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7

Short answer: of course! If you're worried about reflections indoors, well it's part of the space and perspective/realism. So don't worry about that. People see a big room, they except it to sound like a big room. Obviously there are limits, but until you're dealing with higher budget stuff, I wouldn't worry! The times where you simply can't use a ...


5

Sometimes you just need to put a bang on it! It may feel like it's not a weapon because we're so used to threatening weapons having a sharp initial sound. I'd add something like that, doesn't even need to be as distinct as a gunshot. Then back it up straight away (literally from when the trigger is pulled) with a friction type sound such as the one which ...


4

I don't know specifically how the sound was made, but you can get something very similar using just software. When trying to recreate a sound, it helps to break it down in to layers. This sound for example has an initial transient, a quick sub-drop and an oscillating trill. Start with the trill, for this you can use a sampler that has LFO's and a LP filter....


4

With complex sounds like that I think the best thing to do is break it into its component parts. What is the sound when it's still (if any). Trigger sound, firing preload, firing impact, texture or unique sound of firing, net leaving the gun, net through air, net landing. For me if I breaking it down into smaller sounds is what can it a uniqueness that ...


4

Shotguns help, but they do not 100% isolate anything. The main way to "isolate" a sound in the field is with distance. You want to get as far away from undesired noises and as close to desired noises as possible. The difference with a shotgun is that when you aim it correctly, it gives you more flexibility on the distance, but it doesn't completely isolate ...


3

If it's for dialogue I'd try and buy a secondhand MKH416. If you had to buy new right away then a K6/ME66. I honestly don't think anything below these is worth owning as they all lack sensitivity and are too noisy. If this wasn't an option I'd hire instead.


3

Makes no difference...at least not one that I've ever noticed.


2

When you say boom pole, pistol grip and windscreen vs. blimp, do you mean boom pole with a pistol grip/softie combo vs blimp? I would say that even for field recording a blimp is still recommended. The microphone sits suspended inside the housing, thus reducing handling noise, plus it prevents wind noise (with the option of adding a fluffy). If you will be ...


2

I do from time to time, depending on the source I want. For example, I got a really really marvelous crowd-sound from a big theater a while ago using an MKH 416! I got everything from cheering, applauds, laughter, and intermission talking. A cardioid here, as I was about four meters above ground, wouldn't have been much more that a diffuse murmur and ...


2

Tim Prebble does. He's pretty good. http://hissandaroar.com/ambience-libraries/


2

I second many comments here, but to add something myself, I started out with leaps. In the very beginning all I had was a cardioid big-membrane ADK A51. Far from professional (the horror! THE HORROR!!!), but I had to start somewhere. Over the years I upgraded to mics like Röde NT-3, Line Audio CM-3 and Oktava MK-012 for example, but when I went pro I ...


2

Mortars tubes firing can work well as it is something big and heavy moving down a barrel at relatively high speed, very similar to what a net launcher would have to do. You probably then want to add a sound of the net flying through the air, but I'm not sure how I'd go about trying to get that component of the sound. You'd finally want it hitting the ...


1

I would also go for something used with that budget, like a MKH416 or possibly NTG-3.


1

There aren't a ton of options out there. The few that come to mind are the Audio-Technica AT835ST (right around $1k), Sanken CSS-5 ($2300), and the Sennheiser MKH418S ($1700). The Audio-Technica can be used in either M/S or XY mode (it's outputting a decoded M/S signal, not true XY) and the Sanken has multiple modes as well. The Sennheiser is M/S only. I ...


1

If I could only have one mic for FX, I don't think I'd want it to be a shotgun. Shotguns are great, but not for an all-purpose mic. I'd much rather go with an MK4 or MK41. The humidity issues on Schoeps mics are way over-hyped. I doubt you'd have any problems except in the most extreme of conditions, at least based on reports I've heard from Schoeps ...


1

An advantage of the MK41 is the ability to upgrade to an MS stereo setup by adding the MK8 to your rig. You can definitely do that with the CMIT5 as well, but its pickup pattern is narrower, so it may not work as well for an MS rig. If unwanted background noise is an issue with your FX recording, the the CMIT5 may be your best choice because of its increased ...


1

@LittleJim84 I had the same dillema what I bought my package not long ago. Lots of people say "use a hyper cardiod" but there don't seem to be many "hypers" in the under 1200 category that are said to be ok to use inside. I was hinging on a blueline and audix for a month until I decided that I would get a Sanken Cs1e. Sanken pickup pattern is very tight ...


1

Shotgun mic sound tends to get coloured indoors due to the interference pattern failing to reject early reflections. So yes, you can totally use one, but trust your ears, and keep in mind the general recommendation is "no". Have seen a number of people suggesting that a hypercardioid would have been a better idea when they started (also implying they got ...


1

Great idea! I actually did something similar in excel when I was choosing gear. Why don't we start something similar in google docs open to everyone? If more people get involved and can edit, we can have a more exhaustive table even with personal experiences about different gear. In a few hours I'm going to open some excels to start with. I will post them ...


1

Hi, are you sure you don't mean the NTG-3 (may look like an 8, i guess). If so, I use this mic often and it sounds fantastic for outdoor booming. It was a toss up between this mic and the Sennheiser MKH416 and I found that the MKH416 sounded a bit thinner and not as warm as the NTG-3. A little side note, they used the NTG-3 on "Lost", so booyah to that.


1

Never noticed they had something like that. While off-topic, I really wish Rode made a M-S shotgun/field mic.


1

Yeah, me too I'm using Marantz PMD-661 with RODE NTG-2 shotgun microphone.Fantastic pairing, but I recommend it. Check my sound demos


1

I am looking at getting the Zoom H1 recorder, but a decent Shotgun Mic, and then build a Boom Pole and a Shock Mount. I searched youtube.com and came across many videos on how to build them. I have a nady shotgun mic, it doesnt pic up the best of quality, but with some editing I can clean it up pretty well.


1

I've had good luck with my Neumann RSM191. It pulls sounds in closer than a cardioid setup would, so you have to be mindful about that, but that isn't always a bad thing. It's not my primary setup for ambience recording, but I'm usually happy with the results I get. I recorded all of this rain with the 191: http://soundcloud.com/crussom/sets/december-...


1

Studio 1's Mic Boom Poles (also know as a fishpole) are built using strong, but lightweight aerospace aluminum making them affordable for videographers, news crews and filmmakers.


1

I made that choice about a year ago. I went with My MKH416 and Ryctore Lyre Windshield system. Now my next purchase will probably be a boom pole or a recorder hehe, but I spent way more time in the field/quiet room recording sfx than I do on set doing production work. When I do get production work, I rent/borrow a pole for the shoots. Personally It was a ...


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