Getting a Sennheiser 416...what else do I need for it?

G

Gorilla King

Well-known member
I decided to get a 416 (sorry Schoeps, you'll have to wait) and I wanted to know what else I need to get to maximize it's use. For example, wind socks, blimps, shockmounts etc. I just ordered a Sambra Sam shock mount for use with my Oktava, but I don't know if or how well that'd work with the 416. Thanks for your help!


:kali: :Drogar-Evil(DBG):
 
A full Rycote wind shield kit , a Vdb "L" boom pole , at least 10 meter good Canare
star quad mic cable with Neutrik connectors, Good headphones Sony MDR-7506
and a......... real boom operator.
 
Got the headphones, got the cables. I could do without the condescending attitude, but thanks for the rest of your help.
 
Sorry Gorila,

I wasn't sarcastic, a good boom person is essential to the dialogue track as is a cameraman to the shoot. I mean it.
 
uh, yeah that was weird.

the 416 has the exact same width as the oktava so you can interchange most shock mounts between the mics - i do it all the time with my oktava and 416 using a rycote pistol grip cuz its not often you need both mics in a given situation.. the width is 19mm by the way.

you are going to need some form of wind protection. its very very important. you have basically two options - the full blimp/zeppelin style rycote system, which will protect against pretty much ANY wind, BUT weighs quite a bit and costs a lot (like 700 bucks) OR a softie type solution (you know, bunny rabbit type thing - a few companies make them, most notably rycote - they called it the softie first). the softie is cheaper (around 100 last i checked), lighter, but wont help against really hectic wind. I have a softie and i must be honest ive never got screwed... the shoots where i know there is going to be crazy wind i just rent a zeppelin (very cheap on rentals). there are also these new rycote smoothie things which are a zeppelin/softie cross, but they quite available yet (i think they released at nab this year)

You will prob need a boom pole (thats this mics main strength), but ill leave you to research and pick whats right for you..
 
Actually, K-tek (our good friends here on this board) has just come out with a new blimp/windsock combo that looks pretty good and seems reasonably priced. I think it's called the k-Zep or something like that. Check out Trew - they had it featured on their homepage.

Phil
 
I have a boom pole too. It's a carbon fiber Gitzco (sp?). I will be shooting in some pretty rugged locations so it'd probaly be to my benefit and go ahead and go with the blimp. I've used plenty of softies before, but never a blimp. Is there anything I need to know about them?
 
Gorilla King said:
I have a boom pole too. It's a carbon fiber Gitzco (sp?). I will be shooting in some pretty rugged locations so it'd probaly be to my benefit and go ahead and go with the blimp. I've used plenty of softies before, but never a blimp. Is there anything I need to know about them?
Click to expand...

Yeah, lots to know about them:
1. They are heavy
2. They can be fragile
3. They are heavy
4. They require a windjammer for rugged locations
5. They are heavy
6. They are expensive
7. They are heavy
8. Once you start using one, you'll never be happy with anything else
9. They are heavy
10. I find that it is extremely rare when I need one, and like Tim, I rent.

-Jeremy
 
We don't have very many rental options here in colorado. Denver is the only place I've found and if I'm shooting five hours away from there it wouldn't make good economic sense to rent for a day and only be able to shoot for a few hours. Plus I'm starting my own business and who knows, maybe in time I'll open a rental shop of my own.
 
Gorilla,

I agree with Jeremy, they are heavy (heavier), but guess what! I'm sitting behind my mixer in a nice comfy chair. It's my boom op that has to worry about the extra weight.

Okay, kidding aside, I have always gone with a blimp and windsock when I'm outside (and yes, I have held it up for both ENG and feature work too, and yes it does get heavy). But, I never have to worry about wind noise on the mic, and I can store my mic in the blimp and it keeps it safe (and the blimp is stored in a case with nice foam around it...double safe.)

You asked if there's anything else you should know: Don't let your cat (if you have one) get a hold of your windsock. Mine did, decided it was her favorite place to sleep, and promptly infested it with fleas. Yes, I am probably one of the first sound mixers that has had to de-flea his windsock. (Actually, I'm sure I'm not the first...but it is annoying as hell.)

Phil
 
This is the one thing that I think we're all trying to convey that might not be coming across:

They are heavy.

This is important because we spend hundreds of extra dollars to save a few OUNCES by going carbon fiber or graphite on the poles we use. We worry about grams and ounces because this $hit gets very heavy and when you are working a 10-16 hour day, you're dying. On my recent short I had three boom operators I was switching between because they were exhausted from an Oktava (light little mic) on a pole.

The Blimps are massive, so you're talking about doubling the amount of weight you would normally hold. If you can run an 8 hour day, now you're down to 4, and then the shakes come, and then the turning stomach, and then a broken blimp and damaged mic.

Just wanted to convey why we're all making a deal out of this.

-Jeremy
 
-JunK- said:
that's why you secretly inject your boom operators with steroids.
Click to expand...

And one of two things happens:

1. Barry Bonds syndrome starts and they refuse to talk with anyone else and stop being part of the team...

2. They get 'roid rage on your gear.

Personally I stick with the avoid blimp solution.

-Jeremy
 
Jeremy, the only time I've had a problem with the blimp on is during really long takes (like > 10 minutes). Otherwise, it's not generally a problem. And yes, I do swing the boom on shoots where I'm officially credited as the mixer, especially when working with a novice boom op. When there is a difficult shot (like a moving shot) I usually just jump in and boom...novices are generally are good at standing and getting the mic mostly in the right spots, but walking and getting it in the right spots is much harder. There was recently a thread on RAMPS about the counter-weight idea (i.e. hanging a weight at the tail end of the boom to make it more balanced) and the general consensus there was that this actually does work well.

FWIW and YMMV.

Phil
 
ptalsky said:
There was recently a thread on RAMPS about the counter-weight idea (i.e. hanging a weight at the tail end of the boom to make it more balanced) and the general consensus there was that this actually does work well.
Click to expand...

That sounds like a great idea. I'm going to have to have my sound guy try that next time.

:thumbsup:
 
i made a bunch of sandbags a while bag to use with my sound gear. camera sand bags are way to heavy for the sensitive breakable gear we have, so i made some that are A) clean, B) heavy enough to be useful, but light enough to not break mic stands/boom etc and C) mine. Aint no grip gonna take em from me.

They are useful because you can hang them over the back of a boom to counterweight, or use them as floor mounts for plant mics, or secure a mic stand etc etc etc.

I even made two different sizes for different occasions. useful.
 
For me there have been four occassions where I have rented a blimp for specific projects. Personally I am just not a huge fan of using one, and whenever I can avoid it I try to. I'm by no means feeble, but IMHO, while the results are there, it just makes everything a lot more exhausting.

The other reason why I don't like blimps is just because I think that people often think that because they have the mic in a zeppelin that all of a sudden they don't need to worry about accurate sound acquisition (this is true everytime I have an amatuer/novice on the pole).

Personally, I know that there are not better solutions to wind protection, but at the same time, I avoid the blimp whenever possible.

-Jeremy
 
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