Okay i've got quite a few questions here. I need suggestions on what microphone I should get for voice use and for recording sound effects like a door opening and closing or footsteps. My budget isn't that big so it might be better off finding one quality mic that can work decently for everything. I also need some tips on some free or reasonably priced sound editing and recording software. And last does anyone have any tips for recording gunshots? Can it damage a microphone? What kind of equipment do I need to record field work? Thank you!!!

When I record the gunshots i'm obviously not going to be able to take my computer outside lol... What about getting a real cheap laptop like 800 mhz? Processor speed for recording isn't important is it? I would just make sure to put a 160GB harddrive in it.

Are there cheaper solutions?

Hmm, looking at e-bay for laptop prices, minimum i'm gonna find is about $350 even a 500mhz....heh considering I can buy a new 2.6 celeron for $800 why buy used? Oh and how do I know the soundcard is gonna be quality...from what I understand replacing parts in laptops is nearly impossible...I doubt I could buy a soundblaster for mobile computers.

Oh and if i'm way off base with the laptop idea, please let me know. Would a mini disc recorder do the trick?

Sorry, I just keep rambling.

As for portable sound cards, look into the Sound Blaster Extigy.

As for gunnshots, You may want to invest in a portable high quality recording device like a minidisc recorder. If that is out of your price range, consider buying gunshot sound effects and cut your costs. Visit sites such as Sound Dogs and find some gun FX that will match your project.

Also, you can't beat a high quality microphone. However, if you know your way around editing software, you can do a lot with budget microphones (look for mics in teh 30-50 dollar range at best buy for the absolute loswest you can go without recieving absolute crap for results).

I myself used a 30 dollar sony DJ microphone from best buy for a lot of my early sound projects, I liked the mellow, clean sound and I could make up for the shortcomings in post production, but that was because I knew the limits and capabilities of my software.

Any suggestions on mini disc recorders? What to look for and what to watch out for?

I dont have any firsthand experience with portable recorders, but I know for sure there are plenty of internet sites to be found via google that do detailed comparisons and analyses of portable recorders.

I'd say your best bet for recording in the field is a minidisc recorder with a good mic preamp. Also you could look into a portable DAT. As for microphones the choices are endless. The more you spend the better quality you'll get. check out www.sweetwater.com, they have a good selection and check out harmony-central.com, they have a huge database of reviews for microphones and all sorts of other musical eq. If you don't have anything you might want to opt for a shure sm57, total standard, and for good reason, all around good mic, durable and dependable to take on the road and pretty damn cheap compartively...hope this was helpful

BretonRoss

Gunshots, like any extremely dynamic and loud sounds, can pose a serious risk to the microphone being used. Most microphone manufacturers will provide detailed specifications for their microphones, including maximum sound pressure level (SPL, given in decibels). You will obviously want to go with a mic with a high SPL. Typically, dynamic mics are the most rhobust when it comes to high-SPL abuse. The problem is that Dynamic mics are ill-suited to studio use due to their relative insensitivity. Compare also the frequency response and the self-noise of any microphones you consider.

As for a solid all-around microphone, I have yet to find one that matches the Sennheiser MKH416. I've used it on everything from car crashes to a ladybug's footsteps, and it's never let me down. It's been the workhorse of the film industry since it was first produced (some time in the `70's if memory serves), and is still the mic of choice for production, effects, and in-studio dialogue recording. However, unless you're planning on using it non-stop for at least three months of the year, it'll be way out of your price range. As with any piece of audio gear, never settle for buying what you can afford when you can rent what you actually need. Any film and video equipment rental house worth it's salt will have a couple of `416 rental packages (including Rycote wind-shields and shock-mounts) in stock, and the daily rate is typically $25 (Canadian). The rycote (which looks like a gray plastic mesh zepplin with a pistol grip and an optional furry cover) is important because it reduces handling vibrations and will eliminate "gusting" from even very strong winds.

If you are not using a dynamic microphone or one with a built-in battery supply, you will need to ensure that the recorder will provide suitable power. Most microphones use 48 volt "Phantom" power (P48), but some older mics use the lesser-known "T-12" system (which I personally prefer due to it's resistance to RF-interference). Both P48 and T-12 power supplies are available in compact, battery-opperated models.

While I know a few production sound recordists who bring Creative Labs' hard-disk MP3 players as backup recorders, they lack the low-noise inputs and mic-preamps that you'll want. The traditional counter-part to the `416 has been the legendary Nagra 4.2 mono analogue tape recorder. There's a bit of a learning curve, and you'd have to find an XLR to 1/8" mono adapter cable in order to feed the output into your sound card, but it's built like a tank and any overmodulation distortion will have a more appealing sound than you will get with a digital recorder. Like the `416, most film equipment rental houses keep one of these reel-to-reel beasts in stock.

Newer digital recorders, such as the Fostex FR-2 and the HHB Portadisc, offer USB file transfers. I recently invested in an FR-2 and love the fact that everything is recorded to WAV files, which are a snap to bring into pretty much any audio workstation. Furthermore, the FR-2 has replaced the venerable Tascam DA-P1 portable DAT recorder as THE digital field recorder for low-budget filmmaking. The FR-2 has the added benefit of recording to a hard-disc or compact flash cards, so if you can find one for rent, you may be able to get away with not buying any media for it (unlike DAT recording).

I must dissagree with Krikkit on a couple of points: never rely on post-production to make up for shortcomings in the recording. You'll probably want to massage the shape of the sound a bit, but if the top end or bass elements aren't there in the first place, EQing will never provide satisfactory results. Also, I would avoid minidisk or mp3 recording whenever possible, since the compression is inevitably destructive. Professional field recorders that employ compression include the HHB Portadisc and the Nagra Ares-series (both are solid, high-quality instruments, though).

As for "reasonably priced editing and recording software," Digidesign offers a scaled-down version of ProTools called "Protools Free," available on their website. It's not as stable or powerful as the Protools systems you find in feature-film mixing theaters, but it's still Protools. The available tutorials should walk you through the basic and intermediate use of the program.

Of course, if you only need a few effects here and there, take Krikkit's advice and check out Sound Dogs' website. Sound Ideas also has a huge collection of buy-out effects, including the "Dynamic Range" library, which is one of my favorite commercial gunshot and explosion libraries.

Hope this helps.

I current portable rig is:

Sony MZR 909 - mini disk player/recorder.
Rode NT3 - Mic (takes 9V battery to cover phantom power)
Hosa XVM105 Mono XLR-1/8 cable - Cable to connect them together ;).

I have used the above setup with great results! If you hunted around you can get a simular setup fairly cheap second hand.

The next step up from that is to go: Core Sound Mic2496 + Rode NT4 + a portable hard disk recorder. (But that setup is more the pro end and very expensive)

......

In regards to "gun shot" sounds. Unless the game is an AAA title. I suggest you use a mix of SFX libraries and percussion hits. "Editing" sounds is your best weapon - no pun intended. To be honest I could turn hitting my hand against my my desk into a gun shot. Be creative, and remember that most gun shots you hear are infact not "real" or at least less than 50% "real".

Most "real" guns just go "paaa, pa, paa." When in fact you wanna hear something "boom" and in your face. Something that you will feel. The best thing to do is take "real" gun sounds as your base. Layer many things on top to create that edge in your sound. Percussion hits can help as with explosions, ect...

Also feel free to check out my "war scene demo" on my web site. It may help you to get an idea of what i'm talking about. Actually I only used 1 sound from a sfx library within the whole demo, and it was layed with many other sounds. The rest of the sounds were orginally created. And the birds I recorded myself on location.

Good luck and have some fun.

Awesome info guys, thank you. About gunshots, I want them as real as they come even if that means not as sexy. I want that echo you get when you fire an AK in a canyon.

Anyways, I thought i'd mention this is ONLY complete hobby, this is not for a game project i'm just bored and felt like recording stuff :)

Apparently I picked the wrong hobby though this is too expensive for me. I appreciate all the replies and info though!

One more thing, whats your opinion on using a laptop for field recording? Cause that actually seems like a cheaper solution than one of those DAT recorders (or maybe i'm looking in the wrong places)