Hmmm generally they will mainly be that rackmount size, there’s not many I know that are more desktop friendly, you would have to do it either with a dsp system like the apollo or with 500 series versions of preamps and compressors
Reverb or ebay are solid and typically safe
A few inches away from your mouth
Pretty much yeah
Got it. TYVM for all the help. I think I have a pretty solid idea of what to look into now at least.
Correct me if I am wrong, but wouldn’t that (depending on where the door is) pick up that noise perfectly too?
@db_Cooper overhead-large diaphragm may work in this situation. Cardiod pick-up pattern and off to the races.
There used to be like two that were half-width. Can’t remember what they were or who made them if my life dependet on it.
As you have those alu-extrusions there anyway, why not get two angle connectors and mount it vertically?
Yes, but you can mitigate that by dialing in gain and gating, also depends on how far away the door is, if it’s far away enough it’s not going to be that big of an issue
That’s what I would be concerned about when it comes to picking up noise personally
Shure SM57 LC “on a stick” would work. This would however show up on a webcam feed.
For people in the know, the SM57 will probably get a nod because it is a been there, done that solution.
My recent acquisition is a small diaphragm condenser, does not take up nearly has much room in my face compared to the USB mic (or the never realy used MXL 770).
Keyboard noise is greatly reduced (which might be down to the shockmount), have not tested room noise with it yet.
Yes, if you can get close enough (which would involve being in frame) the 57 lc is tried and true, would work very well for the price
But why not try a Lapel Microphone? Personally, I use a AKG C 417 PP daily for my video conferences via zoom. Everything else was too impractical for me in the long run or the sound was not convincing.
When shooting a film under time pressure, I always choose Lapel Microphone for the voices instead of an NTG3 or similar.
EQ or at least a low cut should be used and, ideally, a compressor and a noisegate.
The Sennheiser ME 2-II is almost industry standard, but the Sennheiser MKE 40-EW in particular sounds outstanding.
Sorry for the delayed reply here. I wanted to make sure I was actually digesting the info yall were talking about and had a bit of research to do.
Its about 15ft to the right of the rig, but facing it.
The rig is partialy torn apart (prepping for a couple new additions to it that I just wrapped for myself). I have a desk that goes over it and part of that includes a storage shelf in that pace on the right between the rig and the wall. I can obviously get rid of that and add the channel strip, but they would have to be pretty deep. a full 1u standing upright would actualy stick up past my shifters since the rig is ultimately pretty damn close to the ground. I guess another option would be to mount it behind the monitors in a “set and forget” place, but that would be completely unreachable without getting all the way out of the rig and walking around the corner.
Kind of a dumb newb question. From my research, it seems that most interfaces come with software that allows for gating and mimicking several other analog pieces of recording equipment. What exactly is the benefit with going with a physical channel strip over a software one?
Seems like overall my solution is going to be far more down to tuning my setup than the setup its self given how trash the recording conditions are, correct? If so, any reqs on videos/articles covering this kind of tuning?
Ok, im a bit confused by this. I thought shotgun mics are hyper-cardiod. I thought the main issue with them was washing out some of the higher frequencies in more noisy environments leading to a little ess natural sounding recording, not that they pick up noises perpendicular to their axis well. What am I missing?
Yah… I do realize that I am being a little bit ridiculous wanting the mic out of the feed given all the issues with my recording enviornment… As it goes though. Ima try and pick up everything second hand anyways so even if I loose $1-200 flipping them back when it doesnt work out thats fine for a new toy for me to play/learn with for a couple months.
Good news is my keyboard is quiet as hell. Ive never had it be picked up even when using a blue snowball 3ft from my face cranked so high you could hear the TV through the wall behind me.
That is 100% an option I am entertaining (and the way I probably would have gone before @M0N seemed so unconcerned about my recording environment being unable to be dealt with). Ultimately, a setup I dont have to put on every time would be much more convenient, so I am going to try other stuff first, but a lapel mic very well may be what I end up falling back on
The Supercardioid I tried for my conferences was the NTG3. I found it rather unsatisfactory for voices and you had to speak really precisely into it.
But I guess you will probably move your head less.
I would agree to @M0N and attach it in the middle above the monitor. You could try to reduce the reflections behind the seat a little.
I was able to achieve the most natural sound for my conferences with a borrowed Neumann KM 185. Especially off axis or with bad angle it didn´t discolor my voice. But a hypercardioid would probably pick up too much background noise in your setup.
If you can use a lapel mic, honestly that’s the best option. I didn’t mention it because I would have thought it counted for in frame, but it would be the easiest most effective way to pick up your voice without picking up most of the problems
Put it in your helmet like F1 drivers do 
Røde Boom mics are designed for broadcast and film in a professional environment and are tuned for on site mic Preamps and mixers and a host of other modifiers to sound good. Specifically blimps and dead cats to mellow out the highs and cut extraneous sound interference.
youtubers mis using hypercardioid booms or not properly treating them because talking into long stick is A E S T H E T I C is why a huge amount of youtube videos are weirdly sibilant to me
I would prefer the mic completely out of frame tbh, but I realize that there are some major issues with my setup that make that tough. A small(ish) lapel mic that just doesn’t block my face or torso in any major way is acceptable even if I would prefer 0 obtrusion.
You can run the cable under your shirt and clip it to your collar under your chin
And having no idea on how to properly process and mix their audio doesn’t help either lol
Even a Neumann can’t fix cheap preamps, no EQ and narcissistic Youtubers.
All just about showing off lol - Why else do gamers use
large diaphragm mics in what is probably the most unsuitable environment for them.
It pains me to see a high end mic just plugged directly into a scarlett solo or something lol
Hypercardioid is a different pattern my bad lol
Yeah. There’s this weird “Content creator bling” issue with streamers and youtubers where they spend hundreds on expensive mics and huge amounts of shit interfaces.
I mean look at Jayztwo cents. Spent 700 dollars on a mic but used a cloud riser and a scarlet or whatever and was confused as shit why it sound bad. Had to invest in a goXLR rig to get a half way decent preamp.
When that mic was designed for non Video broadcast booths, recording rooms etc. Properly treated and isolated to proper preamps and AD/DA set ups. not his white walled man cave covered in computer screens and hard plastic surfaces
A Hypercardioid ist more narrower and more agressive in canceling but picks up more shit from behind it.
That’s why supercardioids are commonly used for boom mics.
But now back to the topic.
Edit:
wide - cardioid > supercardioid > hypercardioid - narrow
Espechialy hypercardioids need a very experienced man at the boom to keep the narrow sweetspot on the subject. The sound man must be careful to not record his steps or outside noise with the back of a hypercardioid. But it´s the best choice for recording voices in reverberant interiors. A supercardiod is a lot more forgiving.
People do the same thing for higher end audio, they go out and buy something like an 800s, arya, clear, etc, run it off a modi magni stack or e30+l30 and wonder why it doesn’t sound all that good
Anyways @eskamobob1 if you can bare to have something small and unintrusive on you, go with a lapel, it will honestly make life easier and would make it so you don’t have to go through as much effort and configuration to get it to sound good
If you really would prefer to not have anything in you or visible, check out something like that oktava MK-012 because of its wider sweet spot and more forgiving nature when it comes to preamp and adc (I’m not sure who said it here but small diaphragm cardiod or hypercardiod might be the play for flexibility, think it was @German_Power ), the audio technica I mentioned also does a good job there but with a smaller sweet spot and a bit more tweaking, as does the rode, but @PABastien is correct in that it has a higher potential to sound bad if it’s set up bad or attached to a bad preamp. Personally I think those can be mitigated enough to where it won’t be a glaring issue but it wouldn’t be the most ideal setup either
For other mics I would also look into a Warm Audio WA-84, Shure KSM137, and Sennheiser e 914 as well. As imo those are good for maintaining body with clarity to avoid being nasally or sucked out, have a large enough sweet spot to not be an issue, and generally should meet needs with the right preamp and processing. For now perhaps shy away from the audio technica or rode since I after thinking about it I am slightly concerned it might be too picky (but still think it could work)
Regarding the software vst plugin question, yes most interfaces come with a trial of a daw or vst plugins, but in order to use those real time you have to jump through lots of hoops and it’s kinda a pain, personally for an application like this, I really find that having a channel strip or some chain of preamp > expander/gate > EQ > compressor to give much better results and ease of use for realtime audio applications. Those plugins are made for working with prerecorded material in a daw, which is not your use case. It’s also more set and forget instead of having to run intensive software each time you start your pc and want to use your mic (which also adds latency, and you have to use virtual cables to route audio in and out of a vst host). There are interfaces which can do this processing in real time like the apollo but there aren’t many that are within your budget. For what channel strip or signal chain you go with will be determined by what mic you end up deciding on