omichalis
Date: Sat Aug 14, 2010 2:35 pm ((PDT))
I totally agree with you Dan.. that' s realy exciting !
m
On 14 =CE=91=CF=85=CE=B3 2010, at 9:19 =CE=BC.=CE=BC., Dan Dugan wrote:
> > 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=
all the time - sth like the sony d-50 or similar and use it with its own o=
n-board mics. These machines usually have plug-in power jack inputs for ext=
ernal microphones
> >
> > the other is to have a professional machine with good quality preamps w=
ith XLR jacks and phantom power, plus a set of quality microphones, wind-pr=
otection systems, cables, boom poles, tripods, and whatever else your indiv=
idual needs call for..
> >
> > A professional field recordist should have at least 2 set-ups. One ultr=
a-portable and a really professional one. My experience says not to try mix=
the two worlds. Most portable recorders do not pair well professional mics=
and you need additional adaptors, etc - they are no designed for such a us=
e anyway. On the other hand, most professional machines do not pair well co=
nsumer electret microphones - you might need adaptors, plug-in power module=
s and they are not designed for such a use anyway as they are more bulky an=
d heavy..
> >
> > I think that there is no middle-way - no machine that will suit both wo=
rlds. You can be ultra-portable and that' s really useful sometimes, but yo=
u won' t have that pro quality in you recordings. You can go the pro way, b=
ut 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 n=
ecessities - 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 i=
s - and if at some point in the future you decide to invest more in good eq=
uipment , this will be you secondary ultra-portable set-up,
>
> I concur; this is good advice. But what's exciting about being in audio n=
owadays, and what drives all the tech talk on this list, is that the cheap =
stuff keeps getting better. Even today, in the listening room it will be di=
fficult to distinguish a recording made with a pro rig from one made with, =
say, a pair of Telinga clip-ons and an Olympus LS-10. Fieldcraft (putting t=
he mics in the right place at the right time) is more important than tech i=
n 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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