Portable Recording Gear

[Richard Monroe]

Yes, an SM58 will work fine with the H4n. Aside from that, in 4 track mode, you can use the SM58 up close and personal and also use the stereo condenser mics backed off a bit, simultaneously, and then mix, match and compare, to see what you prefer. And for the record, if I was annoyed, I would either tell you that, or not respond. The array of available recording options and equipment is bewildering, and no one, including myself, is familiar with all of it. This forum exists for people to ask and answer questions. The only thing that's tough is that not everybody's answer is the same, and just because two people differ in opinion does not guarantee that one of them is wrong. There's more than one way to skin a cat.
I'm a fan of the microrecorder/interface option, particularly the H4n, because it meets several requirements:

1. It allows you to start recording *immediately*, even if you own no other equipment.
2. It interfaces well with a wide variety of microphones, and talks to pretty much any computer you have. 3. If you upgrade down the road, and wind up building a real recording studio with thousands of dollars worth of gear, it will still be useful. I've spent about $40,000 in recording gear and instruments over six years, but the H4n fits in a guitar case, and goes where I go. With its onboard mics, it's a notepad for a recording artist. With better mics, it is a field recorder that is capable of critical live recordings.

What's not to love?-Richie

 

[fox929]

Thanks Richard again!

The only thing that questions me now is that here in Sydney, the radio station I stand close by use something which looks to be the Shure SM57, the one with the different grill. Does either have better sound quality? Seeing that i'll be using it both indoors and outdoors, does it matter?

Thanks again!

 

[darrin_h2000]

I characteristically use the Zoom with its own mics for off-the-cuff spontaneous sort of work, or a pair of AKG C2000B's whem I'm trying to do a critical recording.

I miss the mic inputs...but I shied away from the H4 due to the size...Im able to smuggle the H2 into places where they would rather there wasnt any recording being done.

you just have to look at the options and pick what is right for you in the end.

 

[fox929]

Actually if anyone can help quickly, that will be great. Can the Zoom H2 be used with the SM58? I would have waited for the H4n for Christmas or round about that time, but I needs to fast track [i'm going away] and will be doing interviews.

Obviously it has no XLR pins..

 

[Shadow_7]

Actually if anyone can help quickly, that will be great. Can the Zoom H2 be used with the SM58? I would have waited for the H4n for Christmas or round about that time, but I needs to fast track [i'm going away] and will be doing interviews.

Obviously it has no XLR pins..

Two possible catches there. The 58 being a dynamic needs a lot of gain. i.e. Rock stars who are almost eating the microphones while screaming. Is your interviewer going to get that close to the mic? In this day and age of swine flu, sars, and other things. At some point you're going to have to go to a 3.5mm connection, which probably means sacrificing the shielding offered by other options. Will you be recording in proximity of a radio tower? Did everyone turn off their cell phones? Not that you can't get it done with that mic. But the built in mics might prove the better option in a lot of situations. Or just play it safe and get the H4n. By the time you get the adapters, cables, and other specialty items for the same functionality, you could have just gotten it in the first place.

http://en.wikipedia.org/wiki/Zoom_H2_Handy_Recorder

http://www.samsontech.com/products/productpage.cfm?prodID=1916

http://www.zoom.co.jp/english/products/h2/index.php

 

[Richard Monroe]

Actually if anyone can help quickly, that will be great. Can the Zoom H2 be used with the SM58? I would have waited for the H4n for Christmas or round about that time, but I needs to fast track [i'm going away] and will be doing interviews.

Obviously it has no XLR pins..

Essentially, the answer is- maybe, but it is far from ideal. The H2 is designed to work with its own mics, or an external stereo mic with a 3.5mm stereo output. You can use an XLR to 3.5mm mono cable, and I think the H2 will then record 2 one channel while recordiing nothing on the other. I'm not sure what that does as far as panning, because I don't know if you can pan those 2 channels. You might have to pan the output in the computer so it comes out of both the left and right speaker. There's no line input, so an external preamp doesn't change the situation. If price is the issue, for your needs, this is an alternative

http://www.8thstreet.com/product.asp?ProductCode=44600&Category=Recorders

The Tascam has 2 1/4" inputs which can be configured for mic or line inputs. No phantom power, so no external condenser mics, unless they are battery powered, but it will work with dynamic mics, or it can be fed by an external preamp. All of this illustrates my point. The H4n is more versatile, because you can plug the mics you want to into it.

As far as the mics the radio people use, there are hundreds of models of handheld mics, some of which are dynamics and some of which are condensers (capacitor mics). The SM57/SM58 is really not that big of a deal. Down under, you might get better tariff advantages on this Australian made mic:

http://www.8thstreet.com/product.asp?ProductCode=45221&Category=Microphones

Does the grill matter? No. You'll need a foam wind screen for outdoor use on any mic, regardless of the type. A dynamic stage mic is a lot more useful for close mic'ing a specific source than recording at a distance. I would use it for an interview, maybe, or a trumpet. If I was recording a choir or a band from 30' away, I'd use a stereo pair of condenser mics, as a rule. That's why I like the H4n. Say I have an orchestra with a harp soloist, who is somewhat drowned out by the orchestra. I can record the orchestra with the stereo mics, and put a third mic on the harp as a "spot" mic, and then adjust the relative levels.

In conclusion, the H2 is a pretty good stereo remote recorder with an interesting mic array. The H4n is more versatile, and supports a lot more external mic options. And unlike Darrin, I don't have to worry about sneaking the thing into performances. I get paid to record things.-Richie

 

[darrin_h2000]

In conclusion, the H2 is a pretty good stereo remote recorder with an interesting mic array. The H4n is more versatile, and supports a lot more external mic options. And unlike Darrin, I don't have to worry about sneaking the thing into performances. I get paid to record things.-Richie

Well it does come in handy as a backup on paid jobs too lol...but its nice to get a nice digital file of concerts I attend.

And outside foam isnt 100% effective...you get much better results with a deadcat covering the elements...they are easy to make if you know how to sew and cost about $2.00 to make.

 

[Richard Monroe]

I've heard that about the dead cat type screens. The foam screen has worked fine for me when I needed it, but I've never had to use the Zoom in *really* heavy wind. Usually, that comes with rain, and my commitment to remote recording drops off pretty fast when water hits my gear.-Richie

 

[Shadow_7]

I've heard that about the dead cat type screens. The foam screen has worked fine for me when I needed it, but I've never had to use the Zoom in *really* heavy wind. Usually, that comes with rain, and my commitment to remote recording drops off pretty fast when water hits my gear.-Richie

Which is why I got into this recording thing. The show must go on, and if the performers are paying to perform (travel at their expense and other things). They don't take kindly towards your unprepared / unwillingness to follow through. IF you're going to do "remote" and it's NOT "indoors", you "need" to address ALL that that intails. i.e. IF you DON'T deliver, you DON'T get PAID!!! (and there could be liabilities depending on the nature of the commitment)

Even if it's blemished with rain drops, or just a picture from a cell phone, something is better than nothing. Not that it helps anyone feel better about the whole situation. But at least you tried. Not that you can / want to hold those results up and say, here's a sample of my work, hire me again. But then again, what if you could? It's why they make umbrellas, trashcans, ziplock bags, condoms, tape, and other means to an end. Or their commercial attributes, rain cape, underwater enclosure, mic duck, zepellin, .....

Although admittedly I'm still in the figuring out the whole all weather thing. I do have a couple plans, and addressing winds is a no brainer. The easiest way to remove wind noise from a recording is to NOT record it in the first place. My pocket cam fits nicely into an empty CD-R 50 pack case. But I'm still figuring out the roof / LCD + controls + View Port / lens part of that rig. You can't just use plastic wrap because of the wind. At least for video. But you don't really need a water tight enclosure either, just an umbrella with sides and a window. For the mic you need some sort of sacrificial cover to take the brunt and let gravity do the rest. Anything in proximity of the mic element does affect the sound, but with a zepellin type rig (solid roof ), it is possible to keep the gear safe and still functional in conditions. It helps if the conditions aren't that bad, and you've got to keep the size of the protective gear down to limit the wind profile. But IT IS possible to record in conditions. Never IDEAL, but possible.

 

[darrin_h2000]

Actually the condom isnt that bad of an idea...can any of you tell me where to get some smaller ones?...Ive tried mine and they are too loose...lol.

 

[fox929]

Actually i will just wait then. Less fuss and less mucking around with the h4n, so i'll continue to lug the macbook, mbox and mic around recording. It'll do until I work out how to get this thing.

Thanks guys!!

 

[charels barkley]

i have about the same ? i have a br900cd digital recorder porta studio whatever and i need help getting a mic for it i need a mic good for recording rap and some singing
please help if u have anything good under 150 private message me

 

[Shadow_7]

Actually the condom isnt that bad of an idea...can any of you tell me where to get some smaller ones?...Ive tried mine and they are too loose...lol.

Just get a bigger wind foam. Or keep putting socks on until it fits. Oh wait, you meant for the mic. You can also get those velcro cord ties and build up some structure. Helps to keep the mic cords from flapping in the wind too. Or out of the way of the camcorder. Or tie the whole rig to a fence on a hill, so it doesn't fall over. $100 in velcro cord ties does wonders. Rope means having knots and loose ends that flap around and make noise, plus you can't reuse them or repurpose them. Velcro is fine as long as you don't have to make adjustments while recording. It's all about the planning / pre-show work.

 

[Richard Monroe]

Actually, much of the remote recording I do isn't possible in the rain. If it happens, the performance simply may not happen. It may be that a rock performance will continue when the rain hits (I was at Woodstock), but you'll see the lead cello of the symphony orchestra with her $75,000 cello and her $20,000 Amati bow heading for cover. You'll find out right then that the show *doesn't* have to go on. Aside from which, with more delicate sources, *something* is *not* necessarily better than nothing. They are not looking for the sound of rain on a recording. Fortunately, most recordings are done at dress rehearsals rather than actual performances, and there are usually multiple rehearsals. The plan is to capture the performance under the best possible conditions, and I have had to record 3 or 4 rehearsals to get what I'm looking for. There's also a lot of stop and start, because the nice conductor can be pretty ruthless when one of the 88 cats he's herding screws up. The bigger venues usually have some cover for the orchestra, such as the Hatch Shell in Boston, and that will be enough unless you have very high wind.
By and large, my clients are aware that certain environmental conditions will prevent recording, but they'll be pulling up stakes before I do, as a rule. Of course, most orchestral recording is done in large halls, where my biggest problem is the natural reverb of the hall, which can sound great live, but be a bit of a problem for recording. Fortunately, for that work, I can use a lot more equipment than an H4n and run a lot of spot mics. My other main gig is early music, which is done outside quite a bit, and weather conditions and ambient noise are unavoidable challenges. That's the paying situation where I am likely to be using the H4n, and maintaining a fairly low profile. I can tell you this- a gut strung lute with gut frets is completely useless in the rain. When you see that West African Djembe getting switched out for something with a synthetic head, you know it isn't going to be pretty. For the record, I'm not really being defensive, just pointing out that one person's remote recording issues are not necessarily the same as another's. There are a lot of different situations.-Richie

 

[darrin_h2000]

Our Philharmonic never performs outside...but the Lyric Theatre isnt a bad sounding venue.
While I have done many individual performances of the members, Id love the gig to do the whole orchestra together...god knows I have enough mics...lol.

 

[Richard Monroe]

I think of a full orchestra kind of like a giant drum kit. The whole key is a great pair of stereo mics augmented by spot mics on the more delicate instruments. If the tympani don't clip anything, you're winning. I do a lot of smaller ensembles also, such as chamber orchestras and string quartets. My real love, though is early music Viola Da Gama, Crumhorn, bass recorder, a lot of weird instruments, often combined with vocals. It's often a costume affair, so I need to keep the gear small and mostly out of sight.-Richie

 

[darrin_h2000]

Do you ever overdub the solo instruments...or solo vocals?

 

[Shadow_7]

A paid gig is a paid gig.

I tend towards the more sports like stuff. Which like football, goes on in rain, wind, snow, hot, cold, or all of the above in one day. Drumcorps and Marching band shows happen regardless. The only delay is lightning. Otherwise there's just too many groups to process in a given day to stop the show for rain. Must finish before local noise ordinances and such kick in. And for the big regional, those can be an all day afair. Sometimes several days. The only wooden instruments in drumcorps are drums and props. Most of which cost less than that bow for the entire line of instruments. And are otherwise painted in water proof / resistent paint. Or covered in tape and otherwise expendable.

Not that I'm risking much. I have maybe $2K in recording electronics. The rest is stands, cables, and such. Only the mic and camcorder will be exposed, assuming that I'm prepared with a poncho or other gear to keep myself protected. And those things on/near my person, batteries, flash cards, field recorder

-----

As far as the OP. If your interviews are going to be aired, and not just for taking notes or a student film / class project you should use the best gear that you can afford. At some point you want to sound better than a 911 tape. If only for your own sanity. Fortunately there's a lot of good and cheap gear out now. It's a good time to enter the recording genre. Not so much if you want to make a living at it. Given that you're now in competition with anyone with a cellphone. And we're otherwise getting used to internet quality media.

 

[Richard Monroe]

Do you ever overdub the solo instruments...or solo vocals?

Some of my early music people will do that in the studio, and I have added a voice to a small ensemble that simply wasn't there in the first place, but by and large, my experience with classical musicians is that they want no part of modern multitrack recording. Hell, it's hard enough to get them to agree to a spot mic. The more delicate instruments give me less grief, though. You can see the grin on the harpist's face when told that she can now blow away the brass section! Classical vocalists are often the biggest pain in the ass. They tend to believe that vocal mics are the work of the Devil.-Richie