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bigsix, here ya go!
http://www.bhphotovideo.com/c/produc...e_114401B.html
http://www.ocwhite.com/broadcast-arm...agnifiers.html
It's early and I'm a bit too lazy to take a close-up photo of my 'riser' but I'm actually using two small C-clamps to secure the thing' to my desk until I'm certain that's where I want it. Then I will do the most sacrilegious thing' a podcaster would ever consider. Yes you guessed it, I will actually drill holes! :)
Superb! Thanks!!Quote:
Originally Posted by Dan Ortego
I am a fan of the Heil PL2T. I also have the 12" riser for it but it comes with a clamp if you prefer not to drill. I like Heil aesthetically since the springs are hidden :)
Okay fine, blame the guy in the rat suit for preferring the retro look of the original RCA Boom-Arm. Actually it's the extended reach that really comes in handy and the adjustability feature is just another added perk.Quote:
Originally Posted by AlBurr
Sidebar: I just received the O.C. White Green-Light (magnifier) with its own boom-arm so now my studio is starting to look like a bunch of Cranes landed.
Actually looked at that OC arm I may have to get one given my desk configuration. It would make it much easier to swing over my desk monitors. I wonder if they have a wall mount?
They do have a wall mount but the surface has to be strong to handle the weight and the torsion. I’ll post some pics of my room so you may see the added riser.
I have mine c-clamped to the desk to make sure I like the placement before drilling those small little holes that everyone is afraid of. It's been held down that way for about two months so I guess it's good to go. :cool:
http://www.bhphotovideo.com/c/produc...all_Mount.html
Thanks for the link Dan... I also see they have a riser with a built-in XLR connection...very cool...
I did bite the bullet and drill holes in my desk. It's an old desk so no harm... I think could have chosen a better location but it works OK.
http://img19.imageshack.us/img19/4408/xy7e.jpg
The one you saw was the 29-inch version which why I exchanged it for the 45-inch. The 45-inched' isn't sold as a bundle, or at least yet. I ended up buying the arm and 15-inch feed-through riser separately.
BTW, if you decide to use the XLR feed-through, you will have to add your own XLR connector.
@Mike Phillips. I just ordered my 4th ATR 2100. I 3 of them set up in my "studio" and the other one I use for Skype calls
Hello Tommy,
Glad to see that someone dusted off this old thread as this is an area where many of us go crazy! Meaning, after a while it's just fun to try something new and the microphone lovefest is hard to avoid.
Earlier today I had my finger on the trigger for a new Sennheiser MKH 416 but my Sweetwater sales rep already left for the day. To date, I have tried at least a dozen mic's since I started this hobby but be only one I've kept is the Electro-Voice RE20. This microphone works very well with my voice and my microphone preamp. I suspect it would even sound better if I added a Fethead or Cloudlifter and I'm sure I'll end up with either one of those fairly soon.
The Sennheiser recommended by Mike is simply an alternative that I would like to try, so that too may find its way into my studio.
My favorite podcasting mic is the Audio Technica AT4053.You can use it with our without a mixer. For broadcast use, I prefer dynamic mics over condenser mics. Download the new MappStream app for quick music audio podcasting or live band updates and take your music marketing to the next level!""It's a great tool for broadcasting live local music to your community and the world!" Click here to find out more! https://itunes.apple.com/us/app/mapp...735066334?mt=8
Well, I finally came full-circle on the whole microphone love-fest. After more than a year of experimentation I became a master of RMA's with microphones that I thought were the cat's meow. At one point I believed that I retired my Electro-Voice RE20 but after less than a month, it came back out of the closet and returned to the boom. In the end I agree with Mike Phillips when he said, 'find something that works and stick with it'.
I use the AKG D5 which is not really meant for podcasting but for singers on stage. I like it because it allows me to record with no headphones and the AC blasting as it blocks out all background noises very well. It cost me around $100 when I got it a few years back and works well for me. I'm sure there are better mics but like I said, it works for me.
I found that price has very little to do with whether a microphone is good or not. If it's good with your voice in your environment then it's a good microphone. Heck, I even tried the most popular microphone out there being the PR-40 and it was simply too bright for my taste. Granted, it was easy to see why so many people like it because its great for canceling out background noise, although that can be a double-edge sword. It required that I keep my mouth firmly trained on the face of the mandrel. In the end I was able to find the balance and flexibility with what I have.Quote:
Originally Posted by Jaded Tristin
I use the Audio Technical ATR-2100 which is an XLR and USB combination microphone, but I only use the XLR connection and I have received great feedback and is extremely inexpensive.
I use a combination of a Blue Yeti Pro and a Snowball for my guests. The Yeti is connected to a Blue Icicle and then to my computer.
I know a lot of us joke here about the Blue Snowball and Yeti but what about the rest of the microphones they have? How are they?
They can be fairly mediocre compared with the competition.
I am a musician so I have a lot of mics around, and my current favorite mic for podcasting is the Blue Nessie. It solves a lot of common problems. It is a USB mic with a cardioid pattern, but it has a built in shock mount and pop filter. It also has a silent mic mute switch on the mic itself, and your headphones plug directly into the mic, allowing you to be a pretty good distance away from the computer and picking up hard disk noises. You can also adjust headphone volume by twisting the base but that is an awkward operation and you should mute first.Quote:
Originally Posted by TommySulivan
The other really useful feature for a podcaster is that it has three modes - Raw (no processing). Music, and, most importantly for a podcaster, Voice, which does some EQ and compression on the fly. This is really useful for people like me that are not disciplined enough to always be the same distance from the mic and really reduces editing time.
If you are interested in using the Blue Snowflake as a travel mic or whatever, also take a look at the Blue Eyeball. It is the exact same mic as the Snowflake, but with a pop-out video camera. The video is AWFUL, really slow to track movement. As a result, it got terrible reviews, and it can often be found at a lower price than the Snowflake, and it is the same mic.
I recently heard someone using a snow ball and it sounded amazing. His cohost (Via Skype) was also using one and it was awful. Is it possible that they changed something in later models to make them better?
We, like many started out with a crappy TalkShoe website account and a 5 dollar-dollar store headset.
When it came time to upgrade and get serious, we looked at countless mics both dynamic and condenser from countless companies.
It really came down to going to a gear store and trying them out. Everything from $50.00 Chinese crap to a $28,000.00 limited edition mic from some German company where you could only guess at how to pronounce the name.
Through most of it, our buyer noted that the specs generally averaged out to include a nice wide 30Hz-20kHz frequency response range and a 130dB maximum SPL Sensitivity. When he combined those factors with our needs in the studio He found that generally, the field was narrowed to a nice workable price range of between $80.00 and $1,000.00 each for anything we'd likely want or need.
Ultimately, we settled in with the MXL line of mics for quality, afford-ability, great sound and longevity in the workplace. Anything MXL within the range of $70.00 for a nice 990, up to the GENESIS II at $999.00 are workhorses that will last while taking a beating.
Now, our studio is exclusive to MXL thanks in part to a corporate deal with them, but we already had our studio choice with them long before that.
Also we've used and recommend often RODE, Audio-Technica, Heil and SHURE as top quality professional grade mics for the money.
No. Mic technique and room acoustics are both essential elements in determining the quality of the final product.Quote:
Originally Posted by oscarmartz
If the MXL mics work for you then they're the best solution for you. My experience with MXL has not been so good. Their condenser mics are another flavor of Chinese capsules that so many companies import and throw on a mic body. Their dynamic is somewhat lackluster.Quote:
Originally Posted by Htla Talkradio
As an aside, I sent an audio clip of a recording we did with the AT2005 over Skype to a contact at a MAJOR mic manufacturer. He had never heard of the AT2005. After he heard the clip, his response to me was, "Wow!" It's a $50 mic.
I recently changed my microphone from an ATR2100 to an RE-20. I can hear somewhat of a difference but most would not.
Have both the ATR2100 and the RE27 ND and my old ears can't perceive a "worthwhile" difference.
Still using the ATR 2100. I did have it replaced twice but love the mic.
I use the ShurePG58, about $60 at the local Guitar Center. I used to use a SONY electret condenser mic, one built for MiniDisc technology, 1 AA battery required. I use the Shure along with a Behringer Eurorack UB802 mixer.
I am looking to get something new soon I think its going to be a pr40
