I have worked in a studio for 3 years, and I still can’t figure out audio. I simply want to get the best audio possible. I’ve always used a splitter Dual XLR adapter to get balanced audio into my GL-2. But B&H has different types of these adapters, all priced and described differently. “The Beachtek DXA-8 Dual XLR adapter offers two true microphone preamps with 48 Volt phantom power,” is the most expensive adapter described. What is “true”? If only I was an engineer, I could figure out the best way to go. I’m using boom mics for the most part.

I was also thinking of a field mixer, possibly a Shure M367. Also, some very expensive super-cardiod mic would be great. All of this is strictly for TV or film. Should I get a splitter and a great mixer? Should I bypass the splitter for a field mixer or vice versa? What is/are the best way(s) to go about getting the proper and greatest sounding equipment to pick up voices on camera as well as natural sounds?

Also, a bit off topic. Has anyone here tried to set up a 5.1 surround recording of a scene? There is an option to work in 5.1 in Premier Pro.

Thanks!!!

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Has anyone here tried to set up a 5.1 surround recording of a scene?

As I understand it, you don't really record scenes in post; rather, the extra 3 channels of surround are used mainly as channels for FX and rarely dialogue.

There is a five channel mic kit (five mics on a big spider like thing) which is used to record true 5.1 sound. The .1 channel is low level rumble (so you feel the car blow up,) and is created in post using low levels from whatever sound you want.

I think many films do create 5.1 in post too though.

Those mics might be good for recording orchestras or background elements of the soundtrack, but you wouldn't want to record voice tracks or most of the film that way. And on the low budget/independent level, IMO, recording a 5.1 'mix' is a total waste. If you want a really high quality 5.1 or 7.1 soundtrack, after you invest in a good one or two channel recording system (boom, lav, mixer, etc), concentrate your resources in post sound mixing. Do you have a really good monitoring system for 5.1 surround sound? Do you have the right software to mix surround sound. Do you have the best Dolby digital or dts encoder? Are you willing to dedicate as much time to the sound track as you do to editing the picture? Can you pay someone? That kind of stuff.

As far as I know, all films make the true surround mix in post. They may record 5 or 6 or 20 (in Robert Altman's films) sources at once, but they aren't channels in a surround mix---they're separate elements.