Here is my situation. I have a Canon T2i. I bought the Rode Videomic Pro, and I want to use an external digital recorder to connect my Rode mic to. Now my dilemma is should I get the Zoom H4n or the iPad 2 as a audio recording device. Sure the H4n is built for audio recording, BUT if the iPad 2 can do it, then I want the iPad. I know I can connect the Rode via the Camera Connection Kit along with the Griffin iMic. But I don't know if the iPad 2 does stereo recording. Thoughts? Thanks!
iPad 2 for audio recording?
- Thread starter Furiousracer313
- Start date
As always, you taught me something new. Thanks Uncle Bob.
The Rode VMP is a high impedance unit, so does not have the grounding and shielding of low impedance units. The best you can do is use top quality high impedance cabling to reduce the chances of RF and other interference. Double down on turning off all appliances, computers, cell phones, wi-fi, etc., all of which can easily interfere with high impedance mics and recorders.
You can use an H2, DR-8 or similar unit for the VMP, but will have to replace it when you upgrade to low impedance XLR mics. The Tascam DR-100 would probably be a good choice, and you wouldn't have to upgrade later on.
You can use an H2, DR-8 or similar unit for the VMP, but will have to replace it when you upgrade to low impedance XLR mics. The Tascam DR-100 would probably be a good choice, and you wouldn't have to upgrade later on.
Last edited:
So from doing some research I compared the DR-100 to the H4n. The DR-100 seems to be a better choice. The only difference I see is that the H4n does multitrack recording, and the DR-100 doesn't. Isn't it important to have multitrack recording when it comes to making short films?
There are several significant differences between these two units. One of which being that the H4n has some multitrack capabilities abiet of limited use to location sound without a mixer being placed in front of the inputs. Being able to have realtime control over the level of signal coming from the microphone(s) is an important part of location sound. The H4n requires the use of menus and buttons, making it impossible to respond quickly to changing levels let alone trying to adjust 4 inputs. the DR-100 has knobs/wheels.
Regarding multitrack recording on location:
Yes, multi-track recording offers some additional flexibility in regarding to being able to record each input to it's on channel. Typically, when recording with only two tracks, the boom is sent to one track while a mix of any lavs in use is sent to the other track. Having the lavs mixed to one channel is only a problem when there is a problem with one of the lavs (typically clothing noise) which contaminates the track if any dialog is being spoken at the time of the noise. Unless the shot is a wide one, where the boom simply cannot be used, all shots are boomed, regardless of whether lavs are being used or not. This is why the boom get's it's own track. Multi-track (iso track) recording allows each lav/plant/etc mic to get it's own channel and problems with one does not contaminate the other mics recording. In either case, being able to control the incoming level of the signal is important to maintain acceptable signal level while at the same time preventing overload/clipping further along the gain stages. This kind of work requires someone dedicated to managing these signals (location sound mixer). While some of us, due to budgets, mix and boom at the same time, typically film sets have someone dedicated to the mixer, and one or more boom ops with appropriate monitoring hardware to know what their mic is doing. Additionally, it is usually necessary to provide two tracks of a mix recording as well for dailies. These tracks are important because they are the primary audio tracks and the iso tracks are there to cover any problems. So, even if you could iso track with the h4n, you'd still need to record a 2 track mix.
Also, multi-track audio requires close attention to logging and file naming since an editor will be assembling and syncing (manually or with assistance from something like pluralize) and the quickest way to piss off an editor is to give them a stick or cd with a butt loads of files named 0001_23.wav and such with no notes correlated the file names to scene and take numbers. Part of what I do is during breaks or between setups, I transfer files to a laptop, and rename each file according to the scene/take/actor. Oh, we haven't talked about the necessity of a proper marked and used slate.
In my experience, most short films are lucky if they can get someone qualified to swing a boom with proper microphone selection, wind protection, shock-mounting, and monitoring. The one time I decided to provide the director with iso tracks for a short film, they seemed bothered with so much data and complexity. Now, I just record it, hang on to it, and after principal phonography is done, I drop a quick note to the editor that I have the isos if he runs into any problems with the 2 track.
For someone just starting to get involved with sound, I would suggest first purchasing a quality shotgun mic, boom pole, shock mount and wind protection, and either flat response closed headphones or ear monitors. The next purchase in your case would likely be a recorder capable of recording that microphone with adequate fidelity and control and the ability to monitor what your microphone is doing.
The number one factor in the quality of production sound is the skillset of the person swinging the boom, the second is the quality and appropriateness of the microphone selected. Also keep in mind that by purchasing a quality microphone, it'll be something that remains in your kit long after you have upgraded recorders, mixers, and several generations of cameras. Things like boom pole, shock mount, and wind protection should not even be a factor since they are considered a NECESSITY for any location away from a studio environment.
Regarding multitrack recording on location:
Yes, multi-track recording offers some additional flexibility in regarding to being able to record each input to it's on channel. Typically, when recording with only two tracks, the boom is sent to one track while a mix of any lavs in use is sent to the other track. Having the lavs mixed to one channel is only a problem when there is a problem with one of the lavs (typically clothing noise) which contaminates the track if any dialog is being spoken at the time of the noise. Unless the shot is a wide one, where the boom simply cannot be used, all shots are boomed, regardless of whether lavs are being used or not. This is why the boom get's it's own track. Multi-track (iso track) recording allows each lav/plant/etc mic to get it's own channel and problems with one does not contaminate the other mics recording. In either case, being able to control the incoming level of the signal is important to maintain acceptable signal level while at the same time preventing overload/clipping further along the gain stages. This kind of work requires someone dedicated to managing these signals (location sound mixer). While some of us, due to budgets, mix and boom at the same time, typically film sets have someone dedicated to the mixer, and one or more boom ops with appropriate monitoring hardware to know what their mic is doing. Additionally, it is usually necessary to provide two tracks of a mix recording as well for dailies. These tracks are important because they are the primary audio tracks and the iso tracks are there to cover any problems. So, even if you could iso track with the h4n, you'd still need to record a 2 track mix.
Also, multi-track audio requires close attention to logging and file naming since an editor will be assembling and syncing (manually or with assistance from something like pluralize) and the quickest way to piss off an editor is to give them a stick or cd with a butt loads of files named 0001_23.wav and such with no notes correlated the file names to scene and take numbers. Part of what I do is during breaks or between setups, I transfer files to a laptop, and rename each file according to the scene/take/actor. Oh, we haven't talked about the necessity of a proper marked and used slate.
In my experience, most short films are lucky if they can get someone qualified to swing a boom with proper microphone selection, wind protection, shock-mounting, and monitoring. The one time I decided to provide the director with iso tracks for a short film, they seemed bothered with so much data and complexity. Now, I just record it, hang on to it, and after principal phonography is done, I drop a quick note to the editor that I have the isos if he runs into any problems with the 2 track.
For someone just starting to get involved with sound, I would suggest first purchasing a quality shotgun mic, boom pole, shock mount and wind protection, and either flat response closed headphones or ear monitors. The next purchase in your case would likely be a recorder capable of recording that microphone with adequate fidelity and control and the ability to monitor what your microphone is doing.
The number one factor in the quality of production sound is the skillset of the person swinging the boom, the second is the quality and appropriateness of the microphone selected. Also keep in mind that by purchasing a quality microphone, it'll be something that remains in your kit long after you have upgraded recorders, mixers, and several generations of cameras. Things like boom pole, shock mount, and wind protection should not even be a factor since they are considered a NECESSITY for any location away from a studio environment.
Last edited:
those kida of adapters don't really do anything.
excerpt from "http://www.mediacollege.com/audio/balanced/"
Balanced audio is a method of minimizing unwanted noise from interference in audio cables. The idea is that any interference picked up in a balanced cable is eliminated at the point where the cable plugs into a sound mixer or other equipment.
Balanced audio works on the principle that two identical signals which are opposite polarities (often erroneously called "out of phase") will cancel each other out. The cables used in such systems are designed to carry two versions of the signal and manipulate the polarities of these signals to eliminate noise.
Without a transformer, your still unbalanced.. lol
Last edited:
I have recorded audio with the iPad 2 and GarageBand. While I love my Apple stuff, I don't think I'd use this for film audio. Yes, you can have up to 8 tracks, but you can only record to one track at a time.
Honestly, I'd get something like a Fostex FR-2 instead. The LE version is the same price as the 32GB iPad. Not as fun as the iPad, but will give you better results.
Honestly, I'd get something like a Fostex FR-2 instead. The LE version is the same price as the 32GB iPad. Not as fun as the iPad, but will give you better results.
Thanks guys. I think I'm going to go with the Tascam DR-100, Rode NT3 for indoors, and I'll use the Rode Videomic Pro for outdoors since I already have it. Sounds like a good audio setup right? Thx
Alesis has a dock coming out which will give XLR & 1/4" inputs to the iPad - not sure if/when it'll be updated for the iPad2: http://alesis.com/iodock
While it should make the iPad a much better audio recording device I have a feeling it'll be better suited to musicians who can take advantage of onboard effects, overdubbing, etc - if you don't already have an iPad it isn't likely to be cost effective for field recording. If you really want a cheap multitrack field recorder I'd bet the Zoom R16 or R24 is a far better solution for less.
While it should make the iPad a much better audio recording device I have a feeling it'll be better suited to musicians who can take advantage of onboard effects, overdubbing, etc - if you don't already have an iPad it isn't likely to be cost effective for field recording. If you really want a cheap multitrack field recorder I'd bet the Zoom R16 or R24 is a far better solution for less.