Mics.
What a minefield.
The first question you always need to ask your self when trying to fix a problem is, what is the actual problem.
In a lot of ways, mics are like lenses. Some cover wide areas, some are more focussed, some offer better reach and some are the “nifty fifty”, trying to do all things well enough. Also like modern lenses, they are capable of good results right from the get-go. The 2 for &65au Behringer C-02’s are great at their preferred job when used well. This does not in any way help! Best, better, good enough is hard to ascertain when you do not have much experience in the field.
This is fun really, as it has been a long time since I felt this way about still camera gear, so the passion to learn and explore is enflamed, along with the frustrations.
My problem with sound (as I see it) is; I need better large area/group performance including multiple subject interview or band practice options than I currently have. My remit at the school is mixed and for video, largely untried, so versatility without critical compromise is the key. The school has already thrown at me, in my very short video career, a singing comp with 4 groups of 80-100 students in a gym, an interview of 3 people plus interviewer in an untreated classroom and an outdoor, single person broadcast shoot. It is the indoor stuff in particular that I want improved.
A major consideration is the school has a library of Rode and Shure mics, with access through a separate body to many more. If I can tap into this, then great. It saves me from having to buy my own.
I am not expecting to produce premium grade videos with theatre level sound, but I am trying to avoid obviously amateurish results (poor lighting, reduced noise, solid sound, no echo or tinniness, bad camera settings etc).
The kit as of last month without the Boya M1 LAV and Boya/Movo MM1. Small scale, for my current needs, so do my capabilities already match my actual requirements? I want/need more because I want to do more.
Weapons at my disposal have been bought with a “best bangs for the buck” mentality*, but also fairly blindly and without proper prioritisation of purpose. The biggest issue has been, I may have not been asking the right questions when I supplied the answers. (all prices are in Australian $ and are only noted for comparison).
Phase 1
Upgrading my shotgun mics
We hybrid-ographers (a thing? not sure but it sounds right) almost always go down the shotgun mic path for vlogging or on-the-fly video. This is logical, but very limiting. Shotgun mics are not the fix-all we tend to think they are, They are specialist, pinpoint devices used when (1) you have to point a camera and mic combo at a subject, often from a distance while rejecting surrounding noise or (B) you want to boom a mic down to a single subject, again rejecting ambient noise. For the former, a bigger, longer mic is best, for the latter, anything decent will do depending on bridging the mic to subject distance (boom). I can do the latter, the former I am trying to avoid.
So, the journey started with shotgun mics, but the need for a better pre-amp was identified early on (Olympus pre-amps. like most camera brands are poor), so I grabbed the well respected little H1n field recorder (-112 db). This gave me the pre-amp I needed and an X/Y stereo mic option that I did not fully understand at the time. This mic makes all my cheap shotgun mics a lot better (when used properly). These combos can surprise me sometimes and the H1n is without a doubt the best starter mic out there. The reality is, personal subjectivity combined with user and application variations and good (or bad) post processing, do even the field out a lot.
Upgrading to a better shotgun mic seems to need at least a $300 investment or don’t even bother at all (so many comparisons, so many tests, so much variation in opinion!). It looked like either the Deity D3, which is a small, but real improvement on lesser shotgun mics or more realistically further up into a D3 Pro, Sennheiser MKE 600 or Rode NTG series. Still a shotgun, still specialised, which really only gives my current configuration the same options, just a bit better. For me this is a little like the sensor format war. Small increases have a diminishing benefit, meaning you have to really up your game to make any real difference.
Shotguns mics also have a few down sides directly tied to their strengths.
They are very directional, tend to exaggerate room echo because of a property of their rejection tube and can pick up rear noise quite easily (not side though) which is common in my work environment (50 kids in front, 400 behind!). If you want decent reach and directional control outdoors, or maybe a studio boom mic, then they are ideal, otherwise they can be a bit of a trap.
Phase 2
Not just a shotgun mic
The Zoom H2n is tempting, as it gives a choice of X/Y, Middle/side (focusable) and 2 or 4 track omni directional in a compact package with 20hr twin AA endurance ($250). The noise floor is audible for field recording at -114db, but not general video, where it will be used. The price is a little prohibitive, because as versatile as it is, it lacks XLR inputs and the build quality of the H5 for only $100 saved. I may still need something else later which this largely prohibits. Last consideration is the placement of the mic if boomed high, which prohibits easy monitoring (one screen, but two mic directions).
The Roland P-07 popped up for a while with its quiet pre amps, bluetooth and A/B config, but very few audio samples and reports of poor bluetooth connectivity put me off for the price ($270).
Upgrading to the Zoom H5 ($370) with the same amps as the H6, adds plenty of versatility, seriously good build quality, and it has better X/Y sound when used directly than either the H1n or H2n. It will not greatly improve feeder mic quality that much over the H1n (which excels for its price), but can take 2-4 XLR mics. It can also take the other capsules (SSH-6 M-D shotgun), to be as versatile as, but more specialised than, the H2n and the SSH-6 is comparable to a $300 shotgun mic. In a series of comparison tests, the sound is deeper and more resonant than the H1/H2n’s and the noise floor (-120db) is audibly lower.
The H5 is a solid B+ in all areas, beaten out by more specialist kit**, but very capable at most things and an industry standard.
Too much for my needs or an ideal hub?
Its biggest issue is size. Putting it up high or on an arm is a push and I cannot adjust it from there, so feeder mics only (H1n/Neewer). It likely is an issue for hand held camera mounting (again H1n), so it would be a static interview or performance mic option only.
The base X/Y stereo capsule is very good and is slightly shock mounted. In comparisons, the H6 sound is ever so slightly deeper, which could be its different X/Y capsule (available separately), but the difference is well within the post processing envelope and only noticeable in direct control comparisons. The Mid-side stereo mic that comes with the H6 does not appeal, so at $520, it is overkill (even though the extra mic technically makes the H5 and 6 the same price). If it came with the SGH or SSH-6 shotgun capsule, then I would go that way. If I need more XLR inputs, I may later get the bulkier H6 or an F series, with the other mic options.
Ok, so how could I just control mics with a better pre-amp, without the extras I may not need?
Phase 3
XLR capable interface units
I looked first at the Focusrite Scarlett 2i2 ($250) and Presound 24c ($270), both well respected interface amps, but they have one fatal flaw. They need to run from and through a computer and they can be picky. I pride myself on not needing to carry my lap top around, so no thanks, especially in a crowded hall with stills to take (I do not want to be that guy who is held up by “technical” issues or hears his laptop hit the decked concert).
However,
Googling “portable mic to camera interface” bought up a whole class of things I had missed before. The self powered, camera centric, XLR pre-amp interface.
The top contenders are the Juicedlink RM222 (sadly out of production), the Chinese made Saramonic group (several) and Beachtek. As an example of their utility, the Saramonic SLAX107 or Beachtek Mini can bolt on to the base of a camera, the smaller SPAX1 can clip on top. These offer 1-2 XLR and 1-3, 3.5 mic input options meaning multiple balanced LAV, pencil, condenser or shotgun mics sent directly through to the camera.
The Saramonics get wide praise, but have a twitchy nature QC wise. Their range is extensive with several 2 XLR options ranging from $100-220, all seeming to offer similar sound, but more knobs and switches as they get dearer.
The Beachtek are more reliable, but up to twice the price of Saramonics, so an H5 starts to look good again.
The Juicedlink 222’s are the most sought after (price ?), but the company seems to be semi shut down, so none around.
If I go this way or the H5, then mics are many and varied.
Phase 4
Matched small density condensers or pencil mics
Using the above with twin pencil mics gets me to multiple single locations, or X/Y, A/B or ORTF configurations. The main issue with these is getting any clear info on their utility for general use, especially vocals. Rode had a useful set of videos showing M5’s being used for a choir, a string a quartet and other situations, but that is really it (apparently Enya likes pencil mics for their intimate fidelity).
Contenders are the Lewitt LCT 040 ($270/pair), which are universally praised for music use, the versatile 3 capsule Neewer NW 410’s ($110/pair) which are again much praised, but have a recent thread of faulty units coming through (several Australian reviews, this year on Amazon complaining of only 1 working) and the Rode M5’s ($200/pair), that sit mid-way in all respects. I also thought of 2 sets of Behringer C-2’s for $170 all up, for maximum coverage and pair matching. It is possible to get the Saraminc SPAX1 and the Neewers for $250 all done ($300 with cables), but the Saramonic SRAX 107 with the Lewitts ($500) is more likely.
These are small and would give me versatile and very high quality sound, with minimal fuss. The units fit on camera and the mics are often twinned on a stand or boom. If used separately, they give uncoloured vocals in a standard cardioid pattern (as well as hyper cardioid or omni with the Neewer), reducing room echo compared to a shotgun and easy placement height and dispersion (the Lewitts are 44g each).
Opinions are however split on the versatility of pencil mics compared to wider diaphragm condensers.
Phase 5
Wide diaphragm condensers
If you google “voice recording mics”, what usually comes up is “wide diaphragm condensers are best”. This is fine, but for multiple subject/wide direction recording, they need some help, which their price and size may prohibit. They are also usually configured for indoor studio use and to be used individually.
The Rode NT1 was the only real contender here at $300au. So needing an interface and likely more mics the price has pushed this one out.
The other element here is the wide variety of condenser mics (mostly Rode and Shure) at the school, most likely on hand at any event I will need them.
Phase 6
Back to direct camera mics
Some time around here I came across the Rode Stereo Video Mic X ($700). This looks like an improvement on the H5, but things are starting to get out of control.
Back to shotguns?
Nearly, but no.
I want something more versatile and genuinely different to “just another shotgun mic”, which I have. A salesman in the shop I used to work in said yesterday “just use what everyone else is using (NTG)”, which for me, opened up a desire not to follow everyone else, but look at the huge potential of alternative directions.
The Movo/Boya situated close to my subject can “fake” the big mic sound, another LAV maybe also. Another of each/either could likely fix things well enough and save me hundreds of dollars.
A mic on camera is certainly the easiest option, but the Zoom can pre-amp up to a level just under a specialist bit of gear, so my return on investment is sound.
Phase 7
Decision
I will admit to nearly being stumped at this point, but a good nights sleep and it is a little clearer.
The answer is as simple as a Zoom H5.
My gut tells me, the simplest answer will suffice for my specific needs (H5). My heart yearns for the twin Lewitt pencil mics for maximum options, but for now, the H5 with the extra SSH-6 capsule will do.
The H5 keeps coming up with answers, except for its size, but I guess that is what the already owned H1n is for (and I hate redundancy).
An XLR interface will be sensible, because the school has a wide range of XLR mics at hand, so I can just plug in to that network.
The Zoom H5 lets me keep my options open.
It can upgrade and duplicate my X/Y recording, allow for 2 XLR mics (4 with a module), which can be used with the units capsule (twin pencil overheads with shotgun main). It has quieter pre-amps than the H1n (-120db vs -112db), a mid/side shotgun option as well as speaking the same menu “language” as the H1n. The H1n, which is no slouch, can then be the interviewers mic (feeding to the H5), the on the go camera rig pre-amp or a separate recorder for backup or discreet placement. Two areas the H1 and H5 compare well are as short range voice recorders and pre-amps. There are tonal differences, but not huge ones, so they can work in tandem (a bit like my OSMO and G9 will).
The H5 will allow room for another cheap matched shotgun, or some cheap pencils right now, but my gut says, see what I can do now with what I have and build as needed. I will predict that maybe a Rode NT1 condenser and Lewitt LCT 040 pencils would pair well, or maybe the school will loan me a pair M5’s or a Shure 27B.
So I have flexibility, strong functionality as is and practicality.
*Zoom H1n as an X/Y area mic or pre-amp for my Boya MM1, Neewer CM 14, Rode video micro mini shotguns and a Boya M1 LAV.
**The Rode Stereo Video mic X is a better X/Y mic, The Sony D100 a better field recorder, the Focusrite Scarlett 2i2 is a better interface to a computer, the Saramonic SLAX107, SPAX 1 or 2, Juicedlink RM222 or the Beachkit micro are better direct camera interfaces, but the H5 sits on the step just below.
***Multiple configurations, multiple mics, multiple recording platforms, multiple character combinations. I could do a M/S main mic or twin shotguns for a choir, with a shotgun used for the soloist, or a main mic for a band, a shotgun on a guitar soloist and an overhead for the drums, or an omni mic for a debate and shotgun for the presenter etc. Nothing is top tier, but a deep kit with tons of problem solving potential.