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Starter Pro Ambience/Foley Advice
Old 3 weeks ago
  #1
Here for the gear
 

Starter Pro Ambience/Foley Advice

Hey everyone,

I'm taking the plunge on some field recording kit for specific project (and because its been on my radar to do for years now).

I'm looking to try to get future-proofed stuff that I won't grow out of quickly and my price range is $2500-3000. I am planning to record ambience in the field and specific field elements as well as indoor/outdoor (mostly outdoor i suspect) foley/sfx.

My idea currently is to do a D100 for ambience/general field recordings and a MixPre3-II and Sennheiser MKH 8060 or 60 (cant really seem to find a good comparison of these anywhere...) for specifics/foley/sfx.


I'd be so grateful if anyone could weigh in on alternatives to this kit or general suggestions/thoughts.

Thanks very much for your time.
Old 3 weeks ago
  #2
Gear Maniac
 

The D100 and Mixpre-3 ii seems a bit duplicating in terms of spend on recorders: why not simply go for a Mixpre-3 ii and have more to spend on mics etc. (e.g. a shotgun mic, as you have identified, and a pair of SDC mics that can be used in different stereo arrays)? Separate mics would allow for better wind protection than the D100 anyway: and don't forget you will need to budget for that.

Cheers,

Roland
Old 3 weeks ago
  #3
Here for the gear
 

Thanks for the reply

I've been going back and forth on that, to be sure. The D100 seems like one of those things that I'm never going to not be glad to have in terms of portability and the quality seems quite good for a handheld.

I've just been kind of stumped on which SDC option to go for. The 8040 pair seems great but that + the Mixpre + wind protection blows my budget.
Old 3 weeks ago
  #4
Gear Maniac
 

The balances between portability, robustness (against wind and weather), flexibility and cost are, obviously, ones for you.

My experience is that the larger handheld recorders have little advantage over the miniscule Mixpre-3 for external recording: the convenience is outweighed by the difficulty of getting adequate wind protection and the fact that distance between mics and recorder is often useful. For outside ambient recording I mostly use a blimp or a pair of baby ball gags, in which case I am using a small bag in which case a Mixpre and a couple of cables is no extra hassle. And I usually use a stand, which changes the perspective still further. On rare occasions when this is too bulky, I will accept a quality drop and use a truly pocketable M10 with EM172-based Clippy mics (https://micbooster.com/10-clippy-microphones) - the latter in preference to higher self-noise lav mics.

There is no doubt that the D100 with wind protection and, say, a mini tripod can be used effectively for some outside recording, just not all.

One, in budget, solution for you could be a Mixpre-3, an MKH 8060 (or other shotgun mic) a pair of Shure KSM141 (giving you omni and cardioid options, and pretty robust outside), along with wind protection (at the cheaper end the Rode blimp mk2 is fine, and a pair of baby ball gags are always useful).

A more future (and humidity)-proof solution that is over budget could be a Mixpre-3 with an MKH 30/40 MS pair and an MKH 8060 (or perhaps 8050), again with a blimp.

I'm not quite clear what prior experience you have with such recording, or what determines your budget.

Let us know what you decide.

Cheers,

Roland
Old 3 weeks ago
  #5
Outdoors and indoors are different requirements. Paramount and Warner Bros use modified Neumann KM-81 shotgun mics in their foley pits. Sennheiser rf mics will do better outdoors. You need to increase your budget for that stuff.
Old 3 weeks ago
  #6
Here for the gear
 

Thanks for the replies, again, everyone.

I'm leaning towards a MixPre-3II with 30/40 MKH and a MKH 60 (or 8060? I can't seem to find decisive info on which to pursue for indoor/outdoor specific field recordings/foley).

What blimp would be best for the 30/40 combo (on a budget).

Also, in general - if anyone has any advice for approaching this setup as a novice who has heretofore only used handheld recorders that would be great. I'm planning to make field recording/foley a significant part of my creative/musical professional practice. Part of the attraction to the D100, beyond the portability, is my familiarity with handhelds. I'm still considering starting with the D100 and MKH 060/MixPre instead of pursuing the 30/40 at this time.


Thank you all!
Old 3 weeks ago
  #7
Field and foley are much different requirements. Foley needs very quiet gear, field requires rugged gear. I wouldn't take KM-81 mics out to the desert. Most specialize in one or the other. Do you have a pit or a 4 wheel drive?
Old 3 weeks ago
  #8
Lives for gear
Rycote for blimping always
Used on the Bay
Field needs good mic amps too, and RF condensers, MS is the most pragmatic solution
Good cans also,HD 25II ,venerable but proven
Light weight stand useful for long buzz tracks and dawn chorus etc
Also camo covers and even hides
Old 2 weeks ago
  #9
Here for the gear
 

Hello all,

I also want to make a first serious purchase for field recordings / FX, and I plan to go on a MS config: MKH30/(40 or 8040) + SD mixpre 3 II.

Regarding the blimp, could you please confirm that these kits are valid (I have no experience with this kind of material)?
https://mymic.rycote.com/products/mo...eld-ws-3-kit-/

or maybe? too small?
https://mymic.rycote.com/products/mo...eld-ws-10-kit/

if I read correctly, I need to buy these clips?
https://mymic.rycote.com/products/back-to-back-clips/

And also a conn box?
https://mymic.rycote.com/products/co...x-cb3-2xlr-3f/

And I am good?

Thank you so much for your answers
Old 2 weeks ago
  #10
Gear Addict
 

A bigger Rycote is a good idea, as it is more effective.
Rycote have a new Cyclone Stereo blimp, it seems you should get the Stereo Cyclone kit 16 > https://rycote.com/microphone-stereo-configurator/
You could also go French, by choosing Cinela with Zephyx & ZKM-MS : http://www.cinela.fr/catalog.php?mik...uage=fr&pid=56 - a bit more pricey..
Of course, a Connbox is 'mandatory'. The above systems have it included.

But these new generation windshields are definitely more silent than the older ones (& the one I have): https://www.ebay.fr/itm/Rycote-winds...sAAOSwaCVch569
Old 1 week ago
  #11
Lives for gear
 
matucha's Avatar
I don't see much need for shotgun for interior/foley. MKH40/30 will work very well for foley as well as outside for ambiences and other stuff. The only place where MKH60 could be advantageous outside is when you need to get more isolation (duh! ). But what percentage of your work is going to need that? Recording footsteps on a side of motorway? Trying to isolate some foley type of sound next to a forest (w/ birds and insects)?

I prefer to use MKH80 (set to cardiod) to MKH60 for foley (in studio or in most interior locations). When it comes to recording voiceover MKH60 wins.
Old 1 week ago
  #12
Here for the gear
 

Yes, I saw the Rycote Cyclone, it looks great, I hesitate again..

With Rycote WS kit 3 or 10, concerning the dimensions, is it ok for a config ms mkh30/40? height and length? with clips, connbox?

if these kits are good (very good?) alternatives, cheaper, maybe..
Old 1 week ago
  #13
Gear Addict
 

Seeing this video, a 10 cm diameter would be sufficient for an M/S kit:
https://vimeo.com/96210454
But reducing wind noise is partly achieved by the volume inside a basket. The bigger that volume (of reduced air pressure) the better it's wind reduction.

2 microphones pickup twice the handling noise, that's why you want the most silent & sturdy product, primarily when moving while recording.

You could save a buck by upgrading a second hand Rycote with new Lyres, connbox and other parts.
Old 1 week ago
  #14
Gear Maniac
 

Quote:
Originally Posted by Newmann View Post
But reducing wind noise is partly achieved by the volume inside a basket. The bigger that volume (of reduced air pressure) the better it's wind reduction.
Well sort of. The key element in blimp/windshield design is the distance of the mic capsule from the edge/surface of the blimp: the wind attenuation is directly related to this distance (by the cube power). So if it suits the mic(s) size and all other things are equal (e.g. construction/materials), a short fat blimp/windshield will perform better than a longer slimmer one even if the latter has a greater volume. The asymmetric Cyclone and Cinela designs are pretty fat around the mic capsule locations to good effect.

Cheers,

Roland
Old 1 week ago
  #15
Gear Addict
 

Thanks for explaining it a little further, it is what I meant but didn't put into words. I attended a Chris Woolf 'lecture', a couple of years back..
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