PLEASE Help ... external mic for my GL2

Discussion in 'Professional Video Production' started by Blue_Iron, Oct 22, 2004.

  1. Blue_Iron

    Blue_Iron Guest

    Hi all,

    I really need some assistance here. I want to get a shotgun mic for
    my GL 2 camcorder for making a film. These are the brand and types I
    am looking at.

    Sennheiser MKE 300

    Azden SGM X

    Canon DM-50

    Audio Technica ATR55

    I have heard the MKE 300 is better than the canon dm-50, but the MKE
    300 is mono compared to the dm-50, which is stereo. What DIFFERENCE
    does it really make to have stereo compared to just mono in filming a
    controlled movie scene? Also, are Audio Technica and Azden really
    buttom of the line? I want the operating noise of the camera to be
    absent when recording. I'm on a tight budget though.

    But is it much better to have a Mic connected to a xlr adaptor? Such

    Sennheiser ME66

    Azden SGM 1X or SGM 2X

    For a high quality audio, am I really going to have to get the xlr
    adaptor along with a mic compatible with that? Is it much more
    convenient to have the capability of a mic on a boom stick off of the

    Thank you.

    Blue_Iron, Oct 22, 2004
    1. Advertisements

  2. Blue_Iron

    Yarock Guest

    Get yourself an audio technika 897 if you want something reasonable and decent
    quality. (around 275).
    If you're using the mic on camera, get a k-tech shockmount to avoid vibration
    and bumps from the camera and tripod.
    get yourself a beachtek connector box that accepts mic or line ( dxa 4?)
    For a WEALTh of mic info, go to, read
    the posts under "now hear this" and do searches on your questions.
    Also check out the Oktava mco12 with the hyper and cardiod capsules. Very
    inexpensive, but high quality.
    And for the upper end mics, you'll have to ask Bryan or Matt for info on gear
    slutz annon...
    have fun
    Bruce yarock
    Yarock, Oct 22, 2004
    1. Advertisements

  3. There are two newsgroups that will give you plenty of answers:
    "sound" is very professionally oriented, so they may look down on your
    On camera microphones are not used professionally because they are GROSSLY
    You cannot film a low budget feature or a festival short with an on-camera
    mic, unless there is some peculiar magic going on, as with BLAIR WITCH or
    Dogme 95.

    Professionally speaking, there is no use at all for recording dialog in
    However, you want to put the mic on the camera. In this case, it is possible
    that an amateur could compensate for the lack of sophisticated post
    processing by use of a stereo mike.
    But it is true that the Sennheiser is the better mic, and it will provide
    better sound, which is always a consideration with on camera mics, since
    they all provide bad sound.
    My recommendation: go with the Sennheiser.
    Even better: put a shotgun on a broomstick held by a boom operator. This
    simple step will improve the sound far more than the effect of any
    particular selection from the above list.
    Robert Morein, Oct 22, 2004
  4. Blue_Iron

    Scott Dorsey Guest

    You can't make a film with a GL-2, but you can make a video.
    This sort of works. It's not a 416 by any stretch, but it has the same
    sort of presence peak. I think you'd be a lot better off with a used 416
    than any of the Sennheiser electrets, though.
    This is trash.
    This is also basically trash.
    These things are okay, but the pattern really is kind of wide, and it is
    not exactly the best thing around for pulling a voice out of the muck.

    I think of a shotgun as the kind of thing you use occasionally outdoors when
    you can't boom with a hypercardioid, so I figure when you _do_ want one,
    you want something with as narrow a pattern as possible at the expense of
    everything else. And the MKE 300 is probably the best of the ones you have
    described with that in mind.... but it ain't no 416, that's for sure.
    On a video camera, the noise isn't a problem. On film cameras with clattering
    magazines, it can be a problem, but since the mike is so much closer to the
    talent than the camera (assuming your boom man is competent anyway), the
    motor noise is really a non-issue.

    If you're on a tight budget, rent.
    You will not find a microphone of any reasonable quality with an unbalanced

    You will not get any reasonable quality with a mike on camera. Hire a boom
    man with his own kit.
    Scott Dorsey, Oct 23, 2004
  5. Blue_Iron

    Blue_Iron Guest

    Hey. Thanks for your advice guys. I live in the upper peninsula of
    Michigan though and there is no one to hire as a boom man. I'm
    attempting to start my own business here, and my budget is not making
    it easy to get all the equipment I want. And yes- technically I want
    to make a "video". For now portrayal of the story comes before
    quality of the picture. ~Chao

    Blue_Iron, Oct 24, 2004
  6. Working the stick isn't all that hard, but it's something you have to

    Get an AT 55 (or whatever it is; the cheap electret shotgun w/the 1/8"
    mini plug) and build a boom. Strap any kind of recorder onto your belt
    (a Walkman will do) and plug in both the mic and a good pair of
    headphones, so you can hear - discretely - exactly what the mic's
    picking up.

    Start practicing.

    Before too long you'll start to get the hang of on-axis, handling noise,
    moving between two or three speakers in the same scene, etc. If you're
    looking to hire someone else as your stick man/woman, give the rig to
    them and let them do the same.
    Steven J. Weller, Oct 24, 2004
  7. Blue_Iron

    Matt Guest

    This is good advice here.

    Matt, Oct 25, 2004
    1. Advertisements

Ask a Question

Want to reply to this thread or ask your own question?

You'll need to choose a username for the site, which only take a couple of moments (here). After that, you can post your question and our members will help you out.