Screencasting with 250$ gear, having doubts...

Yoni Goldberg

New member
I'm tasked to record some screencasts for work, my working room is quiet but there might be some noises coming from the distance + the walls are not accoustic. I'd like to get a decent sound with a ~250$ gear, after some reading few questions popped to my mind:

1. Condenser vs dynamic - this one makes me bang my head... I really love how with condenser you can move your head freely without breaking out, on the other hand I wish not to complicate my workflow and clean-up every audio with dedicated software

2. How important is an accoustic shield? is it more important with condenser?

3. Why would I need a shock mount if the mic is on a stand and nothing moves on the room while I speak?

4. Does it make sense to buy XLR+USB microphone so I can start without an audio interface and buy it once my budget permits?

For example:
Amazon.com: Blue Yeti Pro USB Condenser Microphone, Multipattern.: Musical Instruments
 
Hi there and welcome to the forums!

1: Condenser vs dynamic.
There are pros and cons here. Dynamic mics are generally much less sensitive than condensers which doesn't mean they magically pick up less background noise,
but it does mean they're less likely to overload or distort your chain if you work close to them.
The fact that you can work closer to them means that background noise becomes quieter relative to the source.

If bad acoustics or hums noises in the room are a problem that you simply can't fix, staying very close to a dynamic is a good starting point.

Dynamics can be forgiving with regard to movement too (turning your head, etc).
The RE-20, in particular, is forgiving, partly because it's one of the few mics that doesn't get super bassy when you're very close to it.


2: Acoustic shield.
This is half answered above, I suppose.
In a weak room I'd probably work close to a dynamic. If I'm stuck with a condenser I'll probably use a shield or freestanding panels.
There's no reason you can't mix and match - that's just what I generally do.

3: Shock Mount
If you really mean 'nothing moves' then no, a shockmount isn't necessary, but it's just good practice to use one.
Condensers are generally more sensitive to handling noise by design so a condenser in a solid stand is not going to like it if you bump the stand or whatever.
I used an re20 on a solid table top stand for a while. A very short while! Apparently I type loud?!

4: USB mic.
Generally I don't recommend USB mics if the long term intention is to expand the setup, but a USB+XLR mic?
If it's a decent mic and it suits your needs...sure, go for it!

It'll let you get started and give you time to save up for the next step, as you say.

A lot of those USB mics are really surprising and have become very popular amongst podcasters, youtubers, streamers etc.

Hope there's something useful in there. :)
Let us know how you get on, please.
 
I'm tasked to record some screencasts for work, my working room is quiet but there might be some noises coming from the distance + the walls are not accoustic. I'd like to get a decent sound with a ~250$ gear, after some reading few questions popped to my mind:

1. Condenser vs dynamic - this one makes me bang my head... I really love how with condenser you can move your head freely without breaking out, on the other hand I wish not to complicate my workflow and clean-up every audio with dedicated software

2. How important is an accoustic shield? is it more important with condenser?

3. Why would I need a shock mount if the mic is on a stand and nothing moves on the room while I speak?

4. Does it make sense to buy XLR+USB microphone so I can start without an audio interface and buy it once my budget permits?
I have one question - what exactly to you mean by screencasting? Just voiceover work for computer screen captures? It sounds like it's not "live" work, but is it something that's done realtime, or you can do all the audio independently of the video content?

Probably echoing a lot of [MENTION=43272]Steenamaroo[/MENTION]'s comments, and I might change some depending on what you're actually doing, but just a few comments.
1. It sounds like you're also including the pickup pattern/sensitivity with your thinking about condenser/dynamic ("move your head freely"). Well, maybe on some, but I wouldn't call it a generality. I'd almost always vote for a dynamic in a room that's not treated or at least well isolated. The "picks up a mouse fart at 20ft" is not really much of a hyperbole. A/C noises, doors slamming elsewhere, etc. can all intrude.

2. The shield depends on the microphone and room in its effectiveness. A straight cardiod is not going to pick up much from behind (vs hyper/super) and so I wouldn't bother. A popscreen is probably not wasted money though (assuming you're not going to be on-camera and need a shotgun or lavalier).

3. If it's a dynamic mic on a floor stand, it's probably not needed, or a handheld design with internal damping you might get away with it. A large diaphragm condenser (LDC) almost always needs one, and even small ones if you're on an elevated floor can benefit, IMO. (It's not things "moving in the room," but inaudible frequencies and things your brain filters but the mic doesn't which travel up from the floor.) But, you should be high-passing everything anyway, and if the mic has a switch for that, you might not need to worry about it with any common dynamic.

4. I never used one, but if it works for you, I see a fair number of them for sale used on Craigslist, so it might be a cheap way to try something out to see if it works.
 
keith.rogers, Steenamaroo thanks, much appreciated!

By saying 'screencasting' I mean recording a course with mostly screen capturing and a bit of a talking head, the audio will play independely so no keyboard noises.

It seems like you don't value the added value of a condenser (high fidelity?) and recommends me to compensate somehow for the weak room, for example using a cleanup software. Why? I thought that the golden flow might be: condenser + shield -> xlr -> cleanup software, now I'm not sure.

I wonder why so many home-workers/blogger/poscaster are recommend to buy the Blue Yeti given that they record from a non-treated room?
 
Hi,
It's not that there's added value or higher fidelity. It's just a different type of tool.
Plenty of people use dynamic vocal microphones in world-class studios and broadcast suites.
The fact that they happen to be a better fit for a bad environment is just a happy coincidence for you. :)

I wouldn't factor in any 'clean-up' software. If that's part of your plan, the plan isn't good.

It's not like you simply can't use a condenser and that's that - Plenty of podcasters etc, as you say, are getting along just fine.
It's just that given the choice, I'd always recommend the thing that's less likely to cause a problem.
 
If you will be touching the table that the Mic stand is on, you need a shock mount.

The problem with a usb Mic would be that when you outgrow it, you have to throw it away and buy an interface AND a new mic. Better to buy an interface and mic separately, then upgrade each as you go.
 
...
It seems like you don't value the added value of a condenser (high fidelity?) and recommends me to compensate somehow for the weak room, for example using a cleanup software. Why? I thought that the golden flow might be: condenser + shield -> xlr -> cleanup software, now I'm not sure.

I wonder why so many home-workers/blogger/poscaster are recommend to buy the Blue Yeti given that they record from a non-treated room?
Well, probably most of the people here are doing audio recording, and not vlogs, but that's a guess! (When most folks record at home, they plan specifically to do it so there's no cleanup needed!)

Condenser microphones are, in my mind, best when you've got something with a lot of detail and quality worth capturing (e.g., good singers, acoustic instruments) and a good environment to do that. But, that's a recording view. Condensers are also the kind of microphones put into your computer and phone and cameras because they are sensitive and will pick up everything, because those manufacturers don't want you complaining about the fact that your camera didn't get your baby's first words! In those situations you don't care that it's picking up everything else in the world.

What are you planning to do with the "talking head" part of the video? Syncing separate audio to the video or using the camera's audio?
 
Thanks everyone, seems like dynamic mic is what I look for. What do you think about the combination of (a) Audio Technica ATR2100 mic (b) Focusrite Scarlett Solo interface? sorry for not including links, I'm not allowed to publis these yet

What are you planning to do with the "talking head" part of the video? Syncing separate audio to the video or using the camera's audio?
Frankly, I have no idea. I'm wrapping my head around this topic these days, would love to hear any recommendation of how to do this right
 
Thanks everyone, seems like dynamic mic is what I look for. What do you think about the combination of (a) Audio Technica ATR2100 mic (b) Focusrite Scarlett Solo interface? sorry for not including links, I'm not allowed to publis these yet


Frankly, I have no idea. I'm wrapping my head around this topic these days, would love to hear any recommendation of how to do this right

Hey, just caught your post. Some of my cast have over 10,000 views. This is what ya need to do.

1. The ATR 2100 is GREAT! BUT, the Shure SM 57 or 58 is just a tad bit better. ($99.00). I own 8 of all three mics. I use the 2100 or the 57 instead of my high dollar condenser mics for screen casting due to the fact that I am in a direct flight path of Dulles International Airport in DC.

2. Screw the shock mount, just don't bump the mic stand. If you lip the mic, the mount aint gonna do any good anyway. (When is the last time you watched a vid with a singer holding a mic with a Shock Mount attached to it)?

3. Purchase a Alesis 4 Channel FX USB mixer. ($99). I LOVE these little mixers. I have given 6 away and still have 4 left. I use their big brother most of the time. It is basically the same mixer with 8 inputs instead of 4.

4. WALK THE DOG! Your done!!!

If you go this route, PM me and I will set up a time to go face to face via my video conference room and walk you through the set up.
 
Sounds great, the Shure 58 looks promising.

Would you recommend a stand: floort stand or desk one?

p.s.
is it only me or the AudioTechnica sounds better here?
sounddesignacademy.com/audio-technica-atr2100-vs-shure-sm-58/ (add WWW)
 
Sounds great, the Shure 58 looks promising. Would you recommend a stand: floort stand or desk one?

I use desk mounted mic booms for 90% of my recordings using the spoken word. However, you situation will be determined by where you will be recording. Sitting or standing? Ask yourself, where is my comfort level?

p.s.
is it only me or the AudioTechnica sounds better here? sounddesignacademy.com/audio-technica-atr2100-vs-shure-sm-58/ (add WWW)

If it sounds better there than they have a poor recording location or you have a poor listening location. As good as the 2100 is, it will never surpass the 57 or 58 in the proper recording environment. The 57 and 58s built rock in the 70s, 80, 90, 2000s, and etc. If you watch the news, you will see the 58 on the platform for POTUS. (President of the United States).
 
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