Levels And Ambitions

Everything has levels.

You need to find your level, perfect it and decide to either remain there or push further. There are genuine benefits to both roads and neither is the “right” path.

In western society we tend to push the onward and upward philosophy (grow or die), in the east, there is just as much of a “perfect where you are” thinking, as it, just as much as anywhere else, is never so perfect it cannot be bettered (Ikigai).

I have three skill sets now I guess. All three can support or improve the other, all effect my attempt to capture people and their lives in some way and all three are a balance of art and technical application. Below I will self assess and rate (out of 5, 5 being fully pro in the field)

Love to know who she sees.

Stills

The long term giver

Photographically I would have to call myself an experienced all-rounder. I have specialised, obsessed even, but lately, I just prefer to dabble broadly.

The paper throws most things at me in a get in-get out quick format, but lots of variety and problems to solve. The main thing is, we have to do it reasonably well.

Sport is a priority on weekends, weekdays are all things editorial. Speed is the real skill and accepting compromise.

Balance.

This is fun, but more time would be nice and less chasing of names and team lists. I have however discovered I can cover a game in ten minutes.

To be honest, I am past the stage of just doing one thing any more. Sport, studio, landscape, even street would not satisfy on their own, not claiming to be an expert in any, but I rarely feel the desire to dive head long into any form of photography these days. Variety keeps it fresh, variety is needed.

My level I guess is 3.5, which is a content photographic wanderer with nothing to prove after a very long apprenticeship.

My ambitions are few, so 4 maybe, because constant practice brings improvement, mostly about getting my style to match my job description. I think 5 requires a level of obsession I now reserve for new things.

Video

The immediate satisfier

In video I am more of a serious dabbler with high aspirations but realistic expectations at this point. I can tentatively go “full noise” into VLOG, LUT grading etc, or shoot more drop-and-go style. Like a lot of things, the more you know, the more you realise you only need to use some of it. Do what works.

I realised a while ago that I generally processed to clean and strong contrast with decent sharpness, so I have adjusted to shoot that way, which mostly means exposing to retain highlights (shadows add drama and depth).

The G9’s have been good lately set to Standard profile, -3 sharpness, -2 contrast, ISO on the thumb dial for exposure, manual focus and just get going. C1 is 50fps at 1/50th, C2 33% slow-mo, C3 1/100th at 50fps low ISO and deep depth (f8) for sunny outdoors when I cannot apply an ND filter. It also means a black mist filter can soften from a sharp base.

Just a crummy screen shot because for some reason DaVinci will not let me export this file as a jpeg, but enough to show the base quality the G9 gives me in Standard profile taken “on the fly”. I increased contrast very slightly and that was the same for all of the clips. I would be happy enough with this as a still, let alone a frozen video frame.

Lighting is a big element here, because video has different needs to still photography.

My level here is about 2, the excited explorer with a few wins under his belt. Still lots to learn, but an awareness I am ahead of some and on a steady, measured path to learn more. The main thing here is to keep the passion alive. I am lucky I guess that content creation was my main focus for the first couple of years, putting it all together came later and that is where the growth path is longest/hardest. Got to be fun, never a chore.

My ambition is about 3.5 (or 4.5 in my specific field of quick videographer), which is to say I want to match my technical skills to my possibly over the top ideas. Go OTT!

Sound

The inescapable support act

Sound is a curious thing.

Long before cameras, for me, there was sound. I was a true audio-file, so much so that one of my first jobs, well one I actually liked, was at a local specialist Hi Fi store. I could talk for hours about the difference between European, Japanese and American speakers, the value of valve amps, power streams, Ohm ratings etc. Yep I can bore you in many fields.

Somewhere that fire died and I became a regular “little stereo on the shelf” guy, with a huge music collection.

The fire is back.

I doubt I will ever own a mixing board, maybe not even use a DAW. I just want the best straight to camera sound I can get in a fully self sufficient and enclosed kit. With the H8, H5 or F1 as my capable “middlemen”, I will concentrate on the quality of my sound capture front of house, not so much the processing side. Basically I want my video and sound to be as straight forward as my stills work.

My level here is about 1.5 so I am the “try anything I can do to improve the feed to my camera, with no ambition to replace a sound pro” guy. I have realistically gone well past the videographers pale, which usually stops at a pro grade shotgun mic, but this is fun, new and nothing will be wasted.

My ambition is probably a solid 3 which is to explore what I can realistically do and let it grow naturally, maybe indulging my hobbyist side along the way. If I can assess a situation, apply the best fix and walk away confident I have better than just adequate results (and have results), I will be happy. I must admit, having a powerful mic on my H8 and just listening is also fun, even therapeutic.

*

The balance of these three fields is not yet right, but it will come.

My photography is not floating my boat at the moment, but the new school will fix that I hope. My video is ok, getting better every day and my sound has big ideas and I hope big capabilities, even though many are only theoretical at the moment.

Nice Walk In To Work

We have had some terrible weather here lately. More like spring with the “Roaring 40’s” blasting across, so where you get a hint of something nicer, it is worth grabbing.

My old friend, close to moving on I feel.

Oh, and it seems lately I need to remember that this is primarily a photo blog.

A case of unlikely retrieval. The silhouette image was underwhelming, so some exploration was attempted.

This is a good exercise to. I had my whole bag with me but just used the 45mm.

Just outside work, last glance.

Another front coming, but let’s pretend for a moment that this is the reality.

More "Forced Brilliance" And Some Genuine Coolness

No Lewitt DPT 340tt for a month or more, so I switched to the DTP 340 REX. None of those for even longer, but the company I was dealing with withheld the right to refund me (my bad, agreed to their terms but missed the no stock warning). If so I could chase one of the elusive Lewitts, but now it is either a long wait or rethink.

Ok, what to do.

Every compromise I have had to make has worked out, so I decided to think more along the lines of the handy generalist rather than specialist needs, something I pretty much decided on with the 340tt, then went away from with the REX.

The need is for a lower register instrument mic, and another possible vocal option.

I have decided on the sE V7x, the instrument tuned version of the V7.

As a vocal mic, many like it, but it handles badly, needs a decent pop filter and is too strong in low frequencies to avoid either completely.

Bass is handled well enough by this one as it has some pretty extreme proximity effect*, something sE actually shows on their frequency chart, so they obviously think it is a useful tool, not a weakness. This can add that lower end kick if needed, or more balanced detail if backed off a bit. The MTP 440 is the well controlled instrument mic, the TT1 has that European something and the V7x has warm character.

Again, going into a camera not a mixer, so it’s more about listenable effect than sonic perfection.

I like this. The V7x was on my radar early on, then Lewitt became dominant, but each to their own. The Lewitts own the condenser space for me, the sE’s have a solid presence in the dynamics.

The sE set now covers bright, neutral and deeper. The Lewitts give me the condenser fine detail and area cover and the TT1, yet to be defined, adds maybe what ever may be needed. The sE V7x now guarantees the sE V7 can be reserved for vocal use.

The V7x and MTP 440 are both deeper sounding than the presence forward SM57, meaning I do have options down in the sub 100 Hz range. Not lots, but also not specialising. I am not going to mic a kick drum specifically, but may need to point something grunty at a set or pick out a Cello.

The H8 also arrived today.

Very impressed.

It is lighter and smaller than I thought, not much heavier than the H5 and it has smaller dials and hard plastic build rather than the rubber coated…..hard plastic of the H5. The H5 seems bigger in scale, simpler in options.

The H8 feels hard, precise, clicky and reassuring. The “softness” of the H5 is quite different. The Metal EXH-6 on the H8 actually makes it feel top heavy, but it also feels right. The XYH-6 capsule now switched to the H5 to empower it a bit* is also quite heavy compared to the XYH-5. Bit of an ugly pair, but workable.

The two XYH capsules are also interesting when compared.

I have heard comparison recordings and I personally rate the XYH-6 as better to my ear. It also has the 90/120 degree option, so the H5 will have a slight boost in performance, the H8 is reserved for XLR inputs where it is a better performer (most owners and reviewers say the H series are all equal in capsule performance, but not in XLR input recording, which is the real reason for the H8).

They do not look hugely different, but the H-6 on the left is about twice the weight and the foam and fluffy I have for the H-5 and H1n are not going to work. The mics in particular are huge. The capsule was a bonus, effectively shaving $100-150 off the real price of the H8, but I am thinking now that the H5 may get more gigs as a main player with this and the SSH-6 as options. Not just a backup option, kind of like getting two new recorders at once.

The XYH-5 capsule is now “relegated” to the F1 as a compact on-camera option, making the most of the F1 and its own shock mounts. The MKE-400 is my first choice on-camera mic, but sometimes I want something different or more powerful.

*Responds possibly disproportionately well to lower frequencies the closer you get.

My Utterly Brilliant Mic Choice, Made Mostly By Mistake.

The LCT 240 it turns out was an inspired, if forced, shift in thinking. Mostly forced as it turns out, I cannot brag about my clear thinking.

I had an idea to build up a kit of mics so that a band could be filmed, all with my supplied kit.

This was of course a thin premise, because said band would either have their own mics, have a sound tech who could simply supply me with all their sound or what I have to offer could still fall short even at 9 (!) microphones.

What am I really likely to need?

Record individuals, non musical events, interviews, debates etc, but mostly record spaces.

This changes everything. Instead of a clutch of dynamic mics aimed at individual cover, I need to look more at tried and true methods of recording events with minimum mics.

The second MTP 440, aimed at adding another amp/piano/drum kit/vocal generalist, was just another of the mic types I am less likely to need. I am not the roadie I like to think I am. I am the fly on the wall record keeper. When it was cancelled, I realised, the dynamic only thinking was unnecessary after the H8 was ordered.

I am happy to have some dynamic stage mics, five as it goes, each with their role, but no more. My thinking was flawed, but mostly by mistake the worst of it has been averted.

He is part of something bigger, so not my concern. The bigger event is, but running my own massive system along side what is there is unfeasible. Simple but effective is the key.

Ironically, the H5 and EXH-6 capsule forced me down the dynamic mic road, which led to the H8. If I had bought the H8 at the beginning of this journey would have allowed me to stick with condensers, but until my collection grew, the H8 was not on the radar.

As my understanding grew, I slowly realised the potential of what I originally owned and the best path to take, which was likely the pair of LCT 240’s as an option to the 040 matched pair!

These are the mics that will record large areas and allow me to work to my common needs, and independently of others. This is how I will most often be working.

Thankfully, the dearest mics are the most useful.

A school concert already fully setup with a tried and true broadcast system?

Sure thing, because I will have my little OTRF, spaced A/B or X/Y pair in there as well.

School rock band doing a quick gig?

A 240, maybe two will cover the room, with the odd placed mic if needed and able. The school rock challenge is coming and as expected, they are fully sorted for sound, but for my video I will cover the room with the LCT 240.

This adds to the odd student interview, a panel, maybe a podcast? That is where the dynamics come in. Sometimes I might just be the guy with the handy mic that saves the day. White Knight syndrome much!

No real harm if I had bought the second 440, I just would have used it instead of the 340tt, but the forced re-think, more towards the H8’s expanded capabilities, really was a blessing and it all happened in a blurred half hour the other day (bought the H8 on impulse, got a back order notice minutes later on the MTP 440, bought the LCT 240).

The H6 was more of an either-or thing back when I got the H5 and was too expensive and over the top for my needs then. Buying it now would have been a retrospective move, because for very little more (about $50au), the H8 adds considerably more capability with better pre-amps, more phantom power connections and significantly better interface. having a H5 and H6 would not have provided a logical balance. The H5/H8 dynamic makes more sense.

If (but not likely), I were to get another mic at this stage, it would be the LCT 441 flex, which is possibly the one mic I should have bought. The omni and figure eight polar patterns adding options, but I also know that between the several options I now own, these patterns are possible anyway, at least to the standard I need.

Sometimes when you bury yourself in a new field the answer comes too late to avoid missed-steps, but occasionally you can get lucky anyway.

*My perfect budget “get it done” kit on reflection is almost what I have now;

• 2x LCT 240 (area cover or acoustic/vocal)

• 2x 040 Match (area cover, overhead, acoustic)

• 1x MTP 440 (deeper instruments)

• 1x DTP 340 (deeper again). sE V7x here (useful proximity effect) and second 440.

• 1x MTP 550 (primary “hand-held” dynamic mic). sE V7 here.

• 1x MTP 250 (vocal dynamic, handy second option). sE V3 here.

• Surplus. The TT1.

Being A Happy Micro Four Thirds Tragic

Something I like to talk about is the quality of the M43 format.

Something I hate dwelling on is the quality of M43 format.

Here is the reality. I do a lot of work for a lot of different people. The thing that keeps coming up is the quality of my work. Sharp lenses, clean and brilliant files, accuracy, speed, consistency.

None of these are an accident.

The format has a single technical negative, which is the mathematical reality of (all things being equal), higher visual noise at the same high ISO settings as a full frame camera. Nothing else is insurmountable and some of the negatives are for some people positives (more depth of field).

However, being one quarter the size of the full frame, does not mean one quarter the quality or four times the problems. In direct comparison to the other two experienced pro shooters at the paper, I have beaten the older D750’s and lenses for noise, sharpness and overall performance and even against the Z9’s (with older slr lenses) hold my own. I am not even using the latest offerings from M43.

M43 cameras don’t just take good enough images,

they take great images and they do it easily (EM10 mk2, 17mm f1.8 wide open, not my “A” game).

The thing is, you have to be ok with the format. No amount of convincing will be enough if down deep, you are convinced that full frame offers more in a way that actually matters.

A Ferrari can theoretically go faster than a Lexus, but often cannot in the real world. There is always a mitigating factor that will stop the faster car meaning anything and in turn expose its short comings like fuel economy, repair cost, cost of running and impractical everyday design.

At the end of the day, the only way most of us can actually see our superior quality is at 1-400% on a computer screen, a medium almost nobody else uses or cares about.

I use the format because early on, it gave me more and faster and at quality was at least as good as my Canon full frame cameras (5D mk3). They were eminently portable and had better lenses across the board (even comparing L glass). Much of this has been upgraded, especially the newest lenses, but at great cost and they are still huge.

Versatile, Now More So.

My sound kit (yep, that again, sorry), is pretty versatile.

I can go compact shotgun on camera, better shotgun, even better with mid/side, take it off camera, use a variety of X/Y, A/B, ORTF, multi mic or even direct feed options.

I am on the threshold of field recording, well entrenched in intimate music capture, can do a podcast, a panel, a concert, a band, a choir, work remotely with plans to fill the only hole (wireless).

In all this, one mic has been a standout.

The LCT 240 Pro.

The 240 is strong when compared to all the other mics.

• More detailed and brighter than the sE V7.

• Less aggressive and more delicate than the sE V3.

• More open than the TT1.

• More versatile than the MTP 440 (but a nice match).

• Deeper and less sensitive than the 040 Match.

• More versatile than any of them because not only can it do their jobs, but it also has that very condenser rendering all of its own.

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Not the only mic I need (that would be the 441 Flex), but more versatile than any other I do have.

There is still a hole though.

Really deep bass instruments, even people wanting to go full “radio voice” without resorting to proximity effect*, which is a cheat and easy to over use.

I had a second MTP 440 in mind, but have decided to go a little darker, somewhere between the DTP 340 REX, Lewitts true kick drum mic and the snare specialist 440. The DTP 340 TT is designed primarily for toms, which are the drum between snare and kick. Lewitt also rates it as a double bass, percussion, bass and guitar mic. Some even use them for acoustics, woodwind and brass, vocals even. I guess it could even be a poor mans sE7x.

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The frequency chart reveals significantly deeper and stronger bass sensitivity than the 440, which drops out smoothly from +0db at 100 Hz. This one actually goes up from 100 to 200 Hz, holding on down to 50 Hz and spikes strongly at 2-3k, but drops right away after 10k in the higher frequencies. The only other mics I have that can go close to this bass performance are the sE V’s and maybe the TT1 that exhibit strong proximity effect* to achieve this.

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A true bump in the dark space.

Not heaps of comparison videos (a blessing possibly), but when compared directly to the SM57, it makes the 57 sound both thin and inwardly compressed. One guitar comparison in particular really highlighted the clean, open and clearly deeper bass notes.

The Lewitt thing seems to be modern, transparent clarity with brilliance. They are not to everyone’s taste, but if you prefer this type, they are premium.

It is half the weight of a 440, shorter and about the same price, so a good alternative to another MTP 440, sE V7x or even the classic SM57.

Am I done now? I actually have one more mic than I can run at once through the H8 (but could press the H5 into service and sync later), so yep, I am done, but a little more versatile and I feel safer. Too many mics means I am not forced to find a job for them all, just use the best set.

Oh, and I do need to do a new mic map.

*Proximity effect is when you get really close to a mic to enhance the lower frequencies. Over done it creates overloaded, muddy and hard to fix sound. Used well it enhances “radio voice”, but not naturally.

Priorities Revisited, A Retrospective Of The Last Two Weeks.

It has been a big two to three weeks, so time to revisit my choices and take stock.

Thoughts of maybe bettering my sound options started with the LCT 240, a mic I had identified as a good allrounder, a “sweet spot” mic if you will.

Being a condenser*, the LCT 240 would have been limited through my H5 as I would only be able to use one 040 Match, so I decided to look at dynamic* mics.

Can open, worms everywhere.

My knowledge of all things audio has increased tenfold (probably 1/10th of what I need though). Many mics were bought (including the LCT 240), accessories as well until I had more than I could use at once, but felt I have something for every occasion, plenty of depth and some real potential power here.

I finally bought the H8 after a lot of thought, but almost impulsively. I missed the very best EOFY bargains, but managed roughly $500au all up. Dearer (F6) and cheaper (AMS-44) options were in the “mix”, but in the end, I just closed the loop efficiently and relatively sanely**.

Then, after all that I bought another LCT 240, well I had the mic I wanted cancelled and switched routes which all in all, may have been a lucky change.

So I started with the LCT 240 and ended with the LCT 240 (twice).

Balance has somehow been retained. Yes my mic arsenal is in overkill territory for my current uses, but I intend to increase those and the H8 just made it all make sense. As I like to say, if you have an outfit in the wardrobe, you find places to wear it, if not, then you just learn to stay home.

My quick take on the mics after some vocal tests into the H5, all hand held***, and I will put a role it might play in a rock band scenario in italics.

The family so far, just waiting on the second 240, then maybe the second 440 or a 550 (ed. DTP 340). Too many choices.

sE V7 stands out with reserved neutrality and lowest handling noise. Sibilance is well controlled as are plosives**. This is the “safe” mic. I get why people like this mic and I may get another. Drums, amp or vocals especially if handled.

sE V3 sounds like a brighter version of the V7, with slightly more handling noise, slightly higher pitch, but a good second option and a better fit for some voices and instruments (as expected). I had hoped to make these my work horse set, but will hold off for now. Amp, maybe another instrument, flatter vocals.

TT1 Pro-Lanen is different enough from the others to be useful. Higher in sibilance but full bodied and about he same as the V3 in other respects. I was tempted by the M85, but I have plenty of light and bright mics, so maybe another of these. This one also has more gain than the other mics, about one notch on a Zoom dial. The ultimate filler and fixer, pretty much what ever is left.

MTP 440 Lewitt is lovely and screams “heavy duty” in every respect. I have put a second on hold for now, but apart from no external pop filter and relatively poor handling noise, this is my second favourite dynamic for vocals. Drums or amps, vocals if needed, high volumes.

2x LCT 240 is revelatory in comparison to the dynamics. Clearly higher in gain (2 zoom notches), very sensitive to its environment and with wide coverage, two of these could cover a concert no issue. These are also good for stand-off vocals. I found plosive rejection* was perfect with just the foam and even decent without (using the decent working distance). Main vocal, acoustic guitar or second vocal.

2x LCT 040 are even more sensitive. I chose well originally it seems getting what has to be the best bang for the buck mics going around. Drum or strings overhead, acoustic guitar, even vocals.

Overall, some mics are standouts in one way or another, but like a lot of things, careful use, post processing and the limits of other links in the chain tend to make them all even out. This has given me pause to stop and think about those extremes and the basics. The MTP 440 has the most punch, the 040’s and 240’s clearly have the most clarity and sensitivity, the rest are too close to split. Even the Zoom capsules are still considered decent by comparison.

Future options might include the MTP 550 as a good allrounder with superior feedback rejection and handling, maybe the second 440 or sE V7, maybe something I do not even know about yet (DTP 340 TT) or nothing.

*A more sensitive type of microphone that requires power from a plugged in source called “phantom” power. Dynamic mics do not, are generally less sensitive, but more durable.

**I am finding more and more that the bugbears people test for are rarely a real world issue. Researching made me think noise and plosives were a wide spread curse, but I am finding it hard to find them on some mics, even those not designed to avoid them. Handling noise is more of a thing, but mics designed for it are fine, those that aren’t should not be used that way. Simple.

***Another use for the H5 is mic placement. The H8 can be bedded down for a recording session, the H5 then used as a walk around plug and test unit for fine adjustments.

Death Of A Salesman (Or Don't Read This, It's Just Self Therapy For Me)

Ever been in a place in your life you don’t recognise as a desired destination and don’t know how you got there or how to escape?

After a nice two week holiday, spent mostly at home with nothing asked of me, I thought I might be able to get my head back on straight.

Obsessing about sound gear was probably the first hint that something was up, but that first sign was ignored. I did not touch a camera.

If I look at myself squarely in the mirror, I cannot say when I last enjoyed photography.

This was close, tempered with the knowledge that it was likely a one off.

I know roughly when it was, probably a time involving the school, a connection to place and people, but a series of things went wrong when I started at the paper. It started with juggling the end of year commitments at the school and the needs of the paper. It was hard, very hard. I did not miss one event for either, but still do not know how and it felt like I failed both.

It was a time of contrasts, a time of conflict. A bad way to finish something good.

On the one hand I was comfortable, enjoying the work, confident I was going to deliver exactly what was wanted (although I was always mystified why my images had the effect they did). On the other hand each job was a mountain to climb, a mystery I still do not understand, or to be honest want to.

Part of the problem and the bit that is getting unbearable, is captioning. The paper wants names, always names. No image is useful to them without one. The freedom to take a useable image is severely limited by the need to get a name. I cannot count the number of decent images I have taken, images that came naturally, ones that even I liked, that were ultimately a pointless exercise, because I could not get a name.

I have stopped taking them. I think I have stopped even wanting to.

Second sign.

Balanced with the freedom of shooting for the school did help, but it also contrasted drastically with the reality that my future was the paper, only the paper. In a desperate attempt to hold onto both, I requested a drop back to part time, leaving me three days a week for the school (who were still in the picture, in a shared capacity because of course three days was not enough for their needs).

Unfortunately it took three and a half months to get sorted (long, frustrating story).

I broke ties with the school and every contact I had there about February. Things were clearly not happening at my end and it was unfair of me to keep then hanging.

Trying to give it away worked for a while.

It seemed ideal. I can use all my skills and gear, be useful, generate contacts, push myself and most importantly, I had the freedom to just shoot without fear of wasting the effort.

This is what I do, this is who I am.

The Migrant Resource Centre, New Horizons, Self Help, all used me on a volunteer basis, their images definitely more fulfilling to take, but not a future employment path and most just ended up being head shots for yearly reports. It seems lately, that even though I am available for more than half the week, they always seem to want me on a work day.

The one job I was really looking forward to, kids at the zoo, I missed after getting my days mixed on my over busy split calendar.

Third sign.

I am eating too much, sleeping badly, wasting far too much time in front of my computer with little interest in other hobbies and getting depressed by the state of the world. Seems I want to spend my way out of this funk. Never a good plan.

All the other signs.

Connections are important.

The answer is not in things, but people. At least the things I am buying are for other people to enjoy the results of (I hope), but they are only useful if they empower good things.

Pick yourself up, dust yourself off and keep swimming.

What do I have to worry about? Some people have had to start again from nothing and still manage a smile.

Self determination is exactly that.

That freedom is something I do have that many do not. I have a job I don’t like much, but I have a job. Things for Meg and I are good as anyone should expect, but could turn with one wrong move. Both of us face our challenges, Meg stoically as is her way, me in a more needy, swingy fashion, but I don’t give up.

The “determination” in self determination is more important than “self”.

I have recently picked up a casual contract with a new, bigger school, so who knows, I may be able to carve out some kind of future path.

Thanks for letting me work through that.

Spider Alert

The ugly black arachnid that is the Zoom H8 is on the way.

Why always Zoom? Just like Domke bags, Zoom products just seem to fit my way of doing things. There are better made, nicer to use and cleaner sounding products out there, but I like the tactile nature of Zoom controls, value, clever ideas, inter-system compatibility (depth of options and backups) and with one exception (stupid broken battery door cover on the F1 as have so many apparently), they seem well enough made.

At the end of the day, the ability to run all 8 of my mics, to gain an extra capsule (superior X/Y with two coverage patterns) and a slight improvement in noise control was too much to resist for $500au and the EOFY sale bargains look to be mostly over, so I may have grabbed the last for a while.

Even without legs, it is still imposing. That nice X/Y capsule will upgrade the H5 and the EXH-6 will replace it.

My priority was cleaner and stronger output with dynamics, which is really the only area the H8 beats out its lesser brethren. It is feature packed, but that jack of all trades vibe is strong. I really only want the good stuff, could care less about the fluff, but there is enough fluff to help when needed.

The EXH-6 will let the H8 take my total capacity of 8 XLR mics, which may not ever be needed, but three or more condensers could be (buying condensers up to now has been based on the 2 mic limit) and better support for the dynamics is probably a must. The EXH-6 is very good, but does not match the H5’s inputs.

This will be carried in the mic case because I will not be using it as a “handy” recorder. The AC-17 adapter will also be packed with this as I would expect to usually only use it in controlled environments.

Not really interested in most of the other features, but I am sure there will be things I will use that I do not even know it has yet. The reality is, this is the only practical way I can connect 8 specialist mics to a standard camera without either enormous expense and/or over complication.

The H5?

This will be matched to the SSH-6 and the XYH-6 capsule above for a better than average on-the-go answer and the two Lewitt 040 or 240 condensers can make a “scorpions tail” of front capsule and “wing” mics that will do plenty. Otherwise it makes a decent backup with a capsule and excellent portable mic micro-placement tool, so the H8 can be bedded down and left.

This is the high tide mark of the “B” team and will likely get most things done, but all the mics I bought would never reach their potential with just it.

The F1 will also get the SSH-6 or shock resistant XYH-5, depending on what I need (they all travel together in the same case). This is the only practical on-camera solution, capable of taking any capsule and works well as an under the nose panel mic.

The F6 was the holy grail, but costs almost double and after better than expected results from the H5 with dynamic mics, and some handling and feature short comings being revealed it actually dropped away.

The AMS-44 was also an option, and at half the price, but being new I could not get many answers for the tougher questions like line out quality to an H series etc. The whole thing just felt a little too much like a compromise and for only twice as much, I got so much more.

Glad it is over.

*

Not half an hour after the H8 was bought (and despatched!), the last dynamic, the second MTP 440 Lewitt was cancelled. The supplier had one more in the system than reality and backorders would be a month or more.

Turns out that was probably ideal.

I have both of my new Lewitt mics in hand and what strikes me is the MTP 440 is a solid mid-bass end specialist, the LCT 240 more of a mid range generalist. The role the 440 fills is needed, handling the bass and grunt of amps, but which is an area I have several mics for (sE V7, TT1) and it is possible I may need something even deeper (DTP 340). The 240, a medium-large diaphragm condenser, it is not bothered by much.

The same supplier had the LCT 240 in the same sale ($165au base kit-no shock mount) with free freight. That is a good price, $200+ being the norm. I will use it for vocals, but one shock mount will do, the second when used will either be used for an instrument, in a pair for area coverage or in a controlled situation.

The second LCT was not on my radar before because the limitation of 2 condensers at a time made even owning three a little frustrating. Limiting myself to dynamics mostly forced a compromise, one that ironically the H8 fixed, but also allowed the condenser road to be explored more. Go you big ugly problem solver you.

The 240 is to me a better all-rounder. The power thing sorted, a pair of 240’s is a powerful matched option. I now have (from Lewitt) more of a 2 high /2 mid /1 low combination rather than a 2 high/1 mid/2 low with one of the top three unusable at once.

I can now also run two 240’s through the H5 if I want for a perfect portable podcast system.

Sometimes things just work out ok.

Think my map is out of date now.

Noise, Myth Or Monster

One common consideration that reviewers probably more than users, need to be aware of when buying audio, imaging or mixed media products is the generation of noise and its effects.

Noise, or sound and image elements formed when they should be absent is one of these things that is probably dwelt on more than it should be and I would like to unpack that thought a little.

What is it?

In audio, noise is the floor of recordable sound produced by the recording device, things that are connected to that device or outside influences that effect either. It is generally a clean, smooth “hiss”. If it is not like that, if it its sporadic, unpredictable or overpowering, then it falls more under the heading of interference.

It is important to split these two so we know what we are talking about. Noise is predictable, so even at the purchasing stage you can research it’s likelihood and it is often, more or less, under your control, but hard to completely remove if needed.

Interference is not meant to be there and can directly effect your audio quality, being nearly impossible to remove due to it’s unpredictable nature.

In a nut shell, audio noise is what you hear when you cannot hear anything else, so it is in effect the absence of the absence of sound. All recording devices produce it, better ones at levels so low as to be effectively irrelevant, but even higher levels of noise can be ignored under some circumstances.

Often some background sound is recordable in almost any situation, which is why sound engineers always record some “room sound” on film sets etc, because the absolute absence of all sound is not normal, something has to fill the silence other than pure silence.

Why should we be worried about it?

This comes up a lot and after a couple of weeks of reviews read and watched, believe me, I have found we are obsessed by it. The measurement in sound production is signal-to-noise ratios is where this noise is important. A little noise in the empty bits between heavy metal tracks is mostly irrelevant, but too much noise in very fine ambient recordings is terminal. Know your need and service it properly.

Maybe if this is the subject, absolute quiet is a priority (and noise free sharpness).

I grew up on tapes and records. One produced noise from the physical tape running over the heads and the other had a ton of crackle and other oddities as the fine needed bounced over the record’s surface. We were there for the music, not the noise.

This mic has a lot more noise (-19db) then its bigger sibling the LCT 440 (-7db), but the actual sound is much the same, depending on your tastes and needs. For music, this is fine, but maybe not for field recording.

Visual noise or what we used to call “grain” is much the same.

Like audio noise it appears at the extreme end of the recordable spectrum. Very high ISO settings, underexposure, or recovery of inky black shadows will reveal it. Like sound, even an older phone can produce a decent image in perfect conditions, but when stretched, the ugliness that is visual noise takes over.

The habit of current reviewers to go in 400% on extreme ISO images and compare “X” to “Y” ad infinitum is not only flawed, as they rarely take other variables into account, but also pointless and unrealistic. We all know that the top fashion designers signature designs will never be worn in the real world, and neither will any camera or sound device be asked to walk that “catwalk” of perfection in real life.

Content trumps technical deficiencies.

Cropped from an image taken with a “small” sensor M43 camera, at a high ISO (12,800) under flat and unflattering light. If the content was irrelevant, then the image fails even if perfect. If the content is relevant then it’s quality matters less and less in proportion to the viewers care factor.

One way to deal with these problems is to embrace them. I had a friend once who processed their black and white negatives in over heated paper developer for short periods and with minimum agitation. The massive, super sharp grain he produced actually became the image element that made his images stand apart. The proof in his vision was several international awards. When he switched to digital his weapon of choice was the oldest G9 Canon compact with the noise/grain exaggerated for much the same effect.

For those of us who remember, the old film spool moving projectors with their “ticking” sound, will remember that when the film got going, you soon forgot the “noise”.

I have always been aware of the workings of the machine, but if we concentrate on content, these things do tend to fall to the background. If we spend too much time obsessing over perceived problems and their often extreme solutions, we may get nothing done.

I suppose what I am getting at is the other day I was shaken a bit by one reviewers opinion of my H5 when used with dynamic mics. The reviewer was technically and measurably right, but when I used and listened to the results myself, I realised that in my real world situations, noise is just one of many slight deficiencies we deal with all the time. I am not recording studio grade master pieces, just wanting to get better than average results.

To be honest, the H8 is still the most logical and it does have slightly quieter preamps.

Just a thought.

Growth Paths.

Too much time researching things can be a problem.

For example Julian Krause, a well respected, very technical reviewer of all things audio has been one of my go-to sources for real information, the stuff that can be otherwise hard to track down. Thanks Julian for all your hard work.

Noise floor of various items in particular can be hard to get a real world handle on, so he has supplied lots of comparisons, examples and thoughts. Noise in recordings can be a lot like noise in an image though, often over stated, sometimes obsessed over, often irrelevant and always trumped by good content. There is always the software fix to consider as well.

My H5 it turns out (in Julians critical opinion) has too much noise for dynamic mic recordings. He qualifies that with situations where it would be ok (used properly), but generally speaking it’s not ideal. Condensers are fine as they are more sensitive, which reduces the need to turn up the gain (and noise). Even his most stringent tests* rate the H5 as fine with condensers. He has me worried though with dynamics.

I will have 5 in total, going for a good spread of voice and instrument applications. Has this been pointless? Adding to that, is the limit of two condensers into the H5 and you have an arsenal of options, with possibly a limited work flow.

I have just done a couple of quick recordings with the TT1 and sE V7 (both just arrived). They and the sE V3 all seem fine for my use. The Prodipe has clearly stronger pickup and I did find out something that may fix the problem outlined above**.

View fullsize

The sE V3 as promised is poppy and vibrant but controlled. The budget-not budget Pro-Lanen is smooth and warm and the sE V7 neutral and reserved, but also detailed.

Looking at real needs (see previous post), noise is unlikely to be a deal breaker (usually youtube output through a camera), but if I needed to up my game, it is limited in options and potential quality.

It all depends on where I position myself I guess so I have to come back again to my likely best uses.

If I want to be able to supply genuinely good detailed recordings of instrumental solos using condenser mics, then I am probably ok, into a camera anyway. If on the other hand my ambitions extend to good-ish band and robust panel recordings in quiet locations, maybe externally edited, then more and better employment of mics will be a thing, I just have to make sure this is easily achieved and relevant so it will be used.

Noisy school environments, band practice, kids mucking around, some post processing. Lots of mitigating circumstances are at play before the studio grade scrutiny Julian puts them under becomes a thing. Even the experts usually have to deal with some feedback, noise or gain issues on the day. A little noise may be the least of my issues.

I am hardly going to shoulder aside the professionals on the day, but if I am it on the day, I need to be it within realistic limits.

Options.

Cutting my losses is an option or at least being happy with where I am (maybe $500 wasted?).

Let’s assume he is right and the H5 falls short of good enough quality and noise reduction with dynamic mics by studio standards**. My sE V’s and TT1 would be used for spoken word vocals in uncontrolled environments and other “messy” sources and the two 440’s would play low end gatherers, used on drums, amps or vocals with my condenser 040’s or 240 handling the high end.

*

The F6 ($900au), the king of the pile.

A respected field and cinema tool, it offers three enticing features. Better overall sound, very quiet amps and 32 bit float recording. The down side is a limit of 6 line-ins and no real cross compatibility with the rest of my Zoom kit. Being the dearest option by a fair amount, I would effectively be committing to pro level field recording and processing or squander its potential, which just seems at odds with my straight-to-camera needs. It would however add a peace of mind that cannot be over stated.

I do like how it is user facing, mostly metal and can be bolted under a camera, but would all that quality be wasted going into a 1/4” TRS Cable to the H5 or worse a 3.5 into a camera?

So potential quality and output control A+ but the probable reality is A-.

System balance and compatibility B-. Better than another brand entirely, but only just.

*

The Zoom H8, maybe more my type of creature ($500au).

“The Spider” has all the inputs I need (8 with the EXH-6), 6 of them phantom powered. It is highly (over?) featured. The pre-amps for the XLR inputs are clearly better than the previous H series, offering better gain and lower noise (took some chasing, but Chris Judd and Free To Use Sounds podcasts both agree on that, maybe a couple of db worse than the F series, but audibly better than the other H’s). It is not a master of anything much, but a true jack-of-most-trades. It can handle the Shure SM7, a mic notorious for its low sensitivity and the benchmark for most.

The known shortcomings are of little concern, generally only specific uses. The H8 and I are both flexible generalists. Most importantly, it is not poor sound quality, only the usual Zoom feature and handling quirks.

It also fits my existing Zoom kit. The extra XYH-6 capsule, worth over $100 on its own is a slight upgrade, so would go to the H5, then the EXH to the H8 making it the XLR king. The shock resistant XYH-5 would then go to the portable/on camera F1 with the SSH-6 shared by all (The H5 with this and 2 XLR mics make a clean backup kit). The AC adapter fits and it does open the door to gen 2 capsules.

The H5 would still be a good choice sometimes when the H8 is not taken, so nothing is redundant.

Quality and output control A-. A step up from the H5, especially with dynamics.

System balance and compatibility A. Nothing wasted apart from possibly the H5 being used less, no mess, more depth, more options.

*

The Zoom AMS-44 interface (under $250), just because it works like the rest of my Zooms.

By far the cheapest, this adds four phantom powered XLR inputs with 1/4” TS, or USB-C outs (to a comp or the H5 via EXH-6 input) or straight to camera via the headphone-out port. A bit messy, but suddenly I have 6 XLR inputs all with power. The big question here is whether this hand to mouth setup would degrade the sound badly enough to make an F6 or H8 clearly the better option, or would I really know the difference.

AMS44 > EXH-6 (H5/F1) or H5 direct > line out to camera (2x 3.5 cables)

vs

F6 or H8 pure (still to camera)

The big question and one I have struggled to get an answer for except from Julian Krause again, who rated the noise floor from the AMS-24 (so I assume the 44?) as workable and AMS-22 as poor*, is whether the noise to signal ratio is probably H5 level with the AMS-24 rated at -121db and the flow on effect of stacking units. Considering it would be going through the H5 to a camera or just straight to camera via the phones jack (also rated as “ok”), may be to much. The H5 would still sit top of the tree, but is the tree tall enough?

It is an easy fix, allowing me to basically bypass the H5 for 4 dynamic mic only jobs, run all my condensers at once (even one more than now), or act as a separate remote-recoding outpost to sync later with the 4 mic H5. It also has a few neat features like no fuss live streaming and is easy to operate with basically everything on the outside of the box (so good for occasional users).

Is it all too messy or cleverly adaptable?

Potential quality and output control B+. Really just an H5 done another way so possibly no real help with dynamics.

System balance and compatibility A-. Cheap answer or messy compromise?

*

Muto 4 Interface (under $500au) or something similar. A better interface than the AMS, closer to the F6, but lacking almost all of the system support compatibility of the H8 and it is a portable studio interface, not a field recorder, so not the best for run and gun use.

For the same price as the H8, it is not a compelling choice unless I was going home studio or the F6 for multiple inputs.

Potential quality and output control A+. Not really a thing but I had to go and google “best budget interfaces”.

System balance and compatibility C. (B for feed quality).

So, where to? Wait and pick up an H8 on sale I think. $450-475 in Australia looks to be the low tide mark and after the capsule is accounted for only slightly dearer than the AMS. Annoyingly if the EXH-6 gave phantom power I would have probably gone all condensers (2x LCT 240) and fixed the issue anyway.

*Maybe his test are similar to lens and camera tests that compare items on micro levels, where most of us do not need to go and would know the difference if we did. When others give simple examples of noise, it seems to be acceptable to my ear.

**The EXH-6 on the H5 is about 2 dial notches less sensitive, but seems to have less noise! The TT1 on the H5 main at gain 5 was sensitive, but I could hear some noise, worse if I turned up the headphone volume (known to be lower grade than the output line). In the capsule at gain 7, I heard the same volume but absolutely no noise even with the phones turned up. No idea!

Layers Of Protection.

Winter where I live usually means layers. This year has not been super cold, but it has been wet, so different layers, but layers none the less.

This also applies to other areas of my life also, such as photo, video and sound recording.

Ok, with the pre-amble out of the way, I now have this monster to deal with.

The two grey bits are a possible interface upgrade or expansion (Zoom F6 or AMS-44) and maybe a wireless LAV kit like the Hollyland M1 Larks. Right now, the F6 seems like the sort of thing that would knock the balance off, and you know how I like balance. The AMS is possibly a dead end but way cheaper. The Larks are an evil I may have to face.

What does it mean?

I have layers of problem solving capability.

Example scenario 1, a school band recording.

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. H1n (X/Y) for proper stereo imaging with backup, but a little thin.

3. F1 and SSH-6 (mid-side). More reach, more depth of sound and more ambient control (more or less by room).

4. H5 and SSH-6 + 2 XLR mics (040 Match, MTP 440 or other). As above but with overhead, specialist and width options*.

5. H5 and 4 XLR mics in a variety of configurations.

6. H5 and direct instrument or mixing board feed with 0-3 XLR mics.

Scenario 2, an instrumental soloist;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging with backup, but again, a thin.

3. Zoom F1 with X/Y capsule for slightly improved quality.

4. F1 and SSH-6 (mid-side). More reach, more depth of sound and more ambience (stereo effect adds a lot of body).

5. F1/H5 and 2-4 mics for stereo instrument coverage. This allows multiple locations on string and acoustic, dual cab, 4 mic drum set, instrument and vocals etc.

Scenario 3, the school orchestra;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging and backup, but a little thin.

3. Zoom F1 with SSH-6 capsule, better room sound and more body and the ambient control may go either way by room.

4. H5 and 2 XLR mics in ORTF config up high on a stand with a capsule for backup.

5. Zoom H5 and SSH-6 with 2 mics for edge cover.

6. H5 and 4 mics for centre and edge or specialist cover**.

Scenario 4, school debating panel;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging and backup, but as above, a little thin.

3. Zoom F1 with X/Y capsule, better room sound and more body.

4. F1 with SSH-6, mid side adding width to cover group (how I do the podcast panel of 4).

5. Zoom H5 with 1-4 XLR mics depending on format and space.

6. H5 with external input from mixer and 0-3 XLR mics and/or capsule for backup.

Layers 1 & 2 are day bag carried, the rest need some pre-warning and set up.

Planning to succeed, I feel ready for nearly anything. The reality is the school has strong drama, music, media and visual arts departments, so my meagre efforts are likely a sideline at best, but I do need to be able to step up.

The questions are (1) do I need to add any more XLR lines and (2) do I need more quality?

My wish list, depending what need arises, includes the Zoom F6 ($900au) or possibly the H8, which at the moment seems very cheap ($480au). The F6 would allow me to have 6 XLR inputs at once with 32 bit float, better pre-amps and potentially 4 more from the H5 as backup or the H8 with the EXH-6 can take all 8 mics alone, ideal for music recording etc and a logical, if expensive next step.

The AMS-44 could be ok as well ($250au). Relying on a 3.5 jack into the H5 from a 4 channel XLR unit seems reductive, but so does feeding the F6 directly into the camera, so with that in mind, either option would assume post processing and synching and more to the point prioritising sound as its own thing over vision+sound tacked on.

If I do go with off camera sound, the AMS-44 and H5 (as separate entities) would allow all 8 of my XLR mics to be used at once with the added benefit of remote locations, so fewer and shorter cables.

*Lead vocalist, guitar cab, drum overheads, lead guitar etc.

** Soloist, 040’s over strings, 440 over percussion or piano etc as needed.

A Cunning Plan Or The Ravings Of A Soon To Be Revealed Madman?

One area I will have to deal with, something that is a school staple, as well as a potential stage production fix is to record a wide area performance. Often a couple of pencil mics are used, spread evenly wide (3:1 ratio) or XY’d.

The problem with this is often the sound is a little thin. Pencil Condensers will pick up lots of detail and offer good gain, but lack bass depth and that is only made worse with distance. Going into heavier mics could help, but that would mean (for me), dynamics, which may lack that detail and enough pickup to work.

How about this, an idea not from a sound engineer, not even someone who has tried anything like this before, but something fuelled by reviews of the Lewitt MTP 440, several in particular that point out the real strength of this mic.

Calming image as a spacer. Now back to the madness ;).

An instrument specialist, usually employed on guitar cabs, drums or deeper acoustics, it has plenty of clarity, punch and depth, but it does not load the top end up or colour the sound. This last bit is important.

These mics have lots to give, but they are reserved, controlled in their offering. This is something like the equivalent of a RAW image. Lots of neutral detail and depth, but not aggressive colouration or “baked in” bias like a jpeg. Both mics have been reviewed regularly as having those characteristics and being class leaders.

The industry has been owned by the Shure veterans (SM58/57) for a long time, but the mood is changing. Rather than accepting the status quo*, many are looking for more detail, less aggression and are starting to cut loose the limitations that worshipping just one way of doing things bring. A landscape that has room for so many competitors to emerge must be lacking something.

Top end can be boosted in post because it has been recorded cleanly, but if it is not wanted, it is well controlled, neutral and smooth (the mic has basically the opposite frequency curve to a Shure SM57, more “V” shaped with less up front and opinionated in the middle, smoother and cleaned at either end).

If every mic comes with lots of high and mid power, the combined information coming from all the mics can be over whelming and hard to remove or re-balance. Far better that it can be added in, not taken out, a bit like salt in a meal.

I may have found the perfect balancing mics for my kit.

This will let the 040’s carry the height, the 440’s the weight without either treading on the others toes. The idea, if it works without horrible feedback or phasing issues etc, which I will admit to having little idea at the moment, is the 040 high and towards the centre (the usual ORTF, A/B or X/Y employment), then the two 440’s lower or on the flanks aimed at the deeper sounding instruments.

I am of course open to the reality that this reversed may be better or maybe something I have not thought of. I may even try a “Deca Tree” style, with them all centred.

It could add much needed low end and depth to area or instrument recording. More to the point, the 440’s could add the bulk and the 040’s the extra brilliance. Effectively, the two pairs would act like a pair of “super” mics, almost like a top end condenser (or possibly a clutch of doomed microphone rabbits in the musical headlights).

I doubt this has a fixed formula, even if it works, but the starting choices are sound I hope. If not I will have a couple of stereo pair options anyway.

I have vocal and general mics covered with the Lewitt 240 Condenser, 2x sE V’s and the Prodipe, but for both instrumental and area recording maybe, just maybe, this combo will be extremely powerful and punch well above its weight. It does not hurt either that they can do vocals as well.

The best of condensers (sensitivity and fine detail) and the best of dynamics (power and robust depth) within my limited needs.

Like all things, placement and knowing your gear are the most important controls, but by sticking with one brand and matching pairs, I have the makings of a solid head start.

Ed. I went looking for another MTP440 and Belfield Music, cheaper than most by $10 ($20 if you count free freight) had 14% off for their 14th birthday, so it was clearly meant to be. Another 440 for $125au.

*The 58 is warm and reliable, but sometimes muddy and lacking detail and the 57 is aggressive, punchy, but as the 440 shows, you can have that without so much pushiness. It’s not for nothing the competition are all shifting away from their sound, because tastes change.

Pondering LAV Mic Options (Or Reserving The Right To Abstain)

LAV mics all have some things in common.

They solve the biggest microphone issue in cinematography which is how to hide the boom arm and cover a large or wide group, but are universally disliked by sound techs as technically problematic and less natural sounding than booms.

My gripe with them is time and over complication. I can aim a shotgun mic at a group of people and just film, something a LAV setup would be too complicated for. Quality differences are situational, so really hard to quantify or qualify.

If it turns out I need a LAV setup though, maybe for individual presentations or interviews over long distances, then what would I get?

Thinking it was basically an expensive road to Rode, or possibly DJI, possibly a cable reliant set of cheap Boya mics run to my camera or to the F1/H1n’s and later synched, or just use hand held mics, I was surprised to find that the world of wireless worn mics (LAV seems too specific) has opened up a lot.

The two that are on my radar are the Hollyland Lark M1 pair, probably in white to match most shirts and just look generally less “there” than the black ones, or the Smallrig W60 set.

I just like these, especially compared to the semi-retro W60.

Sound quality and range of both seems fine (for LAV’s), which I am ok with, still intending to go with any other system of mics as often as possible. The W60 has the added advantage of taking LAV plug-ins, two of which I have, which may be the more versatile option.

Features compared;

• Range and quality (Both). They seem in the same ball park, reviews having to many variables to be sure. If pushed, I think the M1 based on the few direct comparisons.

• Smaller when worn (M1). The W60 look like old tech.

• Sexier/nicer to look at (M1). See above.

• Plug in LAV option instead of worn (W60). The smallest possible foot print.

• Easier to just use (M1). Tough call, the lack of options on the M1 make it simpler.

• Extra charges held in travel case (M1). 2x8hr which is impressive.

• Smaller kit overall (M1). The W60 kit is about twice the size like a glasses case compared to a cigarette box.

• Wind proofing with fluffy (M1). M1 seems easier to install and very efficient, one reviewer was quite uncomplimentary about the W60 wind shield.

• Volume readout and linear controls on master unit (W60). M1 has high/med/low.

• Cheaper (W60). By about $35 at the moment.

• Comes in colours (M1). The white is my choice if there is one.

• Solid build (W60). Still some plastic, but chunkier.

• Attachment (W60). Another tough one, the M1’s are lighter and smaller (and prettier), but the LAV option and magnetic connecter give the W60 options.

• Low pass (W60). The M1’s have simple application, but the W60’s are deeper here.

My heart and head say the M1’s, my gut is going with the W60, just for the LAV options.

I will let this percolate and see if there is actually a need.

Recognition.

I am now starting to notice what mic is being used by whom.

The Shure SM Beta 58a (the blue ring one) is turning up a lot. I am recognising some others, but that one is popping up a lot.

Occasionally something else, maybe a Telefunken M80 or Lewitt 550 (different angle looked like the Lewitt’s pointy nose).

And then the usual suspect, the SM58 vanilla.

Guess you can’t beat the classics.

Obsession And Reality.

Obsessives, we know who we are.

Partly a self gratifying game, partly a projected hope of helping or impressing others, I guess the two make me a sucker for detail, completeness and future potential needs.

Or maybe just a sucker.

Intense, hungry for knowledge, an eye for detail, sometimes needy in the extreme and single minded when we get going. We do have a purpose, a role in this world, well I hope we do. The people behind the scenes (and out front sometimes), need to be stoics and dreamers equally, but most importantly, they need obsession.

My obsessive nature helps me learn, and quickly.

It starts as fun, but for some, it quickly becomes an obsession. Can obsession be fun?

Almost as important to me as obsession though is defining the shape and scope of that obsession.

For me, balance is the defining characteristic of my obsessive nature. I hate unbalanced choices and work very hard to define limits and work toward those. The one thing I actually hate more than being short of where I feel I need to be is to over extend in one area and have to re-find balance in all the others. It does not always work, nor though does it mean I compromise, I just set sensible limits and aim for maximum “bang for the buck”.

An example would be is someone said to me I could have a really good, but specialist mic for a bargain price, even free. The catch being I would have to look at my supporting mics, interface and work flow, I would likely pass, because I know myself well enough to see where it would lead, with little chance of noticeable return. I am over the time when I have to have the best, I just need the best that I need.

To be honest I have been known to cut an obsession loose completely if I cannot finish it off.

I use M43 cameras because I can have pro gear without some of the headaches that usually entails. Yes I can have reach and coverage, speed and ruggedness, flexibility and pro output, but by using the smaller sensor, I do not have to have a $50k outlay just to get started. The compromise is less capable very high ISO performance, but some of the factors above help there anyway. Balance.

For sound, my limit is the Zoom H5, which is a highly versatile crossing-point tool for my uses, but probably not a professional sound engineers last stop. It is more a content creator or hobbyists weapon of choice. This means mics are limited in number and in required quality to get a decent return ($200au maximum it seems, sub $150 even better) and the flow-on is the same with cables, post and other factors. Nothing needs to go crazy, just capable, balanced.

This seems to be a sweet spot in that field, often coughing up classics and work horse options like the SM58/57, Sennheisser e835 and sE V7/7x etc, which is well short of needing a paradigm ear and pro level recording suite, even though they are the choice of many professional users. The experts know that for most uses, well applied “entry level” gear is plenty, it just needs sound judgement and skill in application.

The double edged thingy though is the more you know and the harder you look, the more perilous the path to satisfaction. The difference between $4000 ribbon mic “X” and $6000 large diaphragm condenser mic “Y” may mean a lot to the right ear, but to musicians, roadies, engineers and most importantly listeners, many other factors come into play. Having a set of $200 mics, all with different character though can be a life saver.

Ok, I overplayed there. The recipient of a select part my overly researched microphone arsenal will not know the thought that went into my choice and would not realise if I made a miss step, but I would. Knowledge can be a dangerous thing or a useful one in well measured doses.

Perfect? Yes, of a type more important than technically.

The reality is, obsessives are often only buying/reviewing/obsessing for themselves or each other, because most people could not care any less (fast road to boring my wife). Test charts and forums serve the knowledgeable, the vast majority of people out there do not see what we feel they should. Ignorant huh! Sure the obsessive make sure the rest of us are serviced well, but that extra bit, the bit that takes all the time and attention is often just for them.

Know your audience is the key here I guess, or more to the point, don’t try to preach to the unconvertible, just provide them with what they need.

How sharp is your lens and sensor at 400%? Only you and others like you actually care. Basically if you have to ask the question, you know you are one of the troubled few. Unsharp, noisy, over enlarged or flat images can be accepted by interested parties, if the subject is compelling enough (UFO spotting anyone?). The point is, content trumps process every time.

The same with video. Is it 4k, 8k, 16k? Few can tell the difference between well recorded 720 and 4k (or care), even if they are in the industry, let alone the average viewer. Poorly recorded footage however cannot be saved my more resolution.

Sound usually only comes to the attention of the listener when it is faulty, loud or worse, both.

Of course, the majority are not cringing at poor sound, slightly soft images or lower than ideal resolution footage, so for them ignorance is bliss. Those of us that know too much just have to smile and accept it.

We quickly learn what is too much or too little, then life throws more and more at us and it gets harder.

Even an educated user like a famous singer who is no technical expert, but knows what they like trusts a technician to give them educated options, then leave them to go by their ear and their gut to choose the best microphone or mixer. The technician may know a vast amount more than is needed to get that done and regularly applies this without any fanfare using only a small part of their full knowledge pool. Such is the way of things, obsessives get used to it or perish.

We sometimes have to let things go and accept that what is liked is not always what should be liked by our measure. It just is what it is.

You do not need to be both driver and mechanic. Both are fully rounded professions, but each does need to understand the others role. No point in learning to work on the wrong type of vehicle and nobody likes an ignorant front person, riding on the hard work of others, then complaining about things they know too little about.

Balance.

Possibly the secret to happiness in this very busy and complicated world, especially for those of us who are control and impulse challenged.

Think I Just Love Mics!

I have a long background in sound. When I was younger and it mattered more, I was an “audiophile”, which meant basically someone who spent far too much time chasing perfect sound (sound like a pattern forming here?).

Class “A” output, valve amps, ultimate turn table needles (on the “oil rig” that was the Nakamichi Dragon turntable, for a short while), speaker cable as thick as a finger, kevlar drivers, treated rooms. Yep I was deeply obsessed.

My obsession broke at some point (maybe about the time CD’s became all pervading, pushing vinyl and tapes away, but were not yet perfected and long before the vinyl rebirth) and I became just a regular listener. Lesson learned (or maybe not), I was content. This video thing has stirred a latent monster though.

I have never been a musician, but I love music and musicians.

The Beast on steroids. The EXH-6 is next level in build quality.

I got the first of my new kit dribbling in today.

The EXH-6 is a tank-like attachment that allows me to add two dynamic XLR mics (no phantom power for condensers), each with their own gain dial and 20db pad. I can now run 4 XLR mics at once. That is rough band coverage, a school orchestra both high and low in stereo, a vocalist with instrument and/or accompaniment, a full drum kit.

When it came, so did the first dynamic mic, the sE V3, my ‘light and bright” presence boosted, hand held vocal.

When researching it, one negative Amazon reviewer said it “smelled funny so I returned it”. The red pop filter does have an odd chemical smell, but the black does not. Maybe that was it?

They do make pretty sexy mics and it feels gooood in the hand.

At the same time, I got the 2x 600 and 2x 460mm Gravity Ma Goose gooseneck arms.

These allow me to turn an ordinary light stand, something I have plenty of, into a handy mic or light weight light stand. For just $20 each they provide flexible, solid and portable support, better I feel than a cheap mic stand and I am not in the mood to add several better ones.

The stand is a 2.1m Neewer with a 60cm Gravity gooseneck. This could go nearly three meters up, but also it could reach over a drummer or up from the stand with only one section used, so out of the way and in close It can also go low for an amp or kick drum. If I shake firmly this it does not move.

Solid and weighty, a good start.

Easy as that.

Oh, and it sounds great.

So, it starts, soon to be completed.

To be honest, if I buy any more mics, I will have to get a multi track interface, so I could actually mic up a full band and hear the subtle differences. The AMS-44 is tempting, allowing me to run 4 XLR mics into the H5 with its 4 and the X/Y capsule just for kicks, but for a little more I can get the Zoom H8 on clearance or spring for the cleanest option, the F6.

All images Pen F and 25mm f1.8 wide open.

The Loop Is Closed (Or Is It The Noose?)

My last mic (surely), for a very long time, or maybe for ever, depending on my future with video, sound, photography in general.

Asking the question”what do I really need to close the loop?” I came up with this.

A safe purchase, a logical purchase and as I have said before, a mic that will add something needed to an already over serviced area.

The Lewitt LCT 240 Pro kit, the one with the better shock mount. This is the mic I first looked at before the whole distraction that was dynamics, but I still feel it is a sound (ugh!) choice. It would not have been the best fit if I did not also incorporate some dynamics, but after the dust of that interesting little excursion has settled, it is still compelling. Reviews are mixed, but all agree, it has its place in the world of sound, a very different place to the dynamics I have coming, different enough to be the other option.

In hind sight, the MTP 440 and this (maybe with the MTP 250/550 for handling also) would have been ideal, but I only found the MTP 440 by going the long way around.

View fullsize

Impressive huh! The mic is made better than its price would suggest, the mount is top tier.

Lots of mics were in the mix but were either too much for my quality chain (LCT 440/441), much the same as I already have (Prodipe M85, more sE V’s) or were going this way anyway towards clearer and brighter sound, but probably not enough to make a real difference (Lewitt MTP 250/550).

The more neutral and open MTP Lewitt’s were close and cheaper again than the street price of the equivalent sE’s (but I got bargains so broke about even), but the reality is, a condenser is the only type that will truly add that higher level of detail and cover the full human hearing range with a “booth-studio” like sound. It may be a slight compromise (depending on who’s review you read), but if so, it is a compromise that retains for me the all important element of balance.

The only smallish issue is I cannot run both 040’s and the 240 at the same time as I only have 2 phantom power XLR ports. This is not a big deal as my use cases will likely be either a solo artist (2 condensers or a dynamic and 2 condensers) or a larger group (2 condensers and 2 dynamics or 4 dynamics), so my kit will suffice, I just need to choose well. I felt I needed both a stronger, fuller option in my condensers and a more subtle, sensitive option to my stronger mics. The LCT 240 offers both.

It is often reviewed as a little brighter and more opinionated than the neutral and malleable LCT 440 Pure, which for less engineering savvy folk like me, making up front choices with other options available can be a help.

The power issue I can get around by adding the AMS-24 interface and running that to the H5 giving me 4 phantom powered inputs (or a ‘44 for 4 straight up and 2 in the H5), while also allowing me the XYH-5 capsule for backup or just use the interface as a portable option (which the F1 and EXH-6 were bought to do, but cannot supply power). I may even do a Scarlett or similar for mini studio or am I getting carried away again? Of course there are cheap phantom power connectors available like the BEH-PS400.

Self noise is noticeably higher than the 440 Pure, but lower than many at this price point (AT 2020) and it all depends on your uses and processing. As for sound I actually prefer the slightly tighter sound of the 240 as a point of difference to the 440 (and my dynamic mics) and it is over $100 cheaper even with the highly recommended shock mount and magnetic pop filter (potentially paying for an AMS-24). The dynamics have a similar sound, which the 240 contrasts with.

The frequency chart makes it look like it is possibly a more sibilant mic peaking in the 6-8k range, but most sound samples reveal a sharper, more delicate sound, more a “sis” than a “shush”. The 440 fills more the role of the rich and gravely sE V7 or MTP 440. The dual pop filtering options also change the tone slightly.

So, I now have (accounting for multiple role mics);

• 4 hand held Dynamics (TT1, sE V3, sE V7, MTP 440).

• A studio style upright condenser (LCT 240).

• A matched pair of pencil condensers (LCT 040).

• Field shotguns (SSH-6 mid-side, MKE-400).

• X/Y area/ambient (H1n, XYH-5, 040’s-also A/B).

Or to put it another way;

• Soft or deep voices needing a lift (LCT 240, sE V3).

• General instrumental (LCT 240, TT1, sE V7 & 3).

• Bassey instruments or adding body to higher voices (sE V7, MTP 440, SSH-6, TT1).

• Acoustics and strings (LCT 240, 040 Match, sE V3, SSH-6).

• Maximum detail-field/studio recording (LCT 040 Match, 240).

• High sound pressure levels and messy sources (MTP 440, sE V7, TT1).

• Overheads, wide coverage (040 Match, 240, SSH-6)

• Rough handling (sE V7 & 3, TT1, MTP 440).

That is it.

Maybe too much, or sometimes not enough. I am splitting myself between a full service sound and visual offer or just too much sound stuff for a videographer, but it has been fun and to this point has still only cost me roughly as much as an ill-considered camera or lens above the minimum needed*.

Unless I suddenly become a sound engineer or go full-nerd in field recording, I need nothing more, until I do that is.

*Sennheisser MKE-400 and some LAV’s.

Field Recording A Thing?

Not an area I have had any real interest in before, it occurs to me I have a decent kit built up to try this.

The H1n was a good start, H5 even better, the H5 with LCT 040 Lewitts better again, F1 with those or MTP 440 etc (possible now with the EXH-6) are genuinely field grade.

This is how it looks, but how does it sound?

I used to struggle to see the point, but like most things, the more you learn the more intriguing it becomes. I learned that with spiders. My father in law is the local expert and through him I have shifted from simple loathing to interested weariness.

Maybe the cure for a frustrating day chasing birds with a camera, might be stopping and just recording where you are, eyes shut, ears open. My habit, and I doubt it is just mine, is to close my eyes when I am somewhere quiet and peaceful, enjoy the sunshine, feel the breeze and listen to the sounds. Sometimes even when you are somewhere that seems quiet, if you count them, there are an amazing number of sounds.

After recording the place what do you do?

Offer it as a stock sound recording or maybe just play it back to remind you of where you were, what it felt like. A sleep aide maybe? Visuals have always been my thing, but apparently smells and then sounds actually trigger your memory better. Can’t record a smell, but with both sound and vision at my disposal, the two could possibly support each other.

My imagiation can recall the sounds here, but of course they are faulty by nature.

An idea (literally came as I wrote this), would be to offer a picture or series of pictures, with supporting sounds (The old fish market in Tokyo would have been awesome, bamboo creaking in the wind or rainy days in Kyoto). My next trip to Japan was possibly going to be a video based one, but now I am thinking all three disciplines need to be explored.

This also creates a stop and listen dynamic, which may be a very nice addition to the journey.

Kit?

Panasonic cameras, maybe the OSMO, my Zoom F1 and XYH-5 or the H1n so I can record separately from or to the camera. Recording linked sound into the camera for video is likely not as relevant as recording supporting sound. Grab some stills where I can and I have a multi faceted offer.

If I was going fully sound guy, it would be the OSMO and my F1 with EXH-6/040 Match rig. More sound than video, the OSMO just supplying context.

Something I have noticed also, is the field recorder exponents* fly further under the radar than street photographers. Recordists are a curiosity, not a threat like photographers can be. Maybe one can distract from the other?

Free To Use Sounds https://youtu.be/27LaMUzxgWw is a great one.

Why Are Phones Often Good Enough?

Mobile phones are good enough for a lot of uses. Quality is a many sided coin, but at the end of the day, if is ok to the eye, then it is ok.

As with all things, there is always better, but as with those things, quite often better is subtle, subjective or just plain too much.

Z9 too much for this type of thing? Probably.

The reason phones are good enough for some uses is simple.

We have had far too much for a long time in the bigger and better cameras and formats and even the camera designers know that. The phone engineers know they are not competing with a full frame DSLR or mirrorless, even though there are plenty of examples of coming close enough in some comparisons, but like car manufacturers, who may make F1 cars at one end of the scale they are only making for a speed limit restricted, low expectation audience on the whole.

Phone image? Could have been easily. No movement, nothing hugely enlarged, decent light. All possible.

Nice pic or video easily done for sharing on social media? A phone is fine.

Multi million dollar Hollywood production or Olympic grade sports? No hope (yet).

The rule of advances lower in the range reflecting improvements at the top always holds true, but as with the way of things, the bell curve of expectations to outlay and effort is in favour of the lesser offer providing the far greater user base with all they need.

Phone? No hope. Movement, distance, low light, all out of a phones reach at the moment.

There is still room for specialists, but they need to let go of the low end of things. It is no longer good enough to just have a better camera and know how to use it, because far too often, that untapped potential is overkill for the end users needs.

The smoke and mirrors that photographers have always employed to their own advantage is biting back, but all is not perfect in phone-camera land. The latest Google Pixel add highlights the magic eraser option, but even on fleeting glimpses on the TV, I have noticed missing feet, odd cloning effects, plasticky shadow recovery, all non professional looking work (at least they were honest).

We have to do better.

We have to do it regularly.

We need to remember to do the basics well before getting caught up in tricks.

We then have to employ the tricks better than others do.

Such is life.