Hey there, I’m looking for a mic that is mountable on a boom pole and is also compatible with the Canon HV30 camcorder.
A list with your top favorite would help wonders!
ask 10 audio engineers and get 10 good but different answers!
when you say boom pole, i think you mean a long pole (sometimes called a fishing pole) that is held high in the air to be out of the shot and a mic drops down on the end. It is very tiring and requires a lot of strengh to hold the pole, so the lightest mic possible is the best. it does not need to be directional because it is near the source of sound and the back is to the sky where no sound would normally come from anyway. quite often a miniture lav mic works for this.
in television studios and film lots the boom can be supported on a tripod like stand so a mildly directional cardiod mic is used and it is attached to a device that allows the operator to remotely point it towards the person speaking. It is directional because that eliminates pickup of noise from the pointing swivel device. The operator has to be very practiced to keep the mic pointed correctly.
some people call a shotgun mic a "boom mic" by mistake. a shotgun mic is a very directional mic that is attached to the camera itself, not a boom. it only picks up sound from the same direction as the camera is pointed. this does not always work out good, especially with the wide view angle of modern 16:9 video.
all of these are intended for pickup of dialog and not music. they are mono. the main advantages of the boom over say a wireless mic are it eliminates the mic from being visually seen and it simplifies pickup of multiple speakers. the operator will have to be informed of any camera changes to keep out of the shot, both the boom and its shadow.
September 28th, 2009 at 11:17 pm
If I remember correctly the HV30 has a terrible internal mic that picks up hum from the motor, and only a 3.5mm jack for an external mic. This 3.5mm jack is unbalanced stereo for added difficulty. Pro grade mic will normaly be set up for balanced XLR connection so you may have to get an adapter that will convert from unbalanced stereo 3.5mm to mono balanced XLR.
A boom pole mic should be very directional and give level response across the spectrum.
I personally like the Sennheiser MK60 for most applications and the MK70 for cutting out more background noise. Sennheiser also makes a stereo shotgun called the MK418-S, but I have never tried it.
The MK60 and the Shure SM89 are useful for moderate off angle noise environments or when you want a little of the off angle noise to come through on your recording.
The MK70 will cut more of the off angle noise then the MK60.
If you want more control of the off angle noise then try this trick. Use a less directional mic like the Shure SM57 or Sennheiser e614 for picking up background noise on the left audio channel and an MK70 or similar, for the right audio channel. Then, you can mix in just the right amount of each during editing.
References :
September 29th, 2009 at 12:07 am
ask 10 audio engineers and get 10 good but different answers!
when you say boom pole, i think you mean a long pole (sometimes called a fishing pole) that is held high in the air to be out of the shot and a mic drops down on the end. It is very tiring and requires a lot of strengh to hold the pole, so the lightest mic possible is the best. it does not need to be directional because it is near the source of sound and the back is to the sky where no sound would normally come from anyway. quite often a miniture lav mic works for this.
in television studios and film lots the boom can be supported on a tripod like stand so a mildly directional cardiod mic is used and it is attached to a device that allows the operator to remotely point it towards the person speaking. It is directional because that eliminates pickup of noise from the pointing swivel device. The operator has to be very practiced to keep the mic pointed correctly.
some people call a shotgun mic a "boom mic" by mistake. a shotgun mic is a very directional mic that is attached to the camera itself, not a boom. it only picks up sound from the same direction as the camera is pointed. this does not always work out good, especially with the wide view angle of modern 16:9 video.
all of these are intended for pickup of dialog and not music. they are mono. the main advantages of the boom over say a wireless mic are it eliminates the mic from being visually seen and it simplifies pickup of multiple speakers. the operator will have to be informed of any camera changes to keep out of the shot, both the boom and its shadow.
References :