Shotgun    HandHeld     Wireless   Boundary    Mixers   Portable Mixers
 

Obviously, you will need something to plug your microphones into.  It sounds simple enough, and you may wonder why you go with a mixer - but once you have a situation where you have multiple microphones and other audio inputs, you will be glad you purchased one and became familiar with it BEFORE you actually really needed it.

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Mixer
Mackie MS1202 VLZ mixer   $299
	This is a high-quality, compact mixer that can accommodate up to 4 microphones and 4 line level sources (tape deck, CD player, computer sound card, etc.)   To develop the new XDR™ (eXtended Dynamic Range) mic preamp, the engineering team started with blank paper, concerned only with matching or exceeding the performance of $500 to $2000-per-channel esoteric preamps. They went through hundreds of iterations and revs and spent countless hours subjectively listening (and arguing). They started all over again several times. They scoured the world for rare parts. Then they spent more time critically listening and evaluating the design with every high-end microphone you can think of. Then they brought in veteran recording and live sound engineers for more exhaustive listening tests.
Alesis MultiMix 8   $299  - Recommended by VideoMaker (Hook this up to your computer and the included software and you can record up to 8 channels straight to your laptop.
	The Alesis MultiMix FireWire 8 Mixer is part of the new line of MultiMix mixers featuring FireWire data connectivity. The MultiMix FireWire Series includes 3 different tabletop mixers, all featuring exclusive DICE II FireWire technology. Allowing for transfer of multiple audio data streams from mixer to PC using a standard IEEE-1394 interface, these mixers provide lightening fast connectivity to a wide range of PC-based audio production applications. The MultiMix FireWire mixers are compact mixers featuring low noise analog electronics, 100 studio-grade 28 bit digital effects, and rock-solid construction. The mixer features high-gain mic/line preamps, phantom power, auxiliary send/returns, and on-board effects engine including reverbs, delays, chorus, flanging, 3-band EQ per channel with high/low shelving and mid band pass/reject. Additional features of the MultiMix FireWire series include separate 1/4 in. balanced main and monitor outs, headphone out, integrated FireWire port to transfer audio directly between the mixer and your computer, and 24-bit stereo simultaneous input/output over a FireWire 1394 connection. Plug and play operation is available under Windows XP and Mac OSX. The FireWire mixers also come bundled with Cubase LE recording software. With the MultiMix FireWire Series Alesis has made multi-track recording to PC a viable and affordable possibility for the modern artist/producer.
Beachtek DXA-8 Ultimate XLR Adapter - dxa8
	reccommended by Jan Oze  - rThe DXA-8 Ultimate Adapter is a superb front end for DV camcorders. The no fuss limiters on each channel eliminates distortion caused by overly hot inputs ... www.guygraphics.com/productID904.html - 12k - Cached - Similar pages-
Behringer BCF2000   -  $199 -  n videomaker mag, buy link - also See Stephen Noe below
	The exciting new B-CONTROL Series combines the unlimited versatility of today’s audio software with the feel of real controls. It lets you move real faders and turn real knobs to control all the virtual gear in Cubase, Cakewalk, Logic Audio and other major audio software. It’s the intuitive way to control and create music with a real hands-on feel. The choice is yours—faders (BCF2000) or knobs (BCR2000). Tired of using a mouse? Want to control your synth, mixer, effects or signal processor with real controls? Pick the B-CONTROL that matches your “virtual hardware” or cascade them together for the ultimate workstation. The BCF2000 is an innovative, hands-on control surface with ultra-precise 100-mm motorized faders for the ultimate control of virtual mixers, organ-drawbars, synths and samplers. You can make group moves that you can’t make with a mouse—and the faders are motorized for automated control!
		I
JL Cooper Fadermaster Pro
Edirol FA101  $ 499
	The FA-101, Edirol's first Firewire audio interface is a smashing 10x10 audio interface, capable of 24-bit/96 kHz at a full 10 channels in and out. You can record and monitor all 10 channels simultaneously in full duplex -- phenomenal audio power for the studio musician. In addition to 10x10 24-bit/96kHz performance, the FA-101 also offers stereo recording and playback at 24-bit/192kHz for performance at DVD-A quality. The portable musician will love that the FA-101 draws its power completely from the Firewire bus -- there is no need for an electrical hookup. At an event, all of the band's hardware can be routed through the FA-101 to output to monitors and at the same time the show can be recorded and during the break, CDs burned to sell on the spot. The performance DJ will rely on the FA-101's rugged metal chassis to allow him to pound the clubs without worrying about the state of his audio interface. Back at home, the FA-101 will return as the centerpiece to the home studio.
Pre-amps
Edirol UA-25
Edirol UA-101

stephenlnoe

Posted: Aug 30, 2005 - 22:37    Link to Thread Martin, I use a Behringer BCF2000 for mixing. This is a midi mixer and controls sound levels in all capable programs. It also has a Mackie emulation mode for Sonar and Cubase. The generic surface works perfectly with Edition's mixer for panning and faders (like the JL Cooper Fadermaster Pro). If you want pro sound you've got to move up the food chain. The Edirol UA-25 will do the trick. The preamps are very good. I use an Edirol UA-101 which is way up the food chain (with a noise floor of -120db) but the UA-25 is ideal for V.O. You'll need a mic to connect to your nice pre-amp. The one you listed (Rhode NT1-A) is a very, very nice mic and would serve well for almost anything. I've used one and the V.O. is like buttery smooth. I have an AKG Perception 200 which is also like butter and it gives you -10db attenuation right on the mic barrel and a bass roll off switch which is very nice to have for clarity. Either way you're in the world of premium sound. The camera trick with mic doesn't cut it. The noise floor for most cameras is -50db which is not silent. If you select the UA-25 you can use both audio cards with Edition and any other audio program you have installed. The attached audio clip was a gig I did on August 10, 2005. Now this is way over and above V.O. but when you get solid sound equipment it may lead to live music gigs. You can't get audio like this out of a camera's audio circuit (Click here for 5.1 surround using Edirol UA-101) and likewise you can't really get great V.O. out either. An Edirol UA-25 and Rhode NT1-A would be a dynamite start. If you can afford a sound card with more discrete input and ouput channels I'd go for it simply because the quality of your audio means a tremendous amount to musicians.

Cam: SonyTRV17; Panasonic DVC30 w/Breakout XLR 

PC: SYSTEM#1-LE6 P4 3.4 1GB Ram-SATA-PCIe X600/256 Sony DL/DVDRW Moviebox Deluxe, Contour Shuttle; SYSTEM#2-LE 5.62 AMDXP 2000 1GB Mem EIDE Drives NEC2500DL nVidia FX5500; SYSTEM#3 Dell Laptop LE5.52 

Audio: SYSTEM#1-Realtek; SYSTEM#2-SBLive!; System#3-Sigma; Edirol UA-101, M-Audio MobilePre, AKG V.O. Mics, Behringer BCF2000 Mixer & 2031a monitors 

Midi: Yamaha CVP700 + PSR270 w/Cakewalk Sonar 4 Producer DAW & Soundtrek Jammer, Ableton Live 4, Propellerhead Reason Adapted 2.5 
 

Graeme Fullick

Posted: Aug 31, 2005 - 02:58            I'm with Stephen on this one. Could not agree more. I use an Edirol FA101 (probably between Stephen's rig and the UA-25 in quality). Fantastic stuff with my Rode NT1000 mic. Using a camera pre-amp circuit just will not give you anywhere near the same result - I know, I have been there and done that and can compare the two. The UA-25 even has a nice soft limiter on it so that you can get away without using a compressor - and as Stephen said - it will coexist quite comfortably with your other sound card. Just make sure you select whichever one you want to use in windows for each program. Also it could not be easier to set up. Plug into the USB port - add drivers - and your away.   Signature: Graeme

tvprich

Posted: Aug 30, 2005 - 22:45           Fidel, I've been using a Senheizer 416 -or- 416T for about 10 years now. IMHO Nothing compares to this Crystal Clear Crisp Rich Sound this mike picks up. This little shotgun is the little brother of the 418 that's used widely in the movie industry. You usually can pick up a good used one for less than $600. I Highly Recommend that you at least go and listen to one of these little gems at your local broadcast equipment dealer.   Signature: Rich Tamayo, TVP Studios 2002 Emmy Award Winner www.TVPstudiosBurbank.com

gwoiler

I have to second the . I have done many VO's with it with professional narrators. That and a  and ... well... do you need better? Only an audio file maybe could tell the difference. Before the SM58, I used the vx2000 camera setting on my bed and me sitting in front of it. There is no drywall in my bedroom... just clear plastic over insulation and it IS DEAD. [building a house] The SM58 likes to be very close to the mouth, but to the side so you don't pop your P's. The vx2000 works good at 1 foot on manual settings. Don't turn your paper unless you pause a moment so you can cut it out... the mic will pick it up. Just a side note: I found that when using the MAckie 1202 line outs to the line in on the vx2000 that I could not peg zero and make it break up. I don't know why, but the line in's would not crack up as the mini jack input will if you over do it. I never heard anyone say that about a vx2000 but that is my experience. I just sort of stumbled in to it and then tried to peg it and it will go to zero but not break up as it should. And this was on the RCA line input jacks while using the camera in VCR mode. I thoguht that was cool. Glenn Signature: packed up the DVStorm..... T-plus 10 and moving forward....

Martin Sunderland

Posted: Aug 30, 2005 - 15:5       I have decided that I MUST get some decent quality voice-over. I don't like using the camera and have been studying the above posts to figure out what is needed. a) Does a Behringer Composer Pro need something else before the line-in of the sound card eg a "mixer"? b) One option I have been given is that a good mic( NT-1A?) sould go into a "Behringer Eurorack mixer" or a "Spirit notepad mixer" and then into the Audigy. c) Another piece of advice I was given is to plug the mic into an "Edirol UA-25" then USB into the PC. Questions: 1) with a decent XLR mic, what are the benefits of the Edirol UA-25 over the Behringer or Spirit mixer for the extra £70? 2) the Edirol is ASIO 2.0 compliant and has Windows drivers, would it REPLACE the Audigy and be used with LE6.1 and all the other XP apps/ext speakers? Martin