Best all-purpose mic?

i want to get a (or more likely multiple) mics that can be used for multiple purposes: 1) on a boom pole for single person studio shoots, 2) on a boom pole outdoors, 3) on or near a camera, 4) on a table for multi person audio. I realize that the BEST for any one purpose might be crap for another purpose... but maybe there is an option that is pretty good for each. Candidates I’m considering: Rode Videomic Pro Plus, Rode Wireless Filmmaker, Rode NTG 2, Shure SM58, Zoom Shotgun mic capsule...

i have Zoom H5, Zoom H6, Tascam DR-10L (x2).

Not sure if something like the Shure SM58 is something that could be both boom-mounted and also used on a desktop?

i think the Ride Videomic Pro plus would be pretty good for on camera, on boom pole, but not sure if they can be Table mounted?

Rode wireless filmmaker could probably be used outdoors or on multiple people, but can you use one receiver with multiple transmitters?

Hi

As for your last question, the Rode remote cannot be used with multiple transmitters or multiple receivers.

This video is 2 years old, so check out the reviews since then.

Can't give any feedback on Rode, but I like the Sennheiser 416. However, over the years it doubled in price....and doubt it got 2X better :>). Anyhoo, one of the most robust mikes I know.

Dynamic mics like the Shure sm58 require a lot of gain from the preamp. They're designed to be an inch away from the sound source. You could use one of those to record a rock concert, or a voice over from up close, but other than that, its use would be limited.

You might google "mic pick up patterns" to get a better idea of what's out there. There are some situations that would benefit from a mic with a narrow pick up pattern - like a shotgun mic - and there are other situations that would benefit from a wider pick up pattern or a stereo mic like the built-in Zoom stereo mics.

Coming from the audio recording world, I use condenser mics that require 48v phantom power on a XLR connector. The Zooms can output that type of phantom power. Camera-mounted mics generally take a lower phantom power voltage provided by the camera. I think it's in the 3v to 5v range. Plugging one of those into your Zoom and turning on phantom power could be a problem...

JerryriggedTECH said:

i want to get a (or more likely multiple) mics that can be used for multiple purposes: 1) on a boom pole for single person studio shoots, 2) on a boom pole outdoors, 3) on or near a camera, 4) on a table for multi person audio. I realize that the BEST for any one purpose might be crap for another purpose... but maybe there is an option that is pretty good for each. Candidates I’m considering: Rode Videomic Pro Plus, Rode Wireless Filmmaker, Rode NTG 2, Shure SM58, Zoom Shotgun mic capsule...

i have Zoom H5, Zoom H6, Tascam DR-10L (x2).

Not sure if something like the Shure SM58 is something that could be both boom-mounted and also used on a desktop?

i think the Ride Videomic Pro plus would be pretty good for on camera, on boom pole, but not sure if they can be Table mounted?

Rode wireless filmmaker could probably be used outdoors or on multiple people, but can you use one receiver with multiple transmitters?

Click to expand...

For your multiple requirements, in general I'm thinking your best bets will be with a condensed shotgun microphone.

While I like the VideoMic Pro+ as an on-camera mic (and yes, you can mount it on the table via tabletop tripod, it has a 1/4” tripod screw socket), but it's 1/8" stereo plug limits its connectivity to a camera or your portable recorders (at least without adapter) -- which may make mounting onto a boom pole a challenge.

I wonder if the Rode NTG series might be better in terms of connectivity?

Get an Audio-Technica AT875R.

TL;DNR Version:

For your current setup, a shotgun mic is probably going to offer the most flexibility if you only buy ONE mic. But you really need more than one type of mic.

Long answer:

There is no one mic that will do it all. And unfortunately there is no simple answer.

As pointed out above, the Shure SM-58 is intended to be placed an inch or two from the sound source (like right in front of a guitar amplifier, or in a singer's hand being held right in front of their mouth as they are belting away). It's a good mic for very specific purposes.

For outdoors, Shotgun mics (usually) work the best, whether boomed overhead (best practice) or mounted on a camera (not good, but sometimes that is all you can do). You will need a dead cat.

If you are outdoor and you CAN'T boom a mic, then consider using a lav mic (either wireless, or if wired, feed it into a zoom h1 or f1). Again, you will need windscreens for the lav.

For overhead booming indoors, cardioid pattern mics are probably best as they will handle room reverberations probably the best. Lots of people use shotgun mics indoors, although there can be some problems with room reverberations in particularly lively rooms. But people do it all the time.

Even when you use a shotgun mic, closer is (generally) better. Different mics respond differently depending on the proximity to the speakers mouth, but somewhere around one to two feet away is generally a good location.

If you are having a couple of people at a table having a conversation, your ideal solution is either multiple overhead cardioid mics, or multiple lav mics, or an omni-directional mic. If you go with an omini directional mic, you will want as quiet a room as possible.

Hope this helps.

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Crashing sucks!!!

The Rode Video Mic Pro is a great all-rounder - I have two of them :- )

Its form factor is good as well in that its a shotgun mic of sorts but not so long that it may infringe on the composition of a wide angle lens when the mic is on a dSLR body - which you have to do sometimes. It does not pick up lens noise / image stabilisation when on-cam on dSLRs in my experience whereas the dSLR inboard mic can pick up a lot of IS noise.

The NTG2 is good as well. Its narrower than the Rode VMP obviously. It can take an AA battery instead of having to use phantom power. The deadcat for the NTG2 fits nicely on the Rode VMP as well. I would not bother with the more expensive NTG3 unless you really need weather sealing.

One or a bunch of Zoom H1's work great in groups as well. You can have them on mini-tripods or hidden and with lav mics going direct into the H1's. Aspen lav mics are good value. You would need to sync afterwards obviously but thats easy with Pluraleyes and some others. You may or may not worry a lot about monitoring audio whilst shooting; if the shoot is straightforward and predictable you may wish to dispense with monitoring, if its more involved then you'd want to monitor - resources and finances allowing.

ashton lamont said:

The Rode Video Mic Pro is a great all-rounder - I have two of them :- )

Click to expand...

I have one as well, it's a great mic. But get the Plus version, it has some great new features, removable/replaceable 3.5mm cable, rechargeable battery with much longer life, can use AAs in a pinch, auto on/off. They sound basically the same. The only downside is the larger size, you can't shoot with your eye against the viewfinder, not that I ever do that with video.

Sennheiser just announced a new wireless system, I picked it up today. I'm trying it out tomorrow.

robertfel said:

ashton lamont said:

The Rode Video Mic Pro is a great all-rounder - I have two of them :- )

Click to expand...

I have one as well, it's a great mic. But get the Plus version, it has some great new features, removable/replaceable 3.5mm cable, rechargeable battery with much longer life, can use AAs in a pinch, auto on/off. They sound basically the same. The only downside is the larger size, you can't shoot with your eye against the viewfinder, not that I ever do that with video.

Sennheiser just announced a new wireless system, I picked it up today. I'm trying it out tomorrow.

Click to expand...

Yes I'd probably get the Plus if I were buying again but it was significantly more expensive when it launched so I avoided it and kept with my existing ones. The "old" ones are fiddly to change batteries with plus its all to easy to forget to switch on the mic's power. However the batteries last a very long time and they do show a warning if a battery is running low.

I guess you could add a riser of some description e.g. a cheap ball head if you want to have enough space to take your eye onto the viewfinder but like you I never do that and use live view instead.

Thanks for the link to the new senny kit. Looks good. I already have three of the G3 kits but it was always silly expensive to add an extra transmitter to a shotgun mic. I would probably get the new kit for shotgun use. So long as 2.4ghz works out to be safe.

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Pete

Leswick II said:

Can't give any feedback on Rode, but I like the Sennheiser 416. However, over the years it doubled in price....and doubt it got 2X better :>). Anyhoo, one of the most robust mikes I know.

Click to expand...

The 416 is also an extremely old design (same design as in the 416T), it isn't generally used by most top pros as their main shotgun any more. Rather just something kept at the bottom of their pelican case as an emergency back up. Because there are so so many better options now.

The 416 also has more fakes than any other shotgun, which makes it a little bit more tricky to buy secondhand.

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My YouTube vlog channel on sound recording: https://www.youtube.com/c/SoundSpeeding

Ironfilm said:

Leswick II said:

Can't give any feedback on Rode, but I like the Sennheiser 416. However, over the years it doubled in price....and doubt it got 2X better :>). Anyhoo, one of the most robust mikes I know.

Click to expand...

The 416 is also an extremely old design (same design as in the 416T), it isn't generally used by most top pros as their main shotgun any more. Rather just something kept at the bottom of their pelican case as an emergency back up. Because there are so so many better options now.

The 416 also has more fakes than any other shotgun, which makes it a little bit more tricky to buy secondhand.

Click to expand...

Most blurbs on the interwebs use the present tense when describing the 416 as an industry standard. I think it has to do with the tone as much as the tank-like build. Others may be more tech advanced, but the 416 has "that" sound. Which shotguns do you see pros using more?

jjdp said:

Ironfilm said:

Leswick II said:

Can't give any feedback on Rode, but I like the Sennheiser 416. However, over the years it doubled in price....and doubt it got 2X better :>). Anyhoo, one of the most robust mikes I know.

Click to expand...

The 416 is also an extremely old design (same design as in the 416T), it isn't generally used by most top pros as their main shotgun any more. Rather just something kept at the bottom of their pelican case as an emergency back up. Because there are so so many better options now.

The 416 also has more fakes than any other shotgun, which makes it a little bit more tricky to buy secondhand.

Click to expand...

Most blurbs on the interwebs use the present tense when describing the 416 as an industry standard. I think it has to do with the tone as much as the tank-like build. Others may be more tech advanced, but the 416 has "that" sound. Which shotguns do you see pros using more?

Click to expand...

I guess you guys might have a point, there may be more updated mics. Maybe Audio-Technica ? Perhaps I'm bit behind times a bit.

While the Sennheiser 416 is supposed to be a GREAT mic, spending $1,000 on a low-noise mic and then running it through the mediocre preamps of an H5 kind maybe defeats the purpose of getting such a good mic.

Leswick II said:

jjdp said:

Ironfilm said:

Leswick II said:

Can't give any feedback on Rode, but I like the Sennheiser 416. However, over the years it doubled in price....and doubt it got 2X better :>). Anyhoo, one of the most robust mikes I know.

Click to expand...

The 416 is also an extremely old design (same design as in the 416T), it isn't generally used by most top pros as their main shotgun any more. Rather just something kept at the bottom of their pelican case as an emergency back up. Because there are so so many better options now.

The 416 also has more fakes than any other shotgun, which makes it a little bit more tricky to buy secondhand.

Click to expand...

Most blurbs on the interwebs use the present tense when describing the 416 as an industry standard. I think it has to do with the tone as much as the tank-like build. Others may be more tech advanced, but the 416 has "that" sound. Which shotguns do you see pros using more?

Click to expand...

I guess you guys might have a point, there may be more updated mics. Maybe Audio-Technica ? Perhaps I'm bit behind times a bit.

Click to expand...

I've been using an on-cam Audio-Tech. 8024 combined stereo/shotgun (separate mics) for several years for my Panasonic GH4, 5, and G9 performance and event videos, with what I think is very good quality. The cams do have very clean pre-amps. A-T claims a +/- 5dB response 40-15,000 Hz, S/N 70 dB stereo, 72 mono. About $250. A couple of performances below, both in stereo mode:

The first a middle school concert in a largish auditorium, shot from behind top row, about 75' from stage. I suggest just listening to a bit of the opening Beginning Guitars, then a cut from the Advanced Orchestra @ 30:12


The second a more intimate outdoor promo for the Big Sur Inn and a friend's jazz group. Notice how the stereo image changes nicely with the opening pan, where the group is playing 100' or more away.


Pete

OK, so I kind of went on a shopping spree. No single best solution, so this is what I did:

1) Rode Videomic Pro Plus

2) Rode NTG-2 shotgun mic

3) Rode Filmmaker wireless kit

4) Rode PSA1 Studio Boom arm

5) Proline MS112 desktop mic stand

6) Lots of mic stand adapters, ball joints, etc.

Already own a long boom arm, XLR cables, TRS extension cables, and H5 and H6 recorders.

I figure this combination should help with...

• On camera audio for run & gun Vlogging: Videomic Pro Plus
• Audio for maximum freedom of movement, indoor / outdoor: Filmmaker kit either plugged directly into camera or into recorder.
• Desktop audio: Videomic Pro on mic stand, NTG-2 on boom on C-stand, or even Filmmaker kit.

I think this gives me a pretty solid audio base with lots of flexibility.

JerryriggedTECH said:

OK, so I kind of went on a shopping spree. No single best solution, so this is what I did:

1) Rode Videomic Pro Plus

2) Rode NTG-2 shotgun mic

3) Rode Filmmaker wireless kit

4) Rode PSA1 Studio Boom arm

5) Proline MS112 desktop mic stand

6) Lots of mic stand adapters, ball joints, etc.

Already own a long boom arm, XLR cables, TRS extension cables, and H5 and H6 recorders.

I figure this combination should help with...

• On camera audio for run & gun Vlogging: Videomic Pro Plus
• Audio for maximum freedom of movement, indoor / outdoor: Filmmaker kit either plugged directly into camera or into recorder.
• Desktop audio: Videomic Pro on mic stand, NTG-2 on boom on C-stand, or even Filmmaker kit.

I think this gives me a pretty solid audio base with lots of flexibility.

Click to expand...

If you are going to be using the videomic Pro Plus on camera and feed the audio directly to the camera, then there is one thing that you MIGHT find helpful. It is a little (passive) saramonic mixer.


Basically, it allows you to take the mono output of the RVMPP and split it in to two separate channels, and you can turn down one of the channels so you have a safety track (one that is lower volume than the other) in case the person talking gets real loud and the audio clips, you have a separate track at a lower volume to use.

Again, might not be mandatory, but can be helpful and I wish I had one.

Off The Mark said:

If you are going to be using the videomic Pro Plus on camera and feed the audio directly to the camera, then there is one thing that you MIGHT find helpful. It is a little (passive) saramonic mixer.

Basically, it allows you to take the mono output of the RVMPP and split it in to two separate channels, and you can turn down one of the channels so you have a safety track (one that is lower volume than the other) in case the person talking gets real loud and the audio clips, you have a separate track at a lower volume to use.

Again, might not be mandatory, but can be helpful and I wish I had one.

Click to expand...

The Pro Plus has that feature built in.

robertfel said:

Off The Mark said:

If you are going to be using the videomic Pro Plus on camera and feed the audio directly to the camera, then there is one thing that you MIGHT find helpful. It is a little (passive) saramonic mixer.

Basically, it allows you to take the mono output of the RVMPP and split it in to two separate channels, and you can turn down one of the channels so you have a safety track (one that is lower volume than the other) in case the person talking gets real loud and the audio clips, you have a separate track at a lower volume to use.

Again, might not be mandatory, but can be helpful and I wish I had one.

Click to expand...

The Pro Plus has that feature built in.

Click to expand...

Good to know!!!

One thing to double check (and I am not sure of this) but make sure that feature is an analogue method and not a digital method (it is probably analog but best to double check).

Some of the recorders out there (I think the H5 and H6, for example) have a digital limiter, which unfortunately isn't as effective as using an analog limiter.