Location Equipment

 

• Sennheiser MKH416 Rifle Microphone

The MKH 416 is a short gun interference tube microphone. It is a new addition to media loans that is ideal for film applications, especially outside situations due it’s excellent directivity, low self-noise and feedback rejection.

 

 

 

  

• Rode NTG2 Shotgun microphone

 

The Rode NTG2 is a lightweight condenser shotgun microphone, with full frequency response, low noise and audio transparency, which make it an ideal microphone choice for film and video applications. The super-cardioid polar pattern for this shotgun microphone is highly directional. The directional pattern from the front is very narrow and rejects sound from other directions, making is suitable to capture speech whilst cancelling out other noises in the environment. With it being lightweight it is suitable to be used as a boom microphone, and also has the option to be battery powered should phantom power not be available.

 

 

 

• Sony UWP-V1 radio microphone  

 

Radio microphone and transmitter pack allow for wireless recording of a source, with the ability to mostly hide the microphone, unlike a shotgun microphone. They also allow us to closely mic up a source to eliminate any issue of environmental noise. Being an omni-directional microphone it allows for easier placement, as the microphone capsule will pick up sound no matter what direction it is facing.

 

 

 

• Sony ECM-77B Lavalier Microphone

 

 

The ECM-77 is a lapel microphone used mainly in TV and theatre applications. The microphone’s capsule is designed for voice pick-up with an extended frequency response (40-20000Hz) and impressive sensitivity. It is Ultra-miniature, 5.6mm diameter, 12.5mm length, weight 1.5g. The extended frequency response is enabled by new developments in mechanical and electronic construction. Even when hidden inside costumes, the carefully-tailored frequency response ensures detailed voice pick-up, with an omnidirectional polar pattern.

 

 

 

 

• Sound Devices 633 Mixer

The 633 is a compact, six-input mixer with integrated 10-track recorder featuring ‘PowerSafe™’ technology, which ensures the mixer always saves your audio whenever it is shut down. It offers six analog inputs and records to SD and CompactFlash memory cards. The 633 records 10-track 24-bit, 48 kHz uncompressed WAV recording (96 kHz and 192 kHz sampling up to six tracks) to SD and CompactFlash memory cards. This is the latest addition to media loans, improving vastly on both the Zoom H4n & Marantz portable recorders, in both the number of channels available and the quality of the pre-amps.

 

 

• Zoom H4n Handy Recorder

 

The Zoom H4n features onboard true X/Y stereo microphones to pick up clear, natural sound without phase shifting. The mics can be rotated to select a 90° or 120° recording pattern for versatility. The digitally-controlled preamps, combined with the high-quality microphones, allows for capture Linear PCM audio at rates up to 24-bit/96kHz. The recorder captures audio to SD or SDHC cards with capacities up to 32GB. The Zoom will be used for capturing room tone and as a back up for dialogue if something were to go wrong with the 633. It has an auto level function however from testing this does not increase and decrease the level. It seems only to decrease the level of the audio, meaning if the atmosphere becomes quiet, the level will be too low.

 

 

• Marantz PMD661 MK II

 

The PMD661 MKII is a portable stereo recorder that can record, play back, and edit audio. It has on-board microphones, dual XLR inputs and 48V phantom power for condenser microphones. Audio files can be recorded as WAV or MP3 at rates up to 24-bit/96kHz. Recording onto an SD card makes it convenient for immediately transferring the data once recording has been completed. The Marantz will be used only in an emergency, if the 633 or Zoom are unavailable as I have had issues with the Marantz both with the quality of the mic pre-amps and the reliability of the machine.

 

• Ambient QX boom pole

 

• Rode PG2 Shock Mount

 

• Rode Boom pole

 

• Microphone stand

 

• SD card

 

 

 

 

Studio Equipment 

 

 

• Neumann U87i

 

The U87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic. The U87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech. I shall be using this microphone in studio scenarios, mainly for vocals for the score and soundtrack. The Neumann is one of the best sounding vocal mics available, and is one that I have experience recording and mixing.

 

 

 

• AKG C414 XLII

 

The C414 XLII is a multi-pattern condenser microphone that has a firm reputation as being one of the best studio based microphones available. This version has a slightly different capsule to the XLS version, which means there’s a slight presence boost and impressive spatial reproduction, similar to the legendary AKG C12 microphone from 1953. The microphone has very low background noise and a fairly flat frequency response with a peak from 2k that increases definition and presence, making it suitable for recording a clear narration track, as well as musical applications within the multi-track studio.

 

 

 

 

• Electro-Voice RE20

 

The RE20 dynamic cardioid microphone was created specially for recording, broadcast and sound reinforcement applications requiring essentially flat response over a very wide frequency range. The wide frequency response, coupled with excellent transient response, make the RE20 easily comparable to the finest condenser cardioid microphones and an easily operated “bass tilt down” switch corrects spectrum balance for use in long-reach situations or other applications where bass attenuation is needed. A true cardioid microphone, the RE20 offers greatest rejection at 180º off axis – directly to the rear of the microphone. Pattern control is so consistent that the frequency response is nearly independent of angular location of the sound source, creating virtually no off-axis coloration, yet providing greatest possible rejection of unwanted sounds. I am likely to use the RE20 for instrument and potentially vocal recording, depending on the scenario and the number of vocal tracks recorded. It is a great microphone to have as an option in the studio, even if I do not choose to use it.

 

 

 

 

 

• sE2200AII

 

 

The sE2200A studio condenser mic is an excellent value microphone used extensively for vocal recordings. It offers low self-generating noise and therefore a better signal to noise ratio, has a low cut filter and a 10dB pad. Often compared to the Neumann in the sound that it captures, I will have this as a back-up mic whilst in the studio, if I am unable to use the Neumann or AKG 414s.

 

 

 

 

 

• Shure SM57

 

The legendary SM57 is an industry-standard, highly versatile cardioid dynamic microphone tuned for the clean reproduction of amplified and acoustic instruments. The SM57 is ideal for sound reinforcement and recording applications.

• Contoured frequency response for clean, instrumental reproduction and rich vocal pickup
• Professional-quality reproduction for drum, percussion, and instrument amplifier miking
• Uniform cardioid pickup pattern isolates the main sound source while reducing background noise
• Frequency response: 40 to 15,000 Hz

The Shure SM57 is primarily used for recording snare, toms, electric guitar, and is considered an all-rounder with a good frequency response for clean instrumental recording. The cardioid pickup pattern isolates the main sound source while reducing background noise. It is suitable to record loud sources with its ability to handle a high dB SPL, not quoted because it is considered by Shure to not have a maximum.

 

 

 

• Audix DP7 Drum Microphone Set

 

 

 

D6 – Kick Drum  
The D6 has a frequency response of 30Hz-15kHz and is characterized with a cardioid pick-up pattern. The D6 is designed to sound good in any position and it is not dependent on finding the “sweet spot” of the drum.

 

i5 – Snare
The i5 has the ability to capture the rich, deep resonance of the snare along with the attack necessary to cut through the mix. The i5’s cardioid polar pattern allows it to focus on the specific instrument that is being miked while rejecting other instruments or ambient noise. With a smooth and uniform frequency response of 50 Hz-16 kHz and an ability to handle sound pressure levels in excess of 140 dB, the i5 can be also used for a wide variety of instrument applications including percussion, guitar cabs, and vocals. Often used as a substitute for the Shure SM57.

 

D2 – Rack Toms
Used for bringing out the real, dynamic sound of toms or congas. The D2 accurately reproduces the warmth and overtones of the instrument without sounding harsh or boomy.  The D2, which is very natural and articulate, requires very little (if any) EQ, and because of the tight hypercardioid polar pattern, no gating is needed.

 

D4 –  Floor Tom
The D4, which provides an additional octave of low end response beyond the D2, is the perfect companion for large toms and other instruments characterized with extended bass frequencies. The D4 responds down to below 40 Hz and has a flat linear response. I will likely use this on both the floor tom and the bass amp in the studio because of the extended bass frequency capture.

 

ADX51 –  Overheads 
The ADX51 is a pre-polarized condenser microphone designed to handle nuances of recording as well as the rigors of live sound. Characterized with extended highs, excellent imaging, and high SPL capabilities, the ADX51 can be used for cymbals, high-hat, and acoustic instruments. The ADX51 also features a -10dB pad and bass roll-off filter, making it extremely useful for a wide variety of applications. Should the AKG 414s be unavailable to be used for drum overheads, the ADX51 are a great alternative that blend really well with the rest of the microphones in this kit.

 

 

 

• Pro Tools 11 

 

Pro tools 11 is considered to be the most powerful digital audio workstation available and is widely used for both music recording and sound editing for visual media. Using an OMF or AAF file export from the video editing software will allow for a seamless transfer of the documentary into Pro Tools so the sound edit can be completed with ease. Also having an ‘offline’ bounce feature significantly cuts down the time it takes to export the final product.