please help…need handheld mic for sony pd170 $700 ??

Videomaker – Learn video production and editing, camera reviews Forums Technique Sound please help…need handheld mic for sony pd170 $700 ??

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    • #41243

      hello guys…I’m new and unexperienced to this… but I am starting a video company I am basically filming clubs, interviews with artist, stageshows, and things of that nature. I currently only have the mic that came with the pd170… I know I want a wireless mic handheld…

      I called this guy at the camera store ….he said for $700 he has a sennheiser wireless handheld mic and a lavalier mic with the on camera mount transmiter. Is this worth the buy ??? for what I am doing do I need this ??

      do I need a better shotgun mic for the club events ?? or is the one I have sufficient enough ?

      sorry for the dumb questions….again I am new to this..but trying to learn


    • #175437

      thanks for your response and help compusolver….I ended up buying the mic yesterday (b4 I saw this post) I got a deal… $600 total the sennheiser eng 100 g2 along with a shure sm 58 mic…

      problem is I want to record the sound from the club (dj’s & music ect..) as well as have pple in the crowd hold my handheld mic and do shout outs also..

      If I hook up the cube (transmitter ) to the sound system…I cant use the cube for the wireless handheld..

      please help with any suggestions… but I definately want to use the handheld for the shout outs..(people in the club)

      thanks for your help

    • #175438


      Getting good sound at club gigs, the challenge never ends. When you as the video guy/gal do everything right, you come to realize that a LOT of the time it is the club sound system that is the problem, or the bands speakers/amps or the distortion level of the original vocals. So if you record it right, what you get is distorted vocals. The better you are at recording the sound, the funkier can be the final result!!

      Here are a few random thoughts about your audio adventure for a blustery low temp record setting Easter Sunday here in DC land.

      Anyway that the hand mike could be transmitting to either a band amp or the house system. Then have a mike or feed, wireless or cable, input to cam from that point.

      Re Hanks idea of mike placement at 18 inches from amp; careful here due to some risk of the mike being stomped or knocked over. I guess one answer is to hang from ceiling. The way I work, I sometimes am physically (with cam) hovering around the singers, or lead guitarists, or bassists amp or speaker monitor, i.e., range of 18 inches to 4 feet, so my PD170 shotgun mike picks up the direct sound fantastically well.

      Are you going to be doing dub style along the lines of those djs/rockers/producers when they created the original raves in the bad part of Kingston Town mon when bad parts were the only parts. Reason I ask, if your hand mike raps are going to be only between songs, rather than all throughout, you might consider a mixer set up where a third mike (maybe on camera even) is dominant until you start the word play. But generally simpler is better in these environments.

      Hope you dont encounter on a regular basis police calls coming over your wireless system. The wireless systems used by a couple of the bands I shoot have fun and games with this one. (Some of this seems to be coming from Presidential motorcades here in DC; our blues haven sits on one of their regular routes.) Actually, outside radio traffic might be cool to riff off of for your gigs, if its predictable.

      Lately, I have been attaching an Audio Technica Pro 70 lav, high up on the cable (cable #1) running from the center most mike on stage used by the band during performance. Typically, this is the lead singers mike. (Shoot mostly blues and trad rock groups, so lead singer often plays guitar and/or mouth harp.) The power box for my lav I clip towards the bottom of cable#1, near the floor and out of the way. (Attaching lav and box to mike stand also an option.) With a 10 foot XLR cable I connect from the box over to my cam. (Havent had to use 20 footer, but its ready.) The combined inputs from the lav and my on-cam shotgun produce amazingly fine audio, mixing crisp sound from the middle with amped sound from whatever the visual is showing courtesy of the shotgun. (Recording at 16 bit.)

      For my audio settings for the PD170, I have evolved to the following as the opening setup for live band and loud club shoots. Both lines are at the attenuation setting of course (all the way down position). In manually setting levels for both channels, there are 32 clicks from zero to max. I would suggest, not exceeding 16 clicks, the midpoint, for openers. If really loud, maybe only 8 clicks. Main thing is not to slam bang into the red all the way to the right. One of the few dozen things you can monitor on your viewing screen.

      (Saw Sinead here not too long ago on her "Reggae" tour. Think she had Sly and Robbie on riddim. Great show. She seems often on the verge of a nervous breakdown in her singing; then she laughs and smiles childlike in between. Most of her tunes were from Burning Spear. Don’t know what’s up with that. My favorite of that show was her intense take of Tosh’s Steppin Razor. Very disappointing that this was not on her CD. Live show much better than CD overall.)

      Have Fun.

      REGARDS TOM 8)

    • #175439

      thanks for the advice………


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