[bct] Re: Microphones for podcasts

  • From: "Kai" <kaixiong@xxxxxxxxxxxxx>
  • To: <blindcooltech@xxxxxxxxxxxxx>
  • Date: Tue, 15 Nov 2005 10:59:35 -0800

Greetings Jamie.

The DSP-500 from Plantronics,
http://www.plantronics.com/north_america/en_US/products/cat640035/cat143
0032/prod440044
Looks really good to me. It's 90 bucks, which is slightly expensive in
my opinion.

For a slightly cheaper alternative from the same company, try the
Audio100,
http://www.plantronics.com/north_america/en_US/products/cat640035/cat143
0032/prod29860004
I've used Plantronics before, and their noise canceling microphones, to
my ear, have faired pretty well. It's a lot better than my current
headset which doesn't have any cancellation algorithms, forcing me to
apply some pretty drastic filters on my audio in the post-production
stage.

Kai

-----Original Message-----
From: blindcooltech-bounce@xxxxxxxxxxxxx
[mailto:blindcooltech-bounce@xxxxxxxxxxxxx] On Behalf Of Jamie Pauls
Sent: Tuesday, November 15, 2005 7:01 AM
To: blindcooltech@xxxxxxxxxxxxx
Subject: [bct] Re: Microphones for podcasts


If you listen to my DS-2 review, you will hear the hum that plagues me
using
the free mic that came with an old computer. I recorded in Studio
Recorder
and normalized with Sound Forge. I think that may have been a bad
decision.
I used to own a $16 headset mic from Wal-Mart that cut down on the hum
some.
What would be a good, low-budget mic that could move me into some
quieter
recordings. I am plugging directly into the mic jack of my computer, not
using a mixer. Thanks for all recommendations. BTW, I am needing this
exclusively for speech. 

-----Original Message-----
From: blindcooltech-bounce@xxxxxxxxxxxxx
[mailto:blindcooltech-bounce@xxxxxxxxxxxxx] On Behalf Of Neal Ewers
Sent: Monday, November 14, 2005 8:21 PM
To: blindcooltech@xxxxxxxxxxxxx
Subject: [bct] Re: Microphones for podcasts

Hello Bill, you said, "I don't mean to but in where I haven't been
asked."
Well, consider yourself asked.  After all, we're all friends here.

My answer to you is that you use whatever mike or mikes you are happy
with.
There are at least two things to consider.

1.  The sound quality of a mike is a very personal thing, just like the
sound of speakers.  No two people may like the same speakers or mikes,
but
they are both right because what they want them for is for themselves
and
they are the only judge.  So if you have a noisy mike whose sound you
really
like, you will find some situations to make it work.

2.  How much noise they are willing to tolerate is also important.
Again, that is a personal thing and a budget consideration also.  The
more
noise you add to the signal, the less you will hear the inherent noise
of
the mike.  So, if you speak really loudly and are very close to the
mike,
you can get by with a rather noisy mike.  If you speak very softly as
some
of the narrators I record and if they are not right up on the mike, the
signal relative to the noise of the mike will be much lower and the mike
noise will be more audible.  Close miking a guitar would perhaps allow
you
to use a more noisy mike because again you are probably quite close to
the
sound source.  In any case, it's simply how much noise you want to hear.
I
happen to prefer as quiet a mike as I can get.  That is, however, only
one
person's opinion and nothing anyone else has to strive for.  Just
consider
me a bit whacky when it comes to recording.  OK, just how whacky am I.
I
have mikes that sell for well over $3000, but these are used to record
professional CDs for symphony orchestras, choirs, and chamber groups in
very
very quiet halls.  Now, you know just how whacky I am.  So, feel free to
take what I say with a grain of salt.

Neal



-----Original Message-----
From: blindcooltech-bounce@xxxxxxxxxxxxx
[mailto:blindcooltech-bounce@xxxxxxxxxxxxx] On Behalf Of Bill Belew
Sent: Monday, November 14, 2005 6:43 PM
To: blindcooltech@xxxxxxxxxxxxx
Subject: [bct] Re: Microphones for podcasts


Hi Neal and Dan,

I don't mean to but in where I haven't been asked, but it seems to me
that
you're both talking overkill for what is essentially voice quality
recording
situations.  Do you really think that someone needs to spend $400 or
$800 to
get decent high quality voice recordings?  I've got two Sony condenser
mics
that I've seen credited as being used extensively in recording studios
for
acoustic guitar and they cost $120 a piece.  I also have a single-point
stereo mic that cost $85 that is a little noisy, but more than adequate
for
very good voice recording.  I bought both the lapel and binaural mics
from
Sound Professionals for $69 for each pair and they make very quiet clear
recordings.  

Bill Belew




-----Original Message-----
From: blindcooltech-bounce@xxxxxxxxxxxxx
[mailto:blindcooltech-bounce@xxxxxxxxxxxxx] On Behalf Of Neal Ewers
Sent: Monday, November 14, 2005 2:33 PM
To: blindcooltech@xxxxxxxxxxxxx
Subject: [bct] Re: Microphones for podcasts


Dan, comments in your message below marked with ***



-----Original Message-----
From: blindcooltech-bounce@xxxxxxxxxxxxx
[mailto:blindcooltech-bounce@xxxxxxxxxxxxx] On Behalf Of The Scarlet
Wombat
Sent: Monday, November 14, 2005 3:50 PM
To: blindcooltech@xxxxxxxxxxxxx
Subject: [bct] Microphones for podcasts


Thanks Neal, that was informative.  I heard a very nice sounding Heil pr

40, but the s/n ratio is only 55 db, insufficient.  I know one can get
away
with a minimal setup for podcasting, but I am working to make a living
from
being a financial planner and I want my casts to be of as fine a quality
as
I can produce without going to a studio.  The sd 722 may be overkill,
but
there does not seem to be much inbetween the Iriver kind of device and
the
722.

*** You're right about there not being much that is good in between.  Of
course, this will change, but if the new recorders are anything like the
Microtrack and all it's problems, well, we don't need to go there.

As for microphones, I like the idea of the figure eight, though a
cardioid
might be fine as I do not need to hear myself, just the client
responses.
"They need to be clear, because some people mutter and I must hear
numbers
clearly enough to transcribe them later, so what might be thought of as
transcription quality is insufficient.  I thought of the lapel mics, but
that might intimidate people.  Is the quality of the boundary
microphones
good?  I've never heard one used, so have no comparison experience.
*** The quality of boundary mikes can be good , but their signal to
noise is
often not as good as other mikes.

A microphone that could switch between a cardioid and figure 8 would
meet a
couple of purposes, wonder if anything is available that I can afford.
*** My guess is here that you're talking at least $800 for a multi
position
mike.  AKG makes one in around that price range.  Actually, it is much
more,
but I have a few good sources for getting deals.  However, there is one
scenario I left out.  One can get some rather nice single point stereo
mikes
for about $400  The Rode nt4 is one of the better ones for that price
and it
is very quiet relative to its competition.
Then there is also an Audio Technica AT-822 which is quite good.  Not
quite
as quiet as the Rode but its capsules are angled at 110 degrees instead
of
90 degrees giving one a bit more stereo separation. With either of these
mikes, you could either face the microphone toward your clients and pick
them all up while still being able to hear yourself well enough even
though
you are behind the microphone. Or, you could face the mike so that one
channel is picking you up while the other is picking up the clients.

 I do not need the head mounted mic as my plans don't include discussing

finance while dodging 18 wheelers.
Larry has my admiration for being able to walk and dictate coherently at

the same time. [grin]
*** I agree about Larry, and I wouldn't be surprised to hear that he is
driving the 18 wheeler.  but I wasn't suggesting you were going to be
walking around.  I do know that some people who stand in front of a
microphone and speak are surprised to find that the next time they come
back
to the same position to continue the recording, they are just a little
closer or further away.  Of course, there is more than one way to deal
with
this, but I only mentioned the head worn mikes as one possible way.  One
can
always set up the mike and make sure one is the same distance from it as
one
was before.  It is simply something to be aware of when recording
separate
segments of a longer recording.







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