Great sound for less than $200, the definitive answer!

Chrisk

Chrisk

Hire a sound guy. Now for that you probably won't get a seasoned Hollywood pro but you will find someone who is starting out with enough good kit and knowledge to do a good job. You can probably get a guy with the rode NTG1 and the Tascam DR-100 you were thinking of buying for a pizza and cab fare.

Talking of cabs you need to get to the other side of town do you?
a) ring a friend with a car and ask for a lift
b) call a cab
c)buy a car and rope in a friend who's never driven before to drive you


Also bear in mind there is no 'Magical Boom of Crisp Audio' that renders all those who wield it into mystical heroes of sound capture.
 
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If your budget is short you may find a sound guy with a Radioshack mic and cassette recorder will pay YOU to be involved. And if you have already bought your sound kit you may even be able to hit him up for equipment rental.
You've got to be creative when it comes to raising finances in this day and age.
 
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The issue is impedance.

From Wikipedia:

Electrical impedance, or simply impedance, is the measure of the opposition that an electrical circuit presents to the passage of a current when a voltage is applied...

Consumer devices and very inexpensive units, for the most part, are high impedance. High impedance (Hi-Z) equipment costs less to make; it is also ungrounded (two wires, not three) and is almost always unshielded. This makes high impedance devices extremely vulnerable to all sorts of RF interference. The longer the cable run the more vulnerable it is, and long cables can actually reduce the signal level and induce distortion. A cable run of ten (10) feet or less is recommended for Hi-Z gear.

Low impedance (Low-Z) equipment allows for longer cable runs, 100+ feet without any noticeable signal degradation or distortion, due to being grounded and shielded, and because most Low-Z mics generate their own electrical signal. Low-Z gear, since it is intended for prosumer and professional usage, tends to have better components as well. Low-Z mics all use XLR (3-pin) plugs allowing for more secure connections.
 
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Alcove Audio said:
The issue is impedance.

From Wikipedia:

Electrical impedance, or simply impedance, is the measure of the opposition that an electrical circuit presents to the passage of a current when a voltage is applied...

Consumer devices and very inexpensive units, for the most part, are high impedance. High impedance (Hi-Z) equipment costs less to make; it is also ungrounded (two wires, not three) and is almost always unshielded. This makes high impedance devices extremely vulnerable to all sorts of RF interference. The longer the cable run the more vulnerable it is, and long cables can actually reduce the signal level and induce distortion. A cable run of ten (10) feet or less is recommended for Hi-Z gear.

Low impedance (Low-Z) equipment allows for longer cable runs, 100+ feet without any noticeable signal degradation or distortion, due to being grounded and shielded, and because most Low-Z mics generate their own electrical signal. Low-Z gear, since it is intended for prosumer and professional usage, tends to have better components as well. Low-Z mics all use XLR (3-pin) plugs allowing for more secure connections.
Click to expand...

I wasn't taking this thread too seriously when it was suggested $200 for a sound kit, hence my light-hearted reply the first time. However, as usual you are right on the money here, and have responded to a poster's question with a very good and accurate reply containing great information.

I have added a link here to a tutorial that may be helpful to people who want to understand more about signal types, balanced, unbalanced, hi v low impedance etc.

http://rocksuresoundz.com/2012/01/02/audio-signals-basic-guide-to-levels-signal-types-and-uses/
 
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I never suggested sound kit for less that $200. I suggested considering hiring a sound guy who will bring gear worth far more than $200 and expertise.
From the many questions on this forum people's budgets often only stretch to rudimentary sound gear that will inevitably lead to compromises in quality. It's worth considering if putting that or part of that budget towards hiring a sound recordist or the gear would not be the better option.
 
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I've got a shoot coming up at the end of Feb and the only thing I'm spending money on is paying a sound guy $50/day. I just hope that will be enough to get someone with their own gear, even if it is just a zoom and a ntg-2, that's way better than what I've got, especially if they know what they're doing.

But, if I may slightly derail here, I've got a couple questions about hiring a sound person.

1) How should I word my ad? Sound recordist? Sound mixer? Boom op? It's just that usually on professional productions there are different people for all kinds of on-the-set sound jobs that I don't know how to clearly state I'm looking for a person to do it all...?

2) What kinds of questions should I ask in the interview to see if they know their stuff or are good? Hopefully they'll have reels and such, but are there any red flags to be aware of when hiring a sound person? Any golden questions?
 
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1. - Production Sound Mixer/Boom-Op with equipment needed for micro-budget shoot. Experience preferred. Small daily stipend, copy, credit.

2. - That's what your people skills are for. You'll never know from a reel how much the production sound was processed in audio post. How well they answer questions is going to depend upon your own audio knowledge. Your best bet is to call their referrals.
 
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If you advertise for a boom op you may end up with a guy/girl with just a mic on a stick (though that might be OK if you are planning to take sound to camera) so worth clarifying whoever applies will need a recorder.
 
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Dreadylocks said:
I've got a shoot coming up at the end of Feb and the only thing I'm spending money on is paying a sound guy $50/day. I just hope that will be enough to get someone with their own gear, even if it is just a zoom and a ntg-2, that's way better than what I've got, especially if they know what they're doing.
Click to expand...

$50 a day is not going to get a professional. For that kind of money you are likely to get a 'pretend-to-be sound guy' who arrives on a push bike with little experrtise and budget gear.
 
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Like I said, I'm just looking for someone who has a bit of their own gear (budget gear is fine) and maybe hopefully a little experience.

I have no delusions about snagging a pro for $50/day. Expecting that would be an insult to the pros out there. But hey, I'm still learning and have no issue working with someone at my level.
 
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At $50 a day you are fundamentally paying expenses. I have worked with many competent crew from all fields who are working on expenses. If it's a simple shoot you should be OK. I wouldn't expect a fresh sound recordist to have a battery of wireless mics and timecode hookups. You should be able to find someone with a decentish stereo recorder a boom and a shotgun willing to take on an expenses gig.
In fact I know of professional crew who will take on an expenses gig if they are quiet just to make contact with a new crew.
 
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Dreadylocks said:
Like I said, I'm just looking for someone who has a bit of their own gear (budget gear is fine) and maybe hopefully a little experience.

I have no delusions about snagging a pro for $50/day. Expecting that would be an insult to the pros out there. But hey, I'm still learning and have no issue working with someone at my level.
Click to expand...

Try and find the best person you can get. If you can manage a bit more try to. You will learn more from getting a really competent sound guy in an hour than you will in a hundred hours with a novice.
 
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