[mcp6453[_2_]]

A friend is doing ENG-type live coverage of E3 in LA next month. He's not a pro
yet. He has a Sennheiser wireless mic system with the plug-on transmitter. He's
trying to decide what mic he should use within his budget. The convention floor
will be very noisy. His budget is $200, which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

If he gets to the floor and finds that nothing he has works, he's going to try
to rent an NTG-2 locally. Can you recommend a good mic rental outfit in LA?

[Don Pearce[_3_]]

On Fri, 25 May 2012 23:05:56 -0400, mcp6453 wrote:

A friend is doing ENG-type live coverage of E3 in LA next month. He's not a pro
yet. He has a Sennheiser wireless mic system with the plug-on transmitter. He's
trying to decide what mic he should use within his budget. The convention floor
will be very noisy. His budget is $200, which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

If he gets to the floor and finds that nothing he has works, he's going to try
to rent an NTG-2 locally. Can you recommend a good mic rental outfit in LA?

If he isn't a pro, he should go omni and get close. Controlling
handling noise and popping takes a lot of experience, so cardioid or
hyper are probably a bad idea right now.

d

[mcp6453[_2_]]

On 5/25/2012 11:21 PM, Don Pearce wrote:
On Fri, 25 May 2012 23:05:56 -0400, mcp6453 wrote:

A friend is doing ENG-type live coverage of E3 in LA next month. He's not a pro
yet. He has a Sennheiser wireless mic system with the plug-on transmitter. He's
trying to decide what mic he should use within his budget. The convention floor
will be very noisy. His budget is $200, which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

If he gets to the floor and finds that nothing he has works, he's going to try
to rent an NTG-2 locally. Can you recommend a good mic rental outfit in LA?

If he isn't a pro, he should go omni and get close. Controlling
handling noise and popping takes a lot of experience, so cardioid or
hyper are probably a bad idea right now.

He's not a total amateur, but he's not a network shooter, either. He's going to
take an omni to experiment. He's also taking the MD 46, Shure SM53, and Shure
SM58. Between the four, he should get something usable.

Thanks.

[cedricl[_2_]]

On Friday, May 25, 2012 9:53:42 PM UTC-7, mcp6453 wrote:
On 5/25/2012 11:21 PM, Don Pearce wrote:
On Fri, 25 May 2012 23:05:56 -0400, mcp6453 wrote:


Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

He can always go with the old standby, the EV 635A. This interview mic has always stood uo to time. They sound great too.
http://www.electrovoice.com/product.php?id=100

[Marc Wielage[_2_]]

On Fri, 25 May 2012 20:05:56 -0700, mcp6453 wrote
(in article ) :

His budget is $200, which rules out NTG-2, MKH416, and
the like.
------------------------------snip------------------------------

I would rent a Sennheiser 416 and also an EV RE50. Both are widely used for
ENG under different circumstances, and will cost maybe $50-$60 a day rental.
There's at least 9 or 10 companies in LA that will stock them.

--MFW

[mcp6453[_2_]]

On 5/27/2012 7:12 AM, Marc Wielage wrote:
On Fri, 25 May 2012 20:05:56 -0700, mcp6453 wrote
(in article ) :

His budget is $200, which rules out NTG-2, MKH416, and
the like.
------------------------------snip------------------------------

I would rent a Sennheiser 416 and also an EV RE50. Both are widely used for
ENG under different circumstances, and will cost maybe $50-$60 a day rental.
There's at least 9 or 10 companies in LA that will stock them.

--MFW


Mark, can you recommend a company? It's hard to know which ones are good based
on websites.

[MG[_4_]]

"mcp6453" wrote in message
...
On 5/27/2012 7:12 AM, Marc Wielage wrote:
On Fri, 25 May 2012 20:05:56 -0700, mcp6453 wrote
(in article ) :

His budget is $200, which rules out NTG-2, MKH416, and
the like.
------------------------------snip------------------------------

I would rent a Sennheiser 416 and also an EV RE50. Both are widely used
for
ENG under different circumstances, and will cost maybe $50-$60 a day
rental.
There's at least 9 or 10 companies in LA that will stock them.

--MFW


Mark, can you recommend a company? It's hard to know which ones are good
based
on websites.

We have both VP64s and MD46s. We use them for booth mics in a somewhat
controlled environment, but they probably would not be the best choice for
ENG in a typical scramble. The RE50 is widely used. It's not a bad place
to start.

[Scott Dorsey]

mcp6453 wrote:
A friend is doing ENG-type live coverage of E3 in LA next month. He's not a pro
yet. He has a Sennheiser wireless mic system with the plug-on transmitter. He's
trying to decide what mic he should use within his budget. The convention floor
will be very noisy. His budget is $200, which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

635A of course. It's no better or worse than the VP64, but it's similar,
and also available with a long handled option for getting in close.

The AKG D880 is tighter than the SM58, sounds better off-axis, and is cheaper.

If he gets to the floor and finds that nothing he has works, he's going to try
to rent an NTG-2 locally. Can you recommend a good mic rental outfit in LA?

Probably cheaper and easier to rent a 416 since all of the film outfits have
them. Location Sound (locationsound.com) is a good outfit although I have
not personally rented from them for 20 years now.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Marc Wielage[_2_]]

On Wed, 30 May 2012 11:42:51 -0700, Scott Dorsey wrote
(in article ):

Probably cheaper and easier to rent a 416 since all of the film outfits have
them. Location Sound (locationsound.com) is a good outfit although I have
not personally rented from them for 20 years now.
------------------------------snip------------------------------

LSC is good. Other good places for LA sound rental:

Coffey Sound
(888) 293-3030
http://www.CoffeySound.com/

The Audio Department
(818) 566-6526
http://audiodept.com/

Wilcox Sound
(818) 504-0507
http://www.wilcoxsound.net/


--MFW

[MG[_4_]]

"Marc Wielage" wrote in message
.com...
On Wed, 30 May 2012 11:42:51 -0700, Scott Dorsey wrote
(in article ):

Probably cheaper and easier to rent a 416 since all of the film outfits
have
them. Location Sound (locationsound.com) is a good outfit although I
have
not personally rented from them for 20 years now.
------------------------------snip------------------------------

LSC is good. Other good places for LA sound rental:

Coffey Sound
(888) 293-3030
http://www.CoffeySound.com/

The Audio Department
(818) 566-6526
http://audiodept.com/

Wilcox Sound
(818) 504-0507
http://www.wilcoxsound.net/


--MFW


What I don't remember seeing in the thread is what type of sound the OP is
trying to gather. A 416 can be deployed differently than a 635 or VP64 or
whatever.

[Roy W. Rising[_2_]]

(Scott Dorsey) wrote:
mcp6453 wrote:
A friend is doing ENG-type live coverage of E3 in LA next month. He's
not a pro yet. He has a Sennheiser wireless mic system with the plug-on
transmitter. He's trying to decide what mic he should use within his
budget. The convention floor will be very noisy. His budget is $200,
which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?

635A of course. It's no better or worse than the VP64, but it's similar,
and also available with a long handled option for getting in close.

The AKG D880 is tighter than the SM58, sounds better off-axis, and is
cheaper.

If he gets to the floor and finds that nothing he has works, he's going
to try to rent an NTG-2 locally. Can you recommend a good mic rental
outfit in LA?

Probably cheaper and easier to rent a 416 since all of the film outfits
have them. Location Sound (locationsound.com) is a good outfit although
I have not personally rented from them for 20 years now.
--scott

It's good to remember that the 416 is a super-cardioid achieved by the
line-gradient method also used in "shotgun" types. Its element is 3- 4"
back from the tip. An omni placed as closely yields about the same
results. The EV 635A prevails for this reason. Plus, it's both cheap and
bullet proof!

--
~ Roy
"If you notice the sound, it's wrong!"

[Mark]

On May 30, 8:30*pm, Roy W. Rising
wrote:
(Scott Dorsey) wrote:
mcp6453 wrote:
A friend is doing ENG-type live coverage of E3 in LA next month. He's
not a pro yet. He has a Sennheiser wireless mic system with the plug-on
transmitter. He's trying to decide what mic he should use within his
budget. The convention floor will be very noisy. His budget is $200,
which rules out NTG-2, MKH416, and the like.

Shure VP64 (omni, lightweight)
Sennheiser MD 46 (fits the bill; anyone here tried one?)
Shure SM58 (speaks for itself)

Anything else he should consider?



since we are talking wireless, he may also want to consider RF
coordination and interference issues, and bring cables just in case

Mark

[Scott Dorsey]

Roy W. Rising wrote:

It's good to remember that the 416 is a super-cardioid achieved by the
line-gradient method also used in "shotgun" types. Its element is 3- 4"
back from the tip. An omni placed as closely yields about the same
results. The EV 635A prevails for this reason. Plus, it's both cheap and
bullet proof!

The 416 does get you some external noise rejection from that interference
tube gadget, as well as some low end boost up close. But yeah, if it were
me, I'd use a 635A, especially if I couldn't monitor accurately and had
an interviewer who wasn't an expert.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[mcp6453[_2_]]

On 5/31/2012 8:44 AM, Scott Dorsey wrote:
Roy W. Rising wrote:

It's good to remember that the 416 is a super-cardioid achieved by the
line-gradient method also used in "shotgun" types. Its element is 3- 4"
back from the tip. An omni placed as closely yields about the same
results. The EV 635A prevails for this reason. Plus, it's both cheap and
bullet proof!

The 416 does get you some external noise rejection from that interference
tube gadget, as well as some low end boost up close. But yeah, if it were
me, I'd use a 635A, especially if I couldn't monitor accurately and had
an interviewer who wasn't an expert.
--scott


I've forwarded the recommendations to him. He has a Shure VP64 for an omni. His
concerns are that an omni will pick up too much crowd noise, and he doesn't want
to have to shove it in people's faces.

It will be interesting to see how things work out. Leo Laporte used a Heil PR35
for his interview mic at NAB, and it worked great. A friend used a Heil PR22
with an almost identical rig, and it was terrible. He ended up using the Rode
NTG-2, which worked great.

He's going to take several mics and pick the one he likes best.

Thanks for the recommendations.

[Scott Dorsey]

mcp6453 wrote:

I've forwarded the recommendations to him. He has a Shure VP64 for an omni. His
concerns are that an omni will pick up too much crowd noise, and he doesn't want
to have to shove it in people's faces.

It will pick up crowd noise, and he'll have to shove it in people's faces,
but unfortunately that's going to be the case with most of the other
alternatives too in that kind of situation.

It will be interesting to see how things work out. Leo Laporte used a Heil PR35
for his interview mic at NAB, and it worked great. A friend used a Heil PR22
with an almost identical rig, and it was terrible. He ended up using the Rode
NTG-2, which worked great.

A lot of it depends on the interviewer. If the interviewer has the technique
down, a directional microphone can be a win, but if he does not, it will be
nothing but trouble because the interviewee will be off-mike too often. It's
hard for the interviewer too, because he isn't hearing what the mike is.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Richard Webb[_3_]]

On Thu 2012-May-31 08:44, Scott Dorsey writes:
The 416 does get you some external noise rejection from that
interference tube gadget, as well as some low end boost up close.
But yeah, if it were me, I'd use a 635A, especially if I couldn't
monitor accurately and had an interviewer who wasn't an expert.

YEah there's that, and chances are, if he had to ask what
was a good mic to use he's not an expert. Also, as another
poster said, don't forget that good old fashioned mic cable. That convention floor is gonna be rf soup, and if he's not
coordinating frequency use with others doing the same sort
of thing he might find there's not a clear channel to be
had. I'd suggest the 635a for lots of reasons, all of which have been mentioned here iirc.

Regards,
Richard
.... Remote audio in the southland: See www.gatasound.com
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet-Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.

[mcp6453[_2_]]

On 5/31/2012 11:35 AM, Scott Dorsey wrote:
mcp6453 wrote:

I've forwarded the recommendations to him. He has a Shure VP64 for an omni. His
concerns are that an omni will pick up too much crowd noise, and he doesn't want
to have to shove it in people's faces.

It will pick up crowd noise, and he'll have to shove it in people's faces,
but unfortunately that's going to be the case with most of the other
alternatives too in that kind of situation.

It will be interesting to see how things work out. Leo Laporte used a Heil PR35
for his interview mic at NAB, and it worked great. A friend used a Heil PR22
with an almost identical rig, and it was terrible. He ended up using the Rode
NTG-2, which worked great.

A lot of it depends on the interviewer. If the interviewer has the technique
down, a directional microphone can be a win, but if he does not, it will be
nothing but trouble because the interviewee will be off-mike too often. It's
hard for the interviewer too, because he isn't hearing what the mike is.

I loaned him my SM53 because he wanted a slim mic for a flag. That being the
case, I told him to do a lot of testing before he decides which one to use.
Don't blame me.