(Part 2) Top products from r/LocationSound
We found 21 product mentions on r/LocationSound. We ranked the 111 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
21. Rode Micro Boom Pole Telescopic Microphone Extension
Sentiment score: 0
Number of reviews: 1
Provides ultimate boom pole performance in a convenient and portable sizePrecision balanced anodized aluminium constructionNew intuitive lock/release systemErgonomic grip handleThree sections to smoothly extend to 6 3/4 inches
22. Shure A15AS Switchable Attenuator (15, 20, 25 dB), Passes Phantom Power
Sentiment score: 0
Number of reviews: 1
In-Line Attenuator reduces the level of any balanced microphone or line-level signal by 15, 20, or 25 dBSpecially suited to reducing the level of a high-output microphone to prevent it from overloading the microphone input of a mixer or recorder in applications with high sound pressure levels.A15AS ...
23. The Sound Reinforcement Handbook
Sentiment score: 0
Number of reviews: 1
The book features information on both the audio theory involved and the practical applications explaining from microphones to loudspeakers.
24. Location Audio Simplified: Capturing Your Audio . . . and Your Audience
Sentiment score: 0
Number of reviews: 1
Focal Press
25. The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects
Sentiment score: 0
Number of reviews: 1
Michael Wiese Productions
26. Sony MDRV6 Studio Monitor Headphones with CCAW Voice Coil
Sentiment score: 0
Number of reviews: 1
Connectivity Technology: WiredNeodymium magnets and 40mm drivers for powerful, detailed soundOver-ear design provides comfort and outstanding reduction of external noises10-foot oxygen free copper cord ends in 3.5mm plug; 1/4-inch adapter includedCopper-clad aluminum voice coil wire for improved pow...
27. Hosa HOS CPR203 CPR-203 Dual 1/4 inch TS to Dual RCA Stereo Interconnect Cable, 9.8 feet
Sentiment score: 1
Number of reviews: 1
Tapered Reamers will help align holes, remove burrs from cut pipe, tubing, and conduit, and enlarge and countersink holes in sheet metal, plastic, and other materialsThe Heat treated #45 High Carbon steel for longer service lifeT-handle design for easy turning and sure handlingCapacity: 1/8" to 1/2"...
28. Hosa GPR-101 RCA to 1/4 inch TS Adaptors (2 pieces), Black
Sentiment score: 0
Number of reviews: 1
Designed to adapt phono plugs to mono phone jacksMay be used to connect consumer audio components to pro audio gear
29. Samson C02 Pencil Condenser Microphones (Pair)
Sentiment score: 1
Number of reviews: 1
Cardioid Pickup PatternGold-plated XLR connectorsCarry Case & shock-mounted mic clips includedSold as stereo pair
30. C2G 03174 3.5mm Stereo Female to 3.5mm Mono Male Adapter, Black
Sentiment score: 0
Number of reviews: 1
Convert a 3.5mm stereo plug to a 3.5mm mono plugConnector 1: (1) 3.5mm Stereo FemaleConnector 2: (1) 3.5mm Mono Male
31. On-Stage 19" Microphone Gooseneck, Chrome
Sentiment score: 1
Number of reviews: 1
On Stage Microphone 19-inch Gooseneck, Chrome
32. Pro Tape FLGRN250 Gaffers Tape, 50 yards Length x 2" Width, Green
Sentiment score: 1
Number of reviews: 1
Adhesive: synthetic rubber resinBacking/Carrier: vinyl coated clothThickness: 12 mils (total)Adhesion: 60 ounces per inch (to stainless steel)Tensile Strength: 48 pounds per inch (longitudinal)
33. Shure MX393/O Condenser Microphone - Omni
Sentiment score: 0
Number of reviews: 1
Flat frequency response across the vocal range for uncolored sound. Sleek, low-profile design for unobtrusive appearance.Balanced, transformer less output for increased immunity to noise over long cable runs.Programmable membrane on/off switch plus LED on/off indicator.LED logic input and switch log...
34. On Stage SB9600 Tripod Studio Boom Microphone Stand
Sentiment score: 1
Number of reviews: 1
7 inch Mini boom extensionSolid threaded boom ends complete with washersBoom clutch assembly features 2 inch mating disks with 40 locking teethLarge ergonomic locking knobs82 inch Boom with 7 lb. sliding counterweight that locks in place
35. Galaxy Audio JIB/Y Splitter, Model:JIBY
Sentiment score: 1
Number of reviews: 1
Galaxy JIB/C Jacks in The Box/XLR CombinerPermits phantom power to go to both microphones if available from the consoleThese JIB Boxes are: Constructed with a metal case
36. Behringer C-2 Studio Condenser Microphones, Matched Pair
Sentiment score: 1
Number of reviews: 1
2 matched condenser microphones for stereo studio recording and live applicationsIdeal as main and support microphones for studio and live applicationsCardioid pickup pattern for effective feedback eliminationLow-mass diaphragm for ultra-wide frequency response and ultimate sound reproductionSwitcha...
37. Panther Vision LHB-275496 Lighted Hat with Brim Switch - Black
Sentiment score: 1
Number of reviews: 1
Panther Vision #LHB-275496 Black LGTD HatPANTHER VISION
38. G & F 4408 Heavy Weight 9OZ. Brown Jersey Work Gloves, Knit Wrist, Sold by Dozen (12-Pairs) - Large
Sentiment score: 0
Number of reviews: 1
Straight thumbKnit wrist cuffClute cutMaterial:Cotton
39. CableWholesale Cable Wholesale 3 Prong to 2 Prong Grounding Converter (30W1-32200)
Sentiment score: 1
Number of reviews: 1
3-Prong Female2-Prong Polarized PlugAdapts grounded plugs to non-grounded outlets (3-prong to 2-prong) for US plug typesUL Listed
40. Behringer Xenyx 502 Premium 5-Input 2-Bus Mixer with XENYX Mic Preamp and British EQ
Sentiment score: 1
Number of reviews: 1
Premium ultra-low noise, high headroom analog mixerState-of-the-art, phantom powered XENYX Mic Preamp comparable to stand-alone boutique preampsNeo-classic "British" 2-band EQ for warm and musical soundMain mix, stereo CD/tape plus separate headphone outputsCD/tape inputs assignable to headphone out...
I second what Qualsa said. Don't feed into cameras when you can avoid it. hopefully you can get someone to slate and log the shots down. it'll save your lives and make things SO much easier.
notice how your Zoom writes the file names. I think they are usually STE-000 or MONO-000 depending on how you record it (haven't used 4 channels yet) and then write that on the slate. I also have an h4n so the naming conventions might be a little different. for films i'd recommend it naming by the shot or take over by the date. it'll be easier, trust me.
next: don't worry about lavs. Not yet. you have enough to worry about and lavs and 50 cables are going to tie you down, OR you're going to have a hell of a time trying to figure out what frequencies are usable and not. plus you can even still get interference on frequencies that you thought were empty, but they actually weren't. So, please avoid that for now. You need to set aside non-project time to get that stuff right. Even then, it's different in every county or city.
now, Learn what your mics can and can't do. This is essential. The Zoom has great warmth, so maybe for closeups in the studio, you might get better audio using the zoom's sensitive microphones verses a shotgun or something with a long pole, but I can't know for sure without being there, so that one is up to you.
third, back to the slating, if you've never slated before, here is a good one we are using for a feature we are filming. God it has helped out tons:
Right here
if you want to make things a little easier, you can get some [Gaff tape]9http://www.amazon.com/Pro-FLGRN250-Gaffers-yards-Length/dp/B000SYYIGU) to write down things that wont change. IE director, production name, etc. that and a sharpie will save a lot of time.
But what's a slate without a log book? We've been fine with just:
Roll | Scene | Shot | Take | Audio File | Good/bad/fair
----|-----|----|----|----------|-------------
01 | 1 | 1 | 1 | STE-000 | **
01 | 1 | 1 | 2 | STE-001 | (train horn)
01 | 1 | 1 | 3 | STE-002 | (distant horn during whispering line)
01 | 1 | N/a | N/A | STE-003 | ADR - Whispering Line
01 | 1 | 2 | 1 | STE-004 | (actor fell down)
01 | 1 | 2 | 2 | STE-005 | (might have clipped)
01 | 1 | 2 | 3 | STE-006 | ****
01 | 1 | 2 | 4 | STE-007 | Safety
01 | 1 | 3 | 1 | MONO-000 | Wide
This is how we've been slating: http://i.imgur.com/dMVsGbp.jpg
It's pretty simple and saves a ton of time when editing. If you don't have your own adaptation of logging things, this is a great time to get in the habit. If you think you can handle not logging it, at least make sure to see if you can call out your audio file name and get a loud CLAP once the camera has started rolling and before the director calls action and definitely before yall both cut. that way the editor can know what file to look at.
if you cant get it during the shot, try and ADR. If you can ADR on set in between shots or once yall wrap up, please do. it'll be so much easier to do while everything is fresh on the actors minds. Don't be afraid to get everyone quiet. sometimes you can't get in that sweet spot where you know it sounds the best, but they gotta get the shot. So pull the actors aside and get their audio if you need to. But try try try and get the audio as best that you can so you don't have to do the extra work and can move on to other things.
DEAD CAT'S for the external mics. Find one that fits your setup.
and RED HEADs for the zoom.
Those will save your life.
feel free to correct me. I am just another dude learning his craft. I told you everything to the best of my current knowledge. I'm sure that eventually I'll find better methods than what my crew is currently using someday down the road.
There are a few good tricks you can use to get realistic gunfire recordings like the example you linked to. The first thing to be sure of is that your microphone(s) are capable of handling high sound pressure levels. With your zoom H6, the XY microphones can handle 135 dB, so that should be good for distant coverage and to get stereo perspective following the actual shot. For the closeup dialog and sounds I'd suggest a hypercardioid condenser like the Audio-Technica 4053b because of its 155 dB maximum spl. Most full shotguns like your Rode don't handle high levels impulses like gunfire gracefully (it's rated at 120 dB maximum SPL). A blend of these mics should give good results, but you still want to be sure you don't have any analog overloading happening. That way you can control the way the impulse and recovery are shaped (in post and digitally) to get a natural sound in your final product.
The next thing to do is make full use of the 24-bit recording capability of the H6. If used correctly, you can get a theoretical 144 dB dynamic range, so you can record whatever either of these mics puts out. And do not use compression or limiting during recording. This is NOT what you normally do in recording field sound for video. You want to be sure that when you fire a round the tracks you are recording don't overload--at least not very much. That means if you set recording levels accordingly, your dialog and quiet sounds will barely move the meter. You will need to use a gain plug-in during editing to bring it up to normal levels. Because of this and because of the possibility of noise to be introduced elsewhere, I suggest you use a mic splitter like this which blocks phantom power from one channel to avoid damage to the mic. Then record the mic on two channels, one set for the gunshots and the other set for maybe -20 dBFS on narration and incidental sounds. Be sure you don't limiting or compression on either of the two XLR channels.
In post, you will have two clean channels and a boosted safety channel that you can control.
You should do a lot of testing to get the best sound here. If you're lucky, you can put a fast-decay digital brick wall limiter on the boosted stereo and mono tracks and get very clean, realistic results with no pumping or unnatural sounds of compressors recovering.
Hope this helps. Let me know if any questions.
Assortment of adapters, filters, and switchable pads in a heavy duty ziploc freezer bag. The see through bag helps me find what I'm looking for quickly.
Assortment of adapter cables for XLR Line/mic to/from TA3, and non-lectro mic to TA5 (thank you Remote Audio who will make any cable known or unknown to man). These are also in a heavy duty freezer ziploc bag
Extra zip loc bags LOL
Assortment of batteries.
Extensions with breakaway for runs to camera. Let the camera guy get close the the spewing volcano, I'll stay right here thank you.
Enough Ambient Eumels, for every lav so we can have one set of mics for both wired and wireless. They make a version for pretty much every wireless system.
lectro remote app iphone version and android version
Topstick and moleskin, great stuff.
Small toolkit with lectro tweaker screwdriver, leatherman, and LED flashlight.
We usually have hats with LED's in the brim
Cheap compact Rain poncho often used to cover gear rather than crew
Umbrella though it's usually in the truck and not in the kit per se...
Gloves
Extra Velcro strap ties (usually kept wrapped around cart leg or bottom of boom pole for quick access)
Misting bottle with Downy fabric softener. Can help keep clothes rustle low.
Clear surgical type tape
Little XLR tone generator
Minilyzer because it helps solve all the analog audio things
Gaff tape
White Console/Paper labeling tape
Sharpies
Slate
backup suspension mount just in case I break a Rycote or leave it at the shop.
boom pole holder bracket with clamp for light stand
thread adapters for various standards
The ever-awesome collapsible brush that comes with Rycote softies. Sometimes we have to plant mic's in wigs/hair (and makeup is usually off flirting hahaha j/k).
Pack of peanut butter crackers because sometimes food isn't supplied or isn't convenient
(2) sets of really cheap headphones. Throwaways
Deep Woods Off bug repellant
Sunscreen
First Aid Kit with extra aspirin and Benadryl. This is also on the truck and not in kit per se...
A handheld dynamic mic with windscreen.
I always keep a six pack of bottled water in the car.
Contact info in phone for other crew positions. You can be a hero if someone doesn't show.
----
and because that IS a lot of stuff....
Bucket Boss Long Boy bag(s) (check that price). VERY tough bag. Has straps for a level which hold a boom pole just as well
EDITS - trying to remember everything and include info for other wireless systems
The best (and often only) way to improve your sound on no budget is to move your existing microphone closer to the source. There's no cheap way to get good audio from mics that are 10-15 feet away from the audio source.
Can you put the snowball on the boom closer to everybody? You say you're thinking about a shotgun on a stand, so it sounds like everyone is stationary. A usb extender would let you get it closer to everyone.
A shotgun might pick up everyone equally at 10-15 feet, but it isn't going to sound much better than the Snowball. If you can set it up closer, it isn't going to be good for 5 people because it's very directional, so it'll pick up one person fine and the rest will sound wrong. The Snowball Ice is directional, but has a wider pickup than a shotgun so it might work ok.
It sounds like you're doing some kind of talk show? You could get a non-Ice Snowball and set it between everyone, kind of like Rhett and Link do with their much nicer mic (A Moue by Blue).
Here are two other options that might work, but are probably bad ideas.
You could get cheap lavs on Amazon for everyone and run them into everybody's phones, though that's prone to user error.
You could get a bunch of cheap lavs and 1/4 inch adapters and find a cheap mixer like this and run that into your computer.
I got a call from On-Stage (the mfg of my mic stand) and they gave me a FANTASTIC recommendation: these goose necks are threaded on both sides, and are flexible removing the need for a rotating ball adapter for certain mics/cameras.
I bought two 19" ones, so now my 30" boom pole will be able to reachabout 68", be flexible more than half that length, and cost me a grand total of 16$ for the solution, rather than 30 for a painters pole that i would have had to adapt, or a replace the whole boom pole for god knows how much and adapting it to the tripod mount on the stand somehow.
These Samson mics are surprisingly good. I use them for indoor interviews and am perfectly happy with the quality.
A colleague of mine uses this one,
http://www.amazon.com/gp/aw/d/B0002ZO5WM/ref=mp_s_a_1_9?qid=1450988012&sr=8-9&pi=AC_SX236_SY340_QL65&keywords=On+stage+stand+boom
He loves it. Looks like it can fold up fairly small.
Good luck.
The Behringer C2 are $60 for a pair on Amazon. Condenser mics like these will need a mixer with phantom power, an audio interface, cables, and stands. You should be able put together very functional good sounding recording setup at around $200 if you shop around and are willing to not buy into the hype of the gear ads and product bias.
As a side note, a band mate of mine put the C2s into a dummy head for a nice sounding homemade binaural recording setup.
you can buy them and since it's sounds like its created from the power go with a power ground lift not an xlr one. Here is an example of what it looks like from amazon.
http://www.amazon.com/CableWholesale-Wholesale-Grounding-Converter-30W1-32200/dp/B000I96AUM/ref=pd_sxp_grid_pt_0_0
But they are good for identifying the problem you can also try plugging it in someplace other than where you have tried I've used ground lifts before when having problems with ground noise.
It depends on the DJ mixer, but it'll probably be dual RCA outputs (two mono channels (Left and Right) to make Stereo). So you'll probably need a dual RCA to dual 1/4" to record the two channels, like this.
Yep, that will work. Although so will this.
One (maybe two or four) of these guys has done well for me.
Omnidirectional.
I don't operate a boom hand held too often, but when I do I wear a pair of the cheap jersey black cotton gloves. Those gloves are soft and smooth against the pole and make no sound, also they don't hold heat so they are fine in warm conditions.
https://www.amazon.com/Heavy-Weight-Jersey-Gloves-12-Pairs/dp/B000FJTWXW/ref=sr_1_3?ie=UTF8&qid=1485874991&sr=8-3&keywords=black+cotton+gloves+work
these are the two itiems incase you didn't see
http://www.amazon.com/Rode-Micro-Telescopic-Microphone-Extension/dp/B004X4UZB8/ref=sr_1_1?ie=UTF8&qid=1426947108&sr=8-1&keywords=Rode+Micro+Boompole+-+3-Section+Boom+Pole
http://www.amazon.com/Eggsnow-Microphone-Shockmount-Senheisser-Audio-Technica/dp/B00KXQIU5S/ref=pd_sim_MI_2?ie=UTF8&refRID=1K2J9T43PN0SX8KWKN07
Also should I get a better shock mount if so what?
He wrote a book in 2014, "Location audio simplified". Decent book. Guess he just realized the time and effort put in making videos is less worth it than putting out a book and actually doing location sound.
The Yamaha Sound Reinforcement Handbook was essential for me in film school in the mid-to-late-1990s:
https://www.amazon.com/Sound-Reinforcement-Handbook-Gary-Davis/dp/0881889008/ref=sr_1_fkmrnull_1?crid=12S0O5OBFUXFU&keywords=yamaha+sound+reinforcement+handbook&qid=1550677010&s=gateway&sprefix=yamaha+sound+reinf%2Caps%2C158&sr=8-1-fkmrnull
Links for the lazy;
I'm no soundy, but I know a few guys who swear by these:
http://www.amazon.co.uk/Mdr-V6-Lightweight-Stereo-Headphones-Sony/dp/B00001WRSJ/ref=sr_1_1?ie=UTF8&qid=1414027377&sr=8-1&keywords=sony+v6+headphones