how good the AT822 works with the minidisc that I kind of want to use the AT822 only with the minidisc. but, if I was to go with the AT822 picking up rear channel sound, it would be more practical to connect the AT822 to the camera. This would mean that I go with the Rode on the boom to the minidisc, which - means I'm kind of losing out because after listening to GuitarFX, it seems it should be the AT822 that should be connected to the minidisc.

With this set up, I guess SP-BMC-2 (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-2) and my mini battery module (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSB-2) won't have much to do right?

As for what mic to use when it really comes down to having the right mic for the situation and that means having a bag full of different mics for different jobs. I use my Rode VM, my Nady CM-2S, my 2 Giant Squid mono omni lavs, my Sony MS907 and my Aiwa CM-S20 stereo omni lav all for different purposes. I often mount my Rode on a boom mic stand because as long as the person is sitting where you want them the sound will be excellent. For anything the Rode misses I use the GS's as a backup or sometimes as the primary with the Rode as the backup depending on the situation. I also use the Nady on the boom quite often because it is a good cardioid. And which recorder to use is another question that needs to be answered on an individual basis.

You really just can't get away from learning what different mics do well and learning which mics to get and when to use them. There are sites that are pretty good in getting you started with your collection of mics and knowing what to do with them. There are still quite a few mics I want to add to my collection. I'm thinking about the H2 with the mic that comes with it. I also need a good mono cardioid and I need a good handheld mic. Then of course I'll probably start to want better mics in each category.

You might start doing some research on sites like the mic faq on this web page or possibly the mic glossary on this web page is very useful. I also have used Wikipedia often to learn about mics. I like this web page quite a bit also. It explains things well IMO. Ty Ford has some very useful info on his site. It's the Audio Bootcamp but I can't remember the url right now. You can find it through Google I'm sure. And there's a FAQ that I think covers a lot of important ground for recording audio for video especially as M/S design mics relate to recording voice etc.. It's on this web page. There's a lot of technical stuff there too but there's some important info on mic design that helps on determining what mic to use when.

There are actually quite a few other places to look but this should give you a good start. I could write a lot of this stuff down here again but it's already written out and explained better than I could explain it on these sites. I'd give them a whirl if I were you.

Thanks for these links. There's definitely a lot of good reading here and I will go through these as I research into mics further, and finally start experimenting with them.

Edited May 3, 2007 by srizvi1

[King Ghidora]

Following your advice, I've decided to buy both the AT822 and the Rode Videomic. For the Rode, Doughie over at the Sony HDV forums suggested getting the deadcat windshield thing. Do you have a similar suggestion for the AT822 - for wind protection? What about other accessories in general?

That's probably the advice I'm going to follow. I feel like there will be a bit of sacrifice here though however. GuitarFX speaks very strongly about how good the AT822 works with the minidisc that I kind of want to use the AT822 only with the minidisc. but, if I was to go with the AT822 picking up rear channel sound, it would be more practical to connect the AT822 to the camera. This would mean that I go with the Rode on the boom to the minidisc, which - means I'm kind of losing out because after listening to GuitarFX, it seems it should be the AT822 that should be connected to the minidisc.

Those are two excellent mics. You could very well use the AT822 and the HIMD for the ambience portion of your audio. Pre-amps on cameras aren't terrible or anything especially for voice. The Rode comes with a good shock mount for a hot shoe also. You can mount a Rode VM to a boom pole though if you pay attention to keeping the person speaking in the sweet spot of the mic's pick up angle. The one thing I might caution you about is that when mounting the Rode to your camera you will need to have your camera pretty close to the person speaking. Shotgun mics really aren't better at picking up from a distance though some people think they are. You should always record within a few feet (5 at most) to get the best audio. Any farther than that and it's best to use a boom or a lav attached to a recorder that you can put in the speaker's pocket.

With this set up, I guess SP-BMC-2 (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-2) and my mini battery module (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSB-2) won't have much to do right?

Thanks for these links. There's definitely a lot of good reading here and I will go through these as I research into mics further, and finally start experimenting with them.

I wouldn't say that about the SP mic. There's always a reason to use a good mic. I always like to have at least one backup plan for everything I record and usually I have 2 backups. You just never know when something is going to go wrong with a recording. MD recorders still sometimes fail to write the TOC for a sound file if you aren't careful. Sometimes batteries die unexpectedly. You might just forget to start the recorder (I've done that too - embarassing but true). IMO you can't have too many mics and the more you have recording at important times the better. I think I'm probably more paranoid than most about such things but I don't like the idea of losing a one time only chance at recording something important. So I use at least 2 cameras and all the audio recorders I can start up.

[srizvi1]

Those are two excellent mics. You could very well use the AT822 and the HIMD for the ambience portion of your audio. Pre-amps on cameras aren't terrible or anything especially for voice. The Rode comes with a good shock mount for a hot shoe also. You can mount a Rode VM to a boom pole though if you pay attention to keeping the person speaking in the sweet spot of the mic's pick up angle. The one thing I might caution you about is that when mounting the Rode to your camera you will need to have your camera pretty close to the person speaking. Shotgun mics really aren't better at picking up from a distance though some people think they are. You should always record within a few feet (5 at most) to get the best audio. Any farther than that and it's best to use a boom or a lav attached to a recorder that you can put in the speaker's pocket.

Thanks for the final pre-purchase comments King Ghidora. If you wouldn't mind, I need help with one last thing. Would you mind helping me figure out the accessories I need for the AT822? I made a little bit of a complex post over here:

http://sonyhdvinfo.com/showthread.php?p=55543#post55543

After Doughie first brought it up. One of the plus things to the Rode Videomic is that it mounts pretty easily because it comes with shockmounts. However, with the AT822, I'm trying to figure out what all I need. As an AT822 owner, could you tell me?

Here's what my final order is looking like as of right now with B&H Photo:

1) Bescor

VB-50 Universal Shoe Mount Adapter

MFR #VB50 • B&H #BEVB50

Our Price: $9.95

2) Rode Wind Muff

Rode Wind Muff - NTG-1/NTG-2 more info

MFR #DEADCAT • B&H #RODC

Our Price: $39.00

3) Rode Stereo Mini Male to Stereo Mini Female Cable - 10'

Rode Stereo Mini Male to Stereo Mini Female VideoMic Cable - 10' more info

MFR #VC1 • B&H #ROVC1

Our Price: $10.99

4) Audio-Technica AT822 - Stereo Microphone

Audio-Technica AT822 - Cardioid Stereo Condenser Microphone more info

MFR #AT822 • B&H #AUAT822

Our Price: $249.00

5) Rode VideoMic - Camera Mounted Shotgun Microphone

Rode VideoMic - Camera Mounted Shotgun Microphone with Integrated Shock ...more info

MFR #VM • B&H #ROVM

Our Price: $149.00

Here's where my problem comes in though. with the boompole, I see that the Rode Boompole - is $72 at B&H Photo, but they're out of stock. When I saw this, I emailed soundprofessionals.com (where I bought my minidisc player from) and they said they would match the price if I was to place my pretty big order with them, but the problem is that all the Rode pieces are special orders for them that they have to wait 5 days themselves to get before they can ship to me. So I'm kind of stuck here, unless B&H Video's got another good boompole comparable to the Rode one in function and price.

[Strungup]

Here's where my problem comes in though. with the boompole, I see that the Rode Boompole - is $72 at B&H Photo, but they're out of stock. When I saw this, I emailed soundprofessionals.com (where I bought my minidisc player from) and they said they would match the price if I was to place my pretty big order with them, but the problem is that all the Rode pieces are special orders for them that they have to wait 5 days themselves to get before they can ship to me. So I'm kind of stuck here, unless B&H Video's got another good boompole comparable to the Rode one in function and price.

You can use a Hiking Pole(Monopod) ( extendable ) that has a camera screw mount built into the head , and get a 1/4" to Microphone screw adapter

and a Nice headphone extension cable ( 1/8" stereo to add length to the cable from the AT822 you will see why when you get it )

By the way , this is the setup that I use (listed above) I have a very nice Monopod Hiking stick , that has 7 feet extendability , very lightweight and sturdy .

OFC cable to run from the mic to the MD .

The AT822 is going to surprise you and will quickly become your favorite toy , it is a VERY forgiving mic

[srizvi1]

You can use a Hiking Pole(Monopod) ( extendable ) that has a camera screw mount built into the head , and get a 1/4" to Microphone screw adapter

and a Nice headphone extension cable ( 1/8" stereo to add length to the cable from the AT822 you will see why when you get it )

By the way , this is the setup that I use (listed above) I have a very nice Monopod Hiking stick , that has 7 feet extendability , very lightweight and sturdy .

OFC cable to run from the mic to the MD .

The AT822 is going to surprise you and will quickly become your favorite toy , it is a VERY forgiving mic

Hey Guitarfxr, you got any links for these suggestions you just posted? pref at B&H photo so I can just add everything on to my order.

[Strungup]

Hey Guitarfxr, you got any links for these suggestions you just posted? pref at B&H photo so I can just add everything on to my order.

Here is the Monopod I use

The second on the list the RUP-43

http://www.velbon-tripod.com/table_mono_pods.htm

stand adapter is here at the very bottom(scroll down)

http://www.micsupply.com/standproducts.htm

the extension cable will be in the Headphone dept of any electronics place.

Edited May 5, 2007 by Guitarfxr

[King Ghidora]

FWIW it's possible to build a boom pole out of a painter's pole. For a good quality pole and a mount to make it work you're likely to have $35 to $40 in it though. I already had a painter's pole so that was about $25 of the total. You're going to get a better boom with something made for this purpose but if you have a painter's pole already then you might consider this.

I actually use a boom mic stand because I rarely have anyone capable of operating a mic boom well since my son is almost always away at school. I use this stand for most of my work. I just use a cardiod mic on it and I try to get my subject to sit still. This is a decent stand with a long boom but it's even more expensive than a mic boom.

And as Guitarfxr says, you can get an adapter for the threads on the Rode to make it work with US style mic stands and booms. The threads on the Rode are the same size used in Europe and other places. I have an adapter for my Rode. It cost me about $4 I think. I got it at B&H.

I can't help you with a wind screen. You'll probably get better advice on that from someone who owns a AT822.

Edited May 5, 2007 by King Ghidora

[A440]

These guys in New York City are very helpful and have all kinds of windscreens, poles, etc. They carry a lot more windscreens than they show on the Windscreen page, so call them.

http://www.pro-sound.com/products.htm

Edited May 5, 2007 by A440

[Strungup]

FWIW it's possible to build a boom pole out of a painter's pole. For a good quality pole and a mount to make it work you're likely to have $35 to $40 in it though. I already had a painter's pole so that was about $25 of the total. You're going to get a better boom with something made for this purpose but if you have a painter's pole already then you might consider this.

I actually use a boom mic stand because I rarely have anyone capable of operating a mic boom well since my son is almost always away at school. I use this stand for most of my work. I just use a cardiod mic on it and I try to get my subject to sit still. This is a decent stand with a long boom but it's even more expensive than a mic boom.

And as Guitarfxr says, you can get an adapter for the threads on the Rode to make it work with US style mic stands and booms. The threads on the Rode are the same size used in Europe and other places. I have an adapter for my Rode. It cost me about $4 I think. I got it at B&H.

I can't help you with a wind screen. You'll probably get better advice on that from someone who owns a AT822.

AT822 comes with a big fat wind screen

These guys in New York City are very helpful and have all kinds of windscreens, poles, etc. They carry a lot more windscreens than they show on the Windscreen page, so call them.

http://www.pro-sound.com/products.htm

Hey 440 thx for that link , I had fun just browsing , They have a bunch of Nagra stuff , and the have the Shoeps mini mics in Stock , those things are expensive but VERY cool , I have heard some very good studio work done with those. Because they are so small you can put em anywhere , Inside the Piano , clip it to anything ,

[srizvi1]

Thanks for all your help guys.

I still haven't placed my order yet because I'm waiting to figure out the shockmount related stuff I need for the AT822. With the Rode, I don't think I need anything really to mount to camera and boompole. The Rode should be good to go right out the box for mounting on these two items. The AT822 on the other hand I believe I need to get some extra stuff for to mount on a boompole or camera.

AT822 comes with a big fat wind screen

Yep, I saw that on the AT822 detail page here over on the Audio-Technica site:

http://www.audio-technica.com/cms/wired_mi...33dc/index.html

The accessories furnished section says windscreen. It also says it comes with a 10' cable. But I should still get that extra headphone extension cable right? Advice to how long? Another 10ft.er?

You can use a Hiking Pole(Monopod) ( extendable ) that has a camera screw mount built into the head , and get a 1/4" to Microphone screw adapter

and a Nice headphone extension cable ( 1/8" stereo to add length to the cable from the AT822 you will see why when you get it )

By the way , this is the setup that I use (listed above) I have a very nice Monopod Hiking stick , that has 7 feet extendability , very lightweight and sturdy .

OFC cable to run from the mic to the MD .

The AT822 is going to surprise you and will quickly become your favorite toy , it is a VERY forgiving mic

Here is the Monopod I use

The second on the list the RUP-43

http://www.velbon-tripod.com/table_mono_pods.htm

stand adapter is here at the very bottom(scroll down)

http://www.micsupply.com/standproducts.htm

the extension cable will be in the Headphone dept of any electronics place.

Now the good news is that the Rode Boompole is back in stock over at B&H Photo Video. So that's now an option again. With the monopod and screw adaptor suggestion Guitarfxr just gave, I wouldn't need to worry about a shock mount for the boom pole right? I only need to worry about a shock mount IF I go with the Rode Boompole?

Is there any benefit to having both Guitarfxr's suggestion of the tripod and the Rode Boompole? Or should I really just get one or the other?

FWIW it's possible to build a boom pole out of a painter's pole. For a good quality pole and a mount to make it work you're likely to have $35 to $40 in it though. I already had a painter's pole so that was about $25 of the total. You're going to get a better boom with something made for this purpose but if you have a painter's pole already then you might consider this.

I actually use a boom mic stand because I rarely have anyone capable of operating a mic boom well since my son is almost always away at school. I use this stand for most of my work. I just use a cardiod mic on it and I try to get my subject to sit still. This is a decent stand with a long boom but it's even more expensive than a mic boom.

Since I don't have a painters pole, I'll hold off on doing my own build. I'd rather go with something made for this purpose.

I'll probably get a boom mic stand too one day, but for now, hopefully with the boompole and/or monopod solution I'll be good.

And as Guitarfxr says, you can get an adapter for the threads on the Rode to make it work with US style mic stands and booms. The threads on the Rode are the same size used in Europe and other places. I have an adapter for my Rode. It cost me about $4 I think. I got it at B&H.

but if I go with the Rode Boompole for my Rode Videomic, I wouldn't have to worry about this right? Should be an easy simple mount without an adapter being necessary?

These guys in New York City are very helpful and have all kinds of windscreens, poles, etc. They carry a lot more windscreens than they show on the Windscreen page, so call them.

http://www.pro-sound.com/products.htm

Thanks for chiming in A440 (by the way, do keep an eye on the minidisc for recording stand up thread. I'm using your recommended set up and will be posting a lot of recordings and stuff I get from it. I'd love to get your occasional feedback and further suggestions).

With the windscreen issue being taken care of (since the AT822 comes with one), I don't have to worry about this now. But I'll keep this link handy for future use. As I get more and more into audio, I'll probably be able to appreciate what these guys offer more. As you guys can probably tell from this thread, I'm very unfamiliar with audio right now.

[King Ghidora]

Is there any benefit to having both Guitarfxr's suggestion of the tripod and the Rode Boompole? Or should I really just get one or the other?

You shouldn't need both unless you want to use 2 mics at once for some reason.

Since I don't have a painters pole, I'll hold off on doing my own build. I'd rather go with something made for this purpose.

I'll probably get a boom mic stand too one day, but for now, hopefully with the boompole and/or monopod solution I'll be good.

but if I go with the Rode Boompole for my Rode Videomic, I wouldn't have to worry about this right? Should be an easy simple mount without an adapter being necessary?

Well that works of course but don't blame me if you need to paint your great room ceiling and you don't have a painter's pole. You could get one now and be set in case you decide to do some painting or recording. Painter's poles are pretty light and strong but there are other benefits to booms because they are designed to do recording. And yes it's a straight mount with the Rode boom. No need for an adapter of any kind there.

[Richard]

* Moved to Live Recording

[Strungup]

You shouldn't need both unless you want to use 2 mics at once for some reason.

Well that works of course but don't blame me if you need to paint your great room ceiling and you don't have a painter's pole. You could get one now and be set in case you decide to do some painting or recording. Painter's poles are pretty light and strong but there are other benefits to booms because they are designed to do recording. And yes it's a straight mount with the Rode boom. No need for an adapter of any kind there.

I reccomended a Mono pod not a tripod , Extendable , lockable , adjustable . The RU -43 has a Ball Head joint for putting the mount in any position , it is ready out of the box , doesnt cost that much , just add the little screw adapter and your going , no muss no fuss .

I like building stuff, building a Boom pole would be a fun project but , with all the questions this guy is asking ( take no offense here ok) but it just doesnt seem like that is his bag King . If it isnt ready and workable and self explanitory when he gets its it , he isnt going to know what to do .

[srizvi1]

I reccomended a Mono pod not a tripod , Extendable , lockable , adjustable . The RU -43 has a Ball Head joint for putting the mount in any position , it is ready out of the box , doesnt cost that much , just add the little screw adapter and your going , no muss no fuss .

I like building stuff, building a Boom pole would be a fun project but , with all the questions this guy is asking ( take no offense here ok) but it just doesnt seem like that is his bag King . If it isnt ready and workable and self explanitory when he gets its it , he isnt going to know what to do .

No offense taken Guitarfxr. I'm not handy at all, and I'm really looking for the easiest route here. That's why I'm leaning towards the Rode boompole even over your suggestion of the monopod because I can just then get everything in one place (from b&h photo), and I know for sure with the Rode Videomic at least, it'll be easy mounting.

They key thing I just need now before placing the order is to know what mount I would need for the AT822 and my camera. I have a Sony HC1 camera and know I will need this piece:

http://www.bhphotovideo.com/c/product/1332...Shoe_Mount.html

and that will be all I need to mount my Rode Videomic to my camera.

But to mount a AT822, (0according to Doughie over at the sonyhdvinfo.com forums, specifically within this thread: http://sonyhdvinfo.com/showthread.php?p=55761 ), I will need certain shockmounts and thats what I'm trying to figure out.

I hope this mount is all that would be needed for the Rode Boompole too.

Oh, by the way, King, over that same link I just posted, someone talks a bit about using the Zoom H4 so I thought that might be worth checking out since you're so interested in that.

Edited May 11, 2007 by srizvi1

[King Ghidora]

I reccomended a Mono pod not a tripod , Extendable , lockable , adjustable . The RU -43 has a Ball Head joint for putting the mount in any position , it is ready out of the box , doesnt cost that much , just add the little screw adapter and your going , no muss no fuss .

I like building stuff, building a Boom pole would be a fun project but , with all the questions this guy is asking ( take no offense here ok) but it just doesnt seem like that is his bag King . If it isnt ready and workable and self explanitory when he gets its it , he isnt going to know what to do .

Yeah I figured that trying to hold a tripod like a boom pole would be pretty tough. I was just joking about having the painter's pole for other purposes of course.

I built a mic boom using a tripod and some PVC pipe though. It worked pretty well but the mount broke eventually because it was trying to support too much weight on a cheap tripod. I think I could make a good one with a good tripod but since good tripods cost as much as a good mic boom there isn't much reason to do it.

Actually I can convert a painter's pole to a mic boom pretty easily using this clip on mic mount. It's actually designed to hold a mic with the clamp but I just reversed the whole idea and put the clamp on the pole and attached a standard mic clip to the threads. It works pretty well and it can be done in just a few seconds. My painter's pole is 12 feet long I think which makes for a decent mic boom when I have someone to operate it for me. I can post a photo of how this works if anyone is interested.