Rode NTG 3 12/21/2009
Initial Thoughts The Rode NTG3 is the latest in the NTG shotgun series and Rode's answer to expensive broadcast supercardioid mics. It follows Rode's tradition of solid construction and good value, but can it compete on a level with equipment that is usually much more expensive? I will state here and now that my decision to purchase the NTG3 was not made under normal circumstances. I had recently purchased some other mics and had no plans for further purchases at the time until Rode announced their $1 Blimp offer. I already own a Rode Blimp and I have been so impressed with it that I was planning on buying another in the new year. Rode's $1 offer and the fact that under certain circumstances a second shotgun mic would be extremely useful made the decision easy for me. I had already looked into the NTG3 and it would most probably have been the shotgun I would have chosen. Their special offer just brought my decision forward a few months. I guess that's good news for Rode, but I can't fault an offer that saves me a couple of hundred dollars, and I was happy to make the purchase as my experience with Rode equipment has been nothing but good so far. My very first impression of the NTG3 was that it had a very crisp sound. Its first trip out was a horribly wet and cold day and I was thankful for Rode's claim of high resistance to moisture. I was recording a series of vintage vehicles so it was a good test of both frequency and dynamic ranges as there were a great many clicks and clanks mixed in with low rumbles of the various vehicles. The results were quite surprising, not that I didn't expect the mic to capture good quality sound, but characteristically the sound was quite different from the Sennheiser MKH60 I usually use. The mic itself comes with a good selection of standard equipment, and I personally really like the metal "cigar" case it comes in to protect it. This is a very practical solution that protects the mic without having to carry an entire hard-case around. The NTG3 slips inside easily and the case screws shut from either end. This fits nicely into my gear bag without wasting space. My only worry is that it looks a little like a pipe bomb from a computer game, so it might be interesting to get through customs security. Technical Data  Later Observations I had someone say to me that I would be pleasantly surprised by the quality of sound from the NTG3 and I have to say that after some use I am surprised. I'm not surprised that it is a good quality piece of equipment. I have used enough things produced by Rode to know they make damn good gear, it was more just how good the NTG3 is for its price range. The crispness of sound achieved by the NTG is of a quality I would expect from a microphone closer to twice the price of the NTG3. My first real outing was in the pouring rain with me stumbling to keep things dry and still get good material. It was certainly a trial by fire as I doubt I ever truly aimed the thing properly as I was too busy feeling miserable for myself, and yet the material I got back was beautiful and had an excellent presence. It captured the high frequency material of some old vehicle engines with a sharpness to the sounds without making them harsh. This made it an instant hit in my books. I am sure I will submit the NTG3 to many more challenges in the future, so far I am confident I can trust it to capture a true representation of anything I point it at.  Good Sound quality equal to more expensive microphones Includes excellent accessories Bad They don't make a stereo version Price Website http://aus.rodemic.com/ DPA 4061, SMK4061 kit 10/27/2009
Initial Thoughts The DPA 4061 came recommended to me by a fellow sound designer, and as such I probably had fairly high expectations for them right from the start. They were recommended to me as a good mic to place at the business end of a firearm and as such were exactly what I was looking for. I wanted a mic capable of extreme SPL capabilities but that was also small and convenient. My planned use was for firearms and to attach to vehicles in hard to get places like inside the engine bay and next to exhaust pipes. I was initially quite wary of how delicate they appeared and also the fact that the cable is integral to the microphone. The last thing I wanted to do was destroy $800 of mic because I slammed the cable in a car door. As such I decided that I really wanted to hire a pair of these and give them a thorough test before I purchased them. For two days I recorded pretty much everything I could get my hands one, I found the mics to be good for general vocals, which I think is how they were designed, but for me it was the other applications where they really shined. I attached two of them to a colleague’s Honda CBR600 and asked him to go for a ride. One of the mics was directly behind the exhaust outlet and the other mounted on the front indicator. I was using Rycote mini fluffy’s for both mics. The exhaust mic picked up a beautifully clean and clear sample of the exhaust and if I had to mic a bike with only one microphone then this would be my choice. The front mic did get quite a bit of wind noise, but I think that was more from my poor placement than the mic or the fluffy failing. This was the first time I had recorded a bike so it was very trial and error but the 4061 made it feel like a huge success. The small size made these mics so easy to setup. The very thin cables meant I had to be careful, but they also allowed me to position them practically anywhere I wanted. After also successfully recording a friends Nissan 350Z later the same day I decided that these were worth the price so I ordered the special stereo pair kit, the SMK 4061  The SMK 4061 is one of the best designed kits I have ever seen. It includes two DPA 4061 microphones, two boundary mic adapters, two magnetic clips, two violin mounts, five mini windscreens as well as two belt clips for the XLR connectors. The only thing I wish it had had was some alligator clips as I use them regularly. (thankfully the great guy at my audio supplier threw a couple in for me) I also purchased two Rycote mini fluffy wind jammers as I knew I would need these for vehicle mounting. This kit provided me with so many options for recording things in unusual situations that working with the DPA mics would become a pleasure of creativity. Technical Data  Later Observations After some weeks of using these mics I feel I have missed out by not owning them sooner. In the past weeks I have placed them strategically to capture the sounds of play on a billiards table, attached the boundary mic versions to the inside of a grand piano lid as well as mounting them in multiple locations on a fast moving car among other things. It is unusual to have a microphone that can cope so well with the high output levels of a cars engine also produce such clean clear recordings of a billiard ball softly hitting a side cushion. I am still thinking of the many ways in which I can make use of these mics, but so far their performance has be excellent. The adaptor kit has been very handy, although the adhesive dots don’t adhere quite as well as they could. The main thing I really need to point out is that the cables, while very well made, are extremely thin, so if you are the sort of person to just throw your gear in a bag to sort out later you will definitely need to break the habit with these mics. They are precision gear and as such need to be treated with care, however assuming you do treat your gear well, then these are a great addition to any sound designers’ kit bag. Verdict Good Excellent sound quality Extremely versatile especially with the SMK 4061 kit SPL capable of extreme sound sources Bad Very delicate cable setup sticky dots not so sticky Should include alligator clips in SMK pack Price Website www.dpamicrophones.com Shure Beta58A 10/18/2009
Initial Thoughts Shure make microphones, Shure make very good microphones and generally Shure make microphones that are virtually indestructible. This has been Shure's reputation for many years, and the Beta 58A is not going to detract from that in any way. As an on stage piece of equipment the 58A is a reliable solid piece of equipment, as a field microphone its something that can cope with the adverse conditions that field recording will often place on precision gear. I have had a 58A for ages and never really used it. I always thought of it as a vocal microphone and as such never really thought I had need for it. More recently I discovered this was a poor assumption made at my own expense. I have recently found that the short pickup range of the 58A makes very good at picking up close range sounds without the risk of capturing unwanted background noise. This is a very different approach to using a shotgun mic, but can be just as valid. A shotgun attempts to capture only what you point it at and as such block out unwanted sounds that are “off target” The 58A has a wider response pattern, but a much shorter range, so while it may capture off target sounds, it will only capture sounds that are very close. The Beta 58A also has the trade mark Shure build quality which means you could quite literally drop it off the back of a moving car and still use it afterwards. While risky recording situations are probably better suited for its cheaper cousins the SM57 and SM58, the Beta 58A can be used confident in the knowledge that its going to cope with what you throw at it. From a vocals aspect the 58A is excellent. I use mine mainly for vocal effects, screams and creating monster sounds and I’ve found I can use it almost anywhere to capture voice beautifully cleanly with almost no background noise. This includes standing on top of an office building surrounded by noisy machinery and still capturing only the desired vocal effects. As a dynamic mic the 58A requires no extra power source Technical Data  Later Observations As with the MKH 60 I have had the Beta58A for quite a few years. Unlike the MKH 60 I have not used the 58A nearly as much. I can certainly atest to the fact that as a Shure mic it is practically indestructable. As far as sound quality is concerned I have found it excellent for recording human and animal sounds at close range. At the time of writing this it was becoming one of my favourite mics until it was missplaced on a location recording trip. I have not replaced it as yet but plan to at my earliest convineinece as I am more impressed with this microphone the more I use it. Verdict Good Practically indestructible Good quality sound capture with surprisingly low background noise for the response pattern Bad Not quite cheap enough for me to own ten of them Price US $300 Website www.shure.com RedHead Zoom H4N Custom Windscreen 10/14/2009
Initial Thoughts Redhead windscreens is a small company that saw a need for something and went ahead and created it. The growing popularity of small digital recorders such as the Zoom H4N means there is likely to be a growing market for companies like Redhead and their products such as the H4N Custom Windscreen I have owned an H4N since they first came out and its one of my main pieces of equipment. I use it weekly and its 4 track capability means I can record on the two external input channels as well as use its built in stereo mics simultaneously. I have adopted this as my standard practice on most location recording trips as the H4N's own mics are quite good. They do however, like most mics, need to be shielded against wind when used outdoors. Up until recently I have been using a standard sized fluffy cover designed for use on several sizes of mic, so the cover is much too big for the H4N and sags over the display area, can fall off easily, and generally just isn't built for the purpose I am using it for. Along comes the RedHead to save the day! Sent to me by a fellow sound designer the web page for the RedHead is simply and straight forward. It has a few pictures, some information and a link on how to order. You can even choose from a range of colors. Initially I thought of grabbing a couple as they are priced fairly reasonably, but I thought I'd test one out first and then if it works as expected I can order another one. It also just happened to be the perfect thing to ask my wife to buy me for my birthday. She ordered it online and it arrived in Australia from the makers in Hawaii in about 3-4 days which was awesome service. I of course ordered the bright red one, so now my H4N looks like its disguised as Elmo from Seasame st. Initially I didn't think it was working very well as I went straight up to the roof of the studio and tested it out. I got a bit of wind noise coming through and was a bit disappointing, but then when I changed back to the cover I have been using for the last 6 months I still got wind noise. Maybe being ten floors up in Melbourne was a bit of an unfair test. After a few more standard tests it seems to work about as well as the cover I have been using previously. I have only had it now for a few days so I can not be certain, but it looks like it will do its job as required. From a practical purpose it is much better than the non custom one I have been using. It is much smaller and so packs away more easily. It has an elastic base that helps it attach to the H4N securely and it doesn't obscure the display at all. In fact I am pretty confident that it attaches so well I could use this in quite difficult situations without any fear of it dislodging from the recorder which is really good to know. It will take some more time to really get a feel for it, but so far I think it was money well spent.  Later Observations After using the Redhead windscreen for a while now it is pretty much a permanent fixture on my H4N. I have started the carry the H4N around as my regular emergency recorder instead of the R09 because even though its bigger it is a far better unit. As such the Redhead travels with me most days as well. It is obviously not going to be as effective as a full blimp cage and fluffy, but it is easily as good as any of the other single layer screens I have tried. Verdict Good Fits Well on the H4N Good range of colours Reasonably priced Bad Nothing so far Price US $39 Website http://www.redheadwindscreens.com/ Lowepro Flipside 200 Backpack 08/12/2009
Initial Thoughts Lowepro have a long history of making quality bags, packs and pouches and their current range provides many options for protecting high tech gear. Often the biggest difficulty is choosing which product is the right one for your needs. The Flipside 200 is a compact gear backpack with a slightly unorthodox design but with a wealth of features. Since returning to Melbourne I have been trying to work out the best way to transport my gear. I have various cases and bags and I can often just pack the things I need into whatever bag I have available, but I have found this increasingly frustrating as I sometimes forget certain things or find it difficult to find pieces of gear in a hurry, so I decided to buy myself a dedicated kit bag for location recording. I have used Lowepro products in the past, my old portable DAT still lives in a Lowepro camera bag, and I also had a Lowepro slip case for my Camera before I lost it in Japan. (just the case, the camera was in my hand at the time). They seem to have a good reputation, and after owning a couple of their products I can see why. Not only are their bags very well constructed being tough and practical, there are a huge range of designs to choose from that really increase your chances of finding what you need. I also did have a slight issue with a Lowepro a few years back and the service response to my issue was pretty impressive, so overall I was happy to put them at the top of my list. Again I looked through a range of Camera equipment bags as these are designed to protect high end equipment and help store it in a logical and practical fashion so it was ideal for my audio gear. I spent about ten minutes checking various bags in the store and then realized the best option was to come back with all my gear and find something that worked exactly, so that's what I did. The Flipside bag comes in two sizes, but I really wanted to keep the size down for ease of movement when I am out in the field. The 200 model seemed big enough for my gear without being cumbersome. It has several Velcro dividers that could reposition to create slots for various mics and a smaller zip compartment that was perfect for my leads. The side pocket has specific pockets for SD cards and pens as well as enough room to carry a bunch of spare batteries. What I liked the most was that the zipper opening for the main compartment is against your back when you wear it, so it is practically impossible for things to fall out, or for hands to sneak in making this an excellent choice for security. It is also a very comfortable backpack. Lastly the back of it has a special clip to attach a tripod onto with a flip out pocket to place the tripod legs into. This clip can easily hold my tripod and my microphone blimp setup. So far this bag is doing a very good job of holding everything I need it to, I have taken it on planes in the overhead lockers, hiked fair distances with it and used it in a range of conditions without any real issues. There are still a few things I would like to put it through to see how it copes with adverse conditions, but so far its been a real winner. Technical Data Capacity: 1 DSLR with 80–200mm f/2.8 lens attached plus 1–3 additional lenses or flash units, 1 tripod, multiple cables, memory cards, manuals and other digital accessories Size(Interior): 7W X 5D X 15H in./17.8 X 12.6 X 38 cm Size(Exterior): 8.6W X 6.2D X 16.5H in./21.8 X 15.7 X 42 cm Weight: 2.2lbs/1kg Later Observations Well it doesn't seem to matter what size bag you get, you will always fill it and need more space. Having said that, the Flipside is coping admirably with the amount of stuff I pack into it (probably better than my spine is). One of the best thinsg about Lowepro bags is that you really can stuff them to capacity and not worry about if the zips are going to break, or the stitching split. Its nice to have a product that can actually cope with doing its job. I have found the Flipside 200 to be very comfortable to wear for long periods of time and the added chest strap makes it possible to run when necessary without the pack moving much at all. I would still have liked a couple more of the Velcro dividers inside, but that really is the only issue I can find for this piece of gear. Oh one last point, I carried this with me on my recording trip on 22/11/09 to a classic car display and it was absolutely pouring with rain all day. I got soaked, any gear I was carrying in my hand got soaked, but absolutely everything inside the Flipside was bone dry. I wouldn't recommend immersing it in water, but apart from that, I suspect it will deal with just about any level of rain. Verdict Good Well designed Well constructed Useful features Bad Should come with more dividers Price US$ AUD$ Website http://www.lowepro.com/ Aquarian H2a XLR 06/18/2009
Initial Thoughts The Aquarian H2a XLR is a purpose built underwater microphone designed to connect to any standard audio system via an XLR connector with phantom power. The entire unit is sealed against water and can be purchased with a range of cable lengths to allow recording at greater depths. The average unit comes with a 9 meter cable, but it is possible to get cables as long as 300 meters. My H2a came about through somewhat unusual circumstances. I had purchased an Aquarian H3 years ago but I felt it had never really worked as I expected. At the time I was not in a position to do much about it as soon after I purchased it I relocated to Japan for three years. When I returned to Australia, on a whim I contacted the manufacturer to see if it was possible to get the unit fixed at my expense. The owner of the company replied and indicated he was very sorry that I had not had a positive experience with the H3 and offered to help me with a new unit at cost price. Considering my original unit was well out of warantee this was really good service. I had always wanted the hydrophone to work well as I had lots of ideas for using it, so the opportunity to get a replacement had me really excited. On the day it arrived I had the H2a in the water within about 30 minutes, (it helps when you live 300 meters from the bay) The sound was great, even if all I could hear was the clicking of Krill in the bay. The point was that it was clean, clear and undistorted. Over the following few days I recorded a variety of boats and other nearby water vehicles. The unit is exactly like any microphone except it has a lead attached to it that happens to be 9 meters long and waterproof. I also bought the contact adapter that covers the head of the microphone and allows it to be used as a contact mic. I still haven't gotten around to recording my heartbeat yet, but that is on the list. Technical Data  Later Observations After some use the H2a still stands up as being an effective underwater recording device. I am not aware of the complete range of other hydrophones that are available, but I do know that one on the market costs around $6000, so at about $170 US the H2a is cheap enough to get one just because it might be fun to play with occasionally, let alone for serious underwater sampling. It captures crisp good quality sound and is generally very easy to use. The only real issue I have is that the model I have has a 9 meter cable which is great for getting access to deeper water or further out from the bank, but I find the cable gets tangled often and I think I will need to start using a line reel or something similar to wrap it around when I am not using it. The cable is permanently attached to the mic so obviously I need to be careful not to allow it to bend or twist too much.'This is just the nature of having nine meters of cable and is not a specific issue with the H2a So far I have found the contact mic attachment to be less usable than I had hoped. It will pick up fairly strong vibrations and transmit them to the mic diaphragm, but I have found that it struggles with weaker vibrations. It certainly can't capture the blood moving under the surface of your skin which one of the previous Aquarian mics was capable of. However this ability in the earlier mics was due to them having a far more exposed diaphragm so its probably a good thing. I have captured some fantastic material with this microphone from being dragged behind a moving boat to recording compressed air being released underwater. For the price this is a must have for any sound designers collection, it simply opens up too many opertunities for new and interesting sounds to left out. Verdict Good Excellent unit for the price Solid build It does what it is designed to do Bad Longer cable lengths can get difficult to manage Price US $169.00 -3 meter cable (10 Feet) Website www.afabsound.com/ Zoom H4N 05/11/2009
Initial Thoughts The H4N is Zoom's third entry into the hand-held digital recorder market. As the replacement for the H4 it has some issues to overcome, but also a good solid background of a well designed and useful features. Zoom has a reputation for excellent features in low priced units and it appears the H4N will only strengthen this reputation. After using the H4 for some time I started to wish it had certain features. Although it had 4 track recording it couldn't record on all 4 channels simultaneously, also many new digital recorders have a pre-record function so that once the record mode is active it constantly records a few seconds into memory so that if you hear something and then hit record it will have captured the last few seconds and thus record the sound you just heard. Also as I mentioned in the H4 review I thought that unit just felt too flimsy. Well it appears that the people at Zoom are able to read minds because just about everything I could have wanted as an improvement on the H4 was delivered in the H4N The H4N looks and feels like the H4's tougher big brother (or sister). Its construction and finish look far more like something you would want to use in the field. It has added a pre-record function, and while it is only 2 seconds this should usually be enough time for you to react to a an opportunistic sound. The feature that I am most pleased with is the simultaneous 4 channel recording. I very quickly adapted to recording on all four channels. Two via the XLR inputs and the other two using the H4N's built in mics. The built in mics are actually every good for a unit in this price range, they do need protection from wind when used outdoors, but generally so do most microphones. A standard slip on fluffy will usually allow these mics to function in normal outdoor conditions. There is an extra input that allows the built in mic channels to be overridden but this is only a stereo min jack input. Including 4 balanced XLR inputs would make the unit very large. The screen is larger and much better designed than the H4 and the menu systems in general seem to be better designed. My other issue with the H4 was the input level controls. These have been vastly improved upon with the H4N. It is now very easy to alter input levels with a +- step controller on the side of the unit. Another change towards convenience is the access to the SD card is now on the side of the unit so the card can be removed without opening the entire unit. Operation and sound quality are all excellent for a unit not only in this price range, but also compared to quite a few units of considerably higher cost. Zoom have removed the need for the mounting plate by adding a simple crew thread into the body of the unit itself which was a simple but clever idea. It also has the addition of a built in speaker for monitoring purposes. Personally I never use it as I would always prefer to use headphones, but its there if you need it. Overall so far this unit has good and obvious improvements on its predecessor. I purchased one almost the day they became available in Australia. I believe the Zoom H4N continues the tradition of Zoom creating a device that has the features of a far more expensive device. In many cases if it were a choice between a Zoom H4N and a more expensive unit, if I had the money for a more expensive unit I would probably buy a second H4N Technical DataRecording format: WAV (Quantization: 16/24bit, Sampling Frequency: 44.1/48/96kHz), MP3 (Bit Rate: 48/56/64/80/96/112/128/160/192/224/256/320kbps/VBR, Sampling Frequency: 44.1kHz) Playback Format: WAV （Quantization: 16/24bit, Sampling Frequency: 44.1/48/96kHz), MP3 (Bit Rate: 32/40/48/56/64/80/96/112/128/160/192/224/256/320kbps/VBR, Sampling Frequency: 44.1/48kHz) A/D Conversion: 24bit, 128times oversampling D/A Conversion: 24bit,128times oversampling Signal Processing: 32bit Recording Media: SD memory card (16MB - 2GB), SDHC memory card (4GB - 32GB) Display: 128 x 64pixel, 1.9-inch backlit LCD Balanced/Unbalanced Input: 2 x XLR-1/4"phone combo Jack Input Impedance: balanced input = 1kΩ balanced / pin 2 hot, unbalanced input = 480kΩ unbalanced Input Level: balanced input = -10 to -42dBm, unbalanced input = +2 to -32dBm Phantom Power Supply: 48V,24V, OFF Built-in Stereo Mic: Unidirectional condenser microphone (Gain: +7 to +47dB) Maximum SPL: 130dB SPL External Mic Input: 1/8" stereo phone jack(Plug- in powered,Input impedance: 2kΩ, Input level: -7 to -47dBm) Phones / Line Output: 1/8" stereo phone jack Output Load Impedance: 10kΩ or more Rated Output Level: -10dBm Phones Output Level: 20mW + 20mW into 32Ω load Built-in Speaker: 400mW 8Ω Phantom Power: 48V, 24V, OFF USB Interface: Mini-B type (USB2.0 High Speed compatible), Mass Storage Class operation / Audio Interface operation (16bit, 44.1kHz / 48kHz) AA size (LR6) battery x 2, or AC adaptor (DC5V/1A/center plus) 6 hours (Normal mode), 11 hours (Stamina mode) 70(W) x 156.3(D) x 35(H)mm 280g (without batteries)  Later Observations After some use the H4N still weighs in with far more features and better quality than many more expensive units. The improved toughness over the H4 is very apparent. I have already had mine fall off the bottom of a moving skateboard and I dropped a very heavy log on it. The log cracked the screen slightly but the unit is still completely functional. I learnt an important lesson on equipment placement, but not at the expense of my equipment. There are very few other devices on the market of any price that could cope with treatment like that. I am still not entirely happy with the level input function even though it is a big improvment on the H4. The idea of the +- button on the side for incremental changes is fine, and when you are operating in 4 track mode you need to hold down the button for either the inputs or the mics to change them. This all works fine. (and the buttons also act as peak meter indicators which is very clever) Where it falls down is that even though there is a seperate button for both input 1 and input 2 they appear to be slaved togther, so if I have 2 seperate microphones in the two inputs (or frankly even one mic split to two channels) I cannot adjust the levels independantly. This seems not only strange, but completly absurd considering there are seperate buttons. You can kind of simulate different levels between the two inputs by navigating through a menu and setting the pan more to one channel or the other, but the designers at Zoom seem to asume anyone using two inputs will only ever be recording in stereo with identicle mics in identicle positions. I for one almost never use the unit in that way. I use each input for a different type of mic in different positions. The H4N is otherwise an excellent unit, I have come to carry it with me often even though it is not pocket sized. I still carry my R09 always as an emrgency unit, but I have been so impressed with the quality of the H4N that when practicle I simply walk and carry it in my hand. There is now custom wind covers made for the H4N by a 3rd party company, these are a very good idea for outdoor recording. Check out the review for them under the equipment section. Verdict Good Sturdy Design Simultaneous 4 track recording Pre-record function Has the features of more expensive units Bad Input control levels still not perfect I personally think the speaker is added weight and wasted space Price US$ AUD$ Website www.zoom.co.jp Rode Blimp 12/03/2008
Initial Thoughts Rode continues its tradition of quality design and construction at reasonable prices, but in this instance its not a new microphone, but something designed to help you get the most out of your microphones. A Blimp system is not a new concept, but with this model Rode are hoping to show they are just as capable of making good support equipment as they are of making good microphones. This was a unplanned purchase at the time. It wasn't that I didn't want one, I just didn't know they existed. I had used a Rycote system years ago at a studio I worked for, but for the entire time I was in Japan I was using a system that consisted of a simple shock mount, a foam windshield and a fluffy over cover all made by different companies. The system worked, but not brilliantly. Shortly after I returned to Australia I was in John Barry replacing some cables when I saw the Rode Blimp for the first time. My very first impression was " Wow that's a big box!" because the blimp comes in a very large box. My second reaction was " I bet I can't afford one." It was a week before Christmas and I had no plans on buying any gear, but I was curious of the price anyway. When the woman at John Barry came back and told me they were $250 I couldn't get my wallet out fast enough. At that price I will eventually own three of these, and three of these is still half the price we paid for the Rycote system 6 years ago. (although I do believe they have come down in price) I have always been amazed at how Rode produce really well designed, manufactured and accessorized equipment at the price they do, but the Blimp was just so far beyond my expectations. It came packed with a huge number of bits and pieces including a variety of clip sizes, spare elastics, a brush for maintaining the fluffy as well as the actual microphone mount, cage and fluffy setup itself. All the components are beautifully deigned and well manufactured. The Rode website also states it comes with a ten year guarantee. This level of care and service is something that is sadly missing from manufacturers and impresses me when I see it. It may seem strange to get so excited about a piece of equipment, but this purchase made me happier than the last couple of actual microphone purchases because it was something I really needed and to be able to get such a good piece of kit for the price was great. Now I just hope it lives up to the huge expectation I have placed on it. The first thing I noticed is that the cage itself is really large in diameter. This system could easily house just about any microphone including things like Rode's Nt4 with the large stereo head and bulky body size. The strange thing is the NT4 would really benefit from just such a system because it is so intolerant of wind and yet the Blimp does not come with clips big enough to hold it. (amazing considering they are both Rode products) This I really didn't understand, but as I had bought it to house my MKH60 almost exclusively I was not really too fussed by it. Living in The Docklands in Melbourne gave me the perf4ect opportunity to really test out the blimp system as its one of the most consistently windy places in Melbourne, and the wind can get really severe. All the initial tests I put the blimp through it passed with flying colours. Either hand held or mounted on a boom pole or tripod it dealt with vibrations well and I would need to practically jam this thing down the exhaust of a fighter plane to have an issue with wind noise (and I have just about done exactly that.) I will continue to test this system out as I use it every week, but currently it is one of the best pieces of equipment I have ever owned and has quickly become an integral part of my kit list.  Later Observations After 12 months my Blimp system still looks practically brand new and it gets used almost every week. I do take care of my gear pretty carefully, but this thing has been on road trips, stored in overhead lockers on planes, carried on bikes, rollerblades, iceskates, skateboards, horses, boats, trains, trams, in rain, wind and extreme heat. I have been accused of being overly passionate about things sometimes, but when I find something that I think is good I will not apologize for singing its praises. ( and you should see me if I don't like something). This system is simply an excellent piece of equipment, made even more so by the low price. I will be buying a second one in the new year as I plan on setting up multiple tripod mounts for location recordings. This puts serious recording capability into the hands of everyone. Verdict Good Excellent Value for Money Well designed Well Built All the accessories you'll need Bad Could have clips for a few more mics Price US $399 Website http://aus.rodemic.com/ Aquarian H3 08/17/2008
This is effectively a mini review. I purchased the H3 many years ago and I never seemed to be able to use it correctly. The sound was always corrupted but being such an unusual piece of equipment it was difficult for me to know what to expect, so I was unsure if there as an issue with the equipment or my expectations. I was unable to take any action on this as shortly after I purchased the H3 I moved to Japan for several years. I was extremely lucky that when I contacted the manufacturers several years later they were prepared to help out. This was far more than I expected as it had been years since I purchased the device. Comparing the H3 with its newer cousin the H2a XLR there are some immediate differences that are worth mentioning. The H3 only had a mini jack output and so the quality of its output was not quite as good. Also it required an internal battery for power where the H2a now uses phantom power. I did like the more direct diaphragm access on the H3, but I suspect the metal shell of the H2a is much stringer and will increase its longevity. The biggest feature of any of the Aquarian products is they are excellent value for money. At only a few hundred dollars they become a piece of equipment that every sound designer should have, and compared with other commercial hydrophones they can be as little as 10% of the cost of other underwater mics. Website www.afabsound.com/  Edirol R09 08/17/2008
Initial Thoughts Edirol/Roland have been producing electronic audio equipment for decades, so it is not unexpected that they are one of the first to produce a lightweight pocket sized recorder that won't break the budget. The R09 is one of the cheapest hand-held digital recorders available, but does it stake up with other units on the market? The R09 was the first digital recorder I purchased shortly after they were released. Previously I had used a portable DAT unit for all my location recording. The DAT weighed in at around 5kg and was the size of a large book, by comparison the R09 is closer to 200 grams and fits in coat pocket. These two factors alone were a huge step forward in location recording. The R09 also uses SD memory cards as storage media. This is now the format I use with all my current devices. Its ease of use/reuse, low cost and quality makes this media format one of the best advances in recording in years. The device itself is compact and quite well designed the interface is easy to use with standard play, stop and record buttons. The LCD display is a little small but does manage to pack in all the needed information and is also back lite when receiving inputs. The built in mics are actually quite good, but like most microphones require some screening when used in an environment with wind. The one main area where the R09 falls down is its lack of balanced inputs. It does have mini jack inputs for both line in and mic in, but the lack of an XLR input prevents this unit from being used as a serious recorder int he field. I do however carry one on me at all times as a backup or to allow for opportunistic recordings. (And I have captured some excellent material because of this) The build quality of the R09 is a little on the light side. It is entirely plastic and feels hollow to hold, while an aesthetic feel is not a necessary requirement of such a device I think it would inspire more confidence as a field unit if it was a little more robust. Compared with other hand-held units it is also very light on accessories in its basic form. When I purchased the unit it came with just the unit, a manual and a USB cable. Other hand-helds on the market include cases, power supplies, wind shields and other accessories as standard, so could perhaps be seen as better value for money. Technical DataTracks: 2 (Stereo) Signal Processing: AD/DA conversion: 24 bits 44.1/48 KHz Memory Card: SD Card Audio Inputs: Internal Stereo Microphone, Mic Input (Stereo miniature phone type) Line Input (Stereo miniature phone type) Audio Outputs: Phones (Stereo miniature phone type) Nominal Input: Mic Input -36 dBu, Line Input 0 dBu, Digital out connector (optical miniature phone type) Input Impedance: Mic input: 20k ohms, Line input: 17 k ohms Frequency Range: 20 Hz to 22 KHz Display: 120x64 dots OLED display Power Supply: AC Adaptor, Alkaline dry battery AA type Battery Life: Playback: approximate 5.5 hours, Recording: approximately 4 hours Current Draw: 360 mA Width: 63mm 2-1/2inches Depth: 102mm 4-1/16inches Weight: 0.1 kg 6 oz  Later Observations As I mentioned previously I now carry the R09 with me almost everywhere. This is not because it is the best recorder I own but because it is the smallest and most convenient. having said that if I didn't think it was capable of reliably recording a range of potential material when I needed it to I wouldn't use it. One of the biggest issues I have with all current digital recorders is the amount of time they take to go from power on to being able to record. 15 seconds may not seem like a long time, but when something dramatic is happening in front of you, sitting watching your recorder boot up, say "hello" and take a quarter of a minute to be ready it can be extremely frustrating. I really wish all the makers of these units would have an emergency "crash start" mode that enabled the most basic record function but was up and running in 5 seconds. The R09 was also more expensive than some better equipped unites that were released around the same time. Verdict Good Small and lightweight Good battery life Bad No Balanced inputs Very few accessories included Lacks features for its price Price US$ AUD$ Website www.edirol.com/ | ReviewsReviews of the equipment used in the creation and ongoing development of Sound Library CategoriesAll |
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