Sound makes or breaks video. Poor video with strong sound can work, a great video with bad sound is lost, pure and simple (maybe AI can and already is sorting this, but there are limits).
Safe sound is at least two sources with plenty of room for variation (32 bit Float, limiters, good processes, safety tracks), or even better three, if things are fragile.
This also means you have to be able to adapt to a variety of scenarios to apply that sound. No point having an infallible LAV kit, if you cannot approach your subject.
To me safe is;
Reliable. Sometimes with Zoom and Sennheiser devices I have found this to be an issue for a variety of reasons, such as broken battery doors, inconsistent cabling needs, rudimentary or misleading battery indicators, limited controls and other odd behaviour. The Sennheiser MKE-600 in particular can suffer from “died in the bag” syndrome with no auto-off.
Interference free. The only way to fix this is hard wiring. This means a worn recorder, one pointed at the subject going to camera, or self recording. Everything wireless is a liability, a backup at best, but direct to camera is not needed, sometimes it’s even better not to. The little F2-BT for example is my friend here and I have started to use the bluetooth app for added piece of mind.
Robust and easy to use pickup, i.e. set and forget. This is either float recording or a limiter that works properly (i.e. pre-DAC) and/or a safety track. Setting levels is important, but sometimes you have all the jobs to do, so any that can be fixed easily are a win.
Flexibility with all the above which can be an ask, but is required.
Mics are booooring, so a nice spring macro shot (S5II, IRIX 150).
Some of these are easy enough. A Zoom device usually has a safety track and decent limiters. The battery thing can be mitigated, but tends to become obsessive like changing batteries every time I use a Sennheiser or running power to a broken F1 from a V-mount etc.
My current go-to’s for field use have been;
The MKE-400*, either run into a Zoom F2 mini recorder or camera. This mic can only be set to three gain levels, which is a little nebulous so I employed the F2 for safety. The F2 run from my phone, so no fear of forgetting to hit go or see problems, but the MKE-400 is one of the mics a little soft on battery info and the three step gain control is rudimentary at best.
The H5 or F1 with the SSH-6 or X/Y capsule as a placed mic. The H5 is often the placed recorder, the F1 now needs to be fed power from a V-mount or power pack after its battery door broke. I usually use these with other mics, acting as a backup or alternative.
Mics still boring, more garden please.
Special mention needs to go to my Zoom H1n. This saved me only the other day and can be a hand held, clamped to, sat on something or LAV’ed up option. It always seems to have enough battery power, even when forgotten about for weeks at a time and is always found in any bag video might be used for. I habitually add a decent Zoom LAV as well.
If I LAV it is either as a primary into the tiny F2 recorder, or a secondary wireless Lark M1/M2 as a backup, the receiver also into an F2 sometimes. I do not love using LAV mics. The reality for me is they are finicky, sometimes intrusive and often time wasting. The reality is only really expensive ones can match a basic boom mic used well. I am also often in a fluid situation, something that makes LAV mics unworkable, but sometimes, they are the only option.
For controlled space interviews, I will use the MKE-600 into the 7” Black Magic recorder and/or a Zoom and the SSH-6, either placed in front on a stand or boomed, and the H8 can be used with a variety of mics, but that is a whole other thing.
Ok, the problem I have is not really addressed by any of these.
If I want a backup that I can trust for my field interview recordings or an on the camera run and gun setup, none of the above really do that. The real issue is RnG, which ideally needs 32 bit float, in something clean and portable, one unit.
I looked at the Zoom H2 Essential, a well liked “Swiss Army knife” answer to many problems, but not the ones I need answers to specifically. It can record and take a mic and record in float, it can record 360 degree ambient, it can act as a LAV recorder, a pod cast front/back mic, but one of the specific things I need addressed, the run-n-gun on camera mic it is not. At under $300, without accessories it is a decent answer to many problems and might still be in my future.
The F2-BT/F2 has been great, but just another is not the answer. As a “hanging dongle” recorder off the back of the MKE-400, it has worked, but I cannot take it seriously in that role and compared to the H2e for the same price or less, it feels like a flimsy option. Best leave it to the role it is designed for, a worn LAV recorder. I did pick an F2 up however for $170au, making it and the option below a great duo for about the price of the H2e.
The answer looks to be the Zoom M3 MicTrak, a mid/side shotgun mic-32 bit recorder that can line-out via USB and 3.5 (at the same time), has a decent shock mount and comes with a wind shield (I have some better ones of these also). Batteries are AA’s with a decent enough recording life, but it can also run off a power pack/V-mount/NP with a USB.
I heard about this mic a while back, but concerns about RF interference and cheap built quality put me off, especially for the $350au asking price. However, at $169au on sale, it is great value, does things I cannot do now and fills the brief. Outside of that, users comment on its great sound quality, versatility and reach. It might be the SSH-6 capsule in another form, or close enough anyway.
The only thing it cannot do is take a signal in from other mics, so I guess it will just have to be my safety net, nothing more. The point is, I now have the depth, reliability and flexibility I am after.
For the same cost of the H2e and accessory pack, I have managed to find a second F2 and an M3, giving me two better options.
The kit or kits now are a monster, but has answers to all I need and thanks to a journey of many legs, a few extras.
*
The “always in the bag just in case” kit is the H1n and a LAV mic. More than enough when it is all I have used as an on camera, in hand or worn LAV recorder.
the “something tricky” kit is the DJI OSMO 4P and mini LAV 2.
The “on the go” field kit is;
The M3, MKE-400 and my LAV mics (2 sets of Larks, a Diety and Zoom wired LAV) with an F2-BT and F2 float mini recorders for a variety of roles. This is in 2 bags, one has the LAV’s the other the shotgun mics, so I can split it out as needed. I could now theoretically run multiple 32 bit float recorders at once.
The “big gig” controlled space kit is;
The F1 (2 line), H5 (4 line), H8 (8 line), BMVA 7” (2 line) supporting a set of Lewitt music mics, a MKE-600 shotgun and four Zoom capsules. All can be powered by something better than just AA batteries. All need levels set, but are capable of superior quality and control.
*To be honest, the mic that is forcing a lot of this thinking is the MKE-400. The three gain settings are loud, medium-soft with noise and low-super soft with more noise and they are far too wide apart. I almost always use loud “+” with the camera to -12 or lower if I can.
I find most of the time that the middle setting needs too much gain in camera, partially defeating the benefit of an on-cam mic. I wish it had a simple 1-10 gain dial like the Zooms. The batteries last ok and can be woken up and put to sleep by the camera, but it has twice given me the red “three hour” warning light and died almost straight away.
Add to that the less than infallible wind muffled and it is not instilling me with confidence. Otherwise the form factor, all-in-one shock and wind mitigation and overall sound quality is excellent.