> I' d like to think there are 2 different ways to go, generally speaking
>
> the one is to have some ultra-portable recording you can carry with you a=
ll the time - sth like the sony d-50 or similar and use it with its own on-=
board mics. These machines usually have plug-in power jack inputs for exter=
nal microphones
>
> the other is to have a professional machine with good quality preamps wit=
h XLR jacks and phantom power, plus a set of quality microphones, wind-pro=
tection systems, cables, boom poles, tripods, and whatever else your indivi=
dual needs call for..
>
> A professional field recordist should have at least 2 set-ups. One ultra-=
portable and a really professional one. My experience says not to try mix t=
he two worlds. Most portable recorders do not pair well professional mics a=
nd you need additional adaptors, etc - they are no designed for such a use =
anyway. On the other hand, most professional machines do not pair well cons=
umer electret microphones - you might need adaptors, plug-in power modules =
and they are not designed for such a use anyway as they are more bulky and =
heavy..
>
> I think that there is no middle-way - no machine that will suit both worl=
ds. You can be ultra-portable and that' s really useful sometimes, but you =
won' t have that pro quality in you recordings. You can go the pro way, but=
you will need a lot of extra cash, a lot of extra knowledge and accuracy -=
you will have a lot more weight to carry around and all sorts of other nec=
essities - like a car to move your equipment around, an insurance because =
you don' t want to take risks with it, etc..
>
> so my advice would be to stick with the d-50 or similar and use it as is =
- and if at some point in the future you decide to invest more in good equi=
pment , this will be you secondary ultra-portable set-up,
I concur; this is good advice. But what's exciting about being in audio now=
adays, and what drives all the tech talk on this list, is that the cheap st=
uff keeps getting better. Even today, in the listening room it will be diff=
icult to distinguish a recording made with a pro rig from one made with, sa=
y, a pair of Telinga clip-ons and an Olympus LS-10. Fieldcraft (putting the=
mics in the right place at the right time) is more important than tech in =
achieving "professional" results. And luck, but that really boils down to, =
like photography, making a lot of shots and picking the good ones.
-Dan
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