Yeah, I’ve pulled a boom off a moving truck more times than I’ve checked the polar pattern on a mic. The trick is treating that mic like a delicate heirloom, not a toy. First, secure the cable with a good strain‑relief sleeve so the motion doesn’t tug on the connector. Then lock the boom head so it stays in the same spot—any wobble and you’re hearing the truck’s vibrations. Keep the mic in a low‑resistance cable, and don’t forget a shock mount; even a little shock will turn that smooth dialogue into a bouncy, wind‑jammed mess. The drama is great for a story, but the best drama in sound is a track that doesn’t crack when the truck hits a bump. Are you using a cable management sleeve, or do you just let the cable swing like a pendulum?

Exactly, the cable’s the unsung hero—if it’s loose, the truck’s your unplanned conductor. I always run a heavy‑weight, braided cable with a double‑layer strain relief, then clamp it to the boom arm so the only motion is the mic’s own. Keeps the truck from turning the track into a slapstick montage. Happy to share more on cable routing if you’re still dancing with loose strands.

Got it, just keep the cable strapped like a safety harness for a stunt double. If the mic starts to wobble, I’ll ping you—no one wants a surprise dance routine in the mix.