Oktava MK-012 cardioid or hyper cardioid capsule?

JauJau

JauJau

Active member
Oktava MK-012 cardioid or hyper cardioid capsule?
Reading through posts, I couldn´t find much on that choice...
By now, i´ve been mostly using a Audio Technika ATM 33a cardioid. I do not own the Oktava mic yet, so I can´t test it.
When would you use the two different capsules?
Thanks
 
I believe most of the reccomendations on this board for the oktava are for the hyper-cardoid. Dont know for sure but I imagine the cardioid is of the same sonic quality as the hyper, but the hyper will be much more useful for dialogue when boomed from above. The pickup pattern of the cardioid (and most all other cardioids) is much wider and will offer less noise rejection than the hyper. I have heard of people using the cardioid to pick up ambient though and I believe they were getting relatively good results. Can't you get one from the soundroom with multiple caps? That would give you the most versatility.
 
The overwhelming majority say that the hyper is the only cap you'll need. Be sure to buy from sound-room.com - and mention the dvxuser discount. Not only will you get a good deal - you can be sure that it's REAL.
 
Thanks.
I don't think sound-room.com delivers to Europe...
I find Oktava micros on other European web sites. The thing is that when buying it with only 1 capsule, it's the cardio that you get !
 
I have the Octava MK012. Our sound on a short we're doing is terrible. It came with a "cap" that goes on top of the boom mic. When to use the cap and when not to? By terrible I mean when editing and I cut to a different angle, the levels are higher or lower and you can hear static and background noises. We are using the cap. It just sounds like crappy indie sound. Is there a software tool to flush all the audio and make it sound at the same levels? I try raising and lowering the volume on individual clips in Final Cut but it sounds even worse and messed with. Thanks.
 
next time you will do it better :), with more mics and sound man

by the way good dialog editor is what you need first , then adr all the rest he cant save
 
Oleg 2 said:
next time you will do it better :), with more mics and sound man

by the way good dialog editor is what you need first , then adr all the rest he cant save
Click to expand...
Hey Oleg. You helped me out before. What software would a dialog editor use to [FONT=Arial,Helvetica]eliminate extraneous noise? Also what is the industry standard for sound mixing. I edit on Final Cut Pro 5 and I have Soundtrack Pro 1.

Oh, and here's a great page of info for sound newbies like me on Audio Post:
http://filmsound.org/AudiopostFAQ/audiopostfaq.htm#DIALOGUE

[/FONT]
 
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sorry pal , iam like a cuckoo bird , put the eggs and fly away :)
never really asked
i don't think it much relevant for some software as much his skills to make it happens
 
The software would be for me and my learning and attaining skills. You do need
software skills or not. =) Which one? Soundtrack Pro effecient enough for feature film? Thanks.
 
ShamrockFilms said:
I have the Octava MK012. Our sound on a short we're doing is terrible. It came with a "cap" that goes on top of the boom mic. When to use the cap and when not to? By terrible I mean when editing and I cut to a different angle, the levels are higher or lower and you can hear static and background noises. We are using the cap. It just sounds like crappy indie sound. Is there a software tool to flush all the audio and make it sound at the same levels? I try raising and lowering the volume on individual clips in Final Cut but it sounds even worse and messed with. Thanks.
Click to expand...
Hard to say exactly what the cap is you're talking about. If your levels are very different, that's the way they were recorded. Was anyone mixing the sound? Did you use a mixer or just plug into the camera? If you used a mixer, which one.

Location audio and dialog editors use their craft to make sure levels are correct. There is no software to make the cuts sound like they are at the same level. That all "hand work."

FCP is not a good tool for audio. Sountrack is better, if you have the FCP suite.

If the shooting was done in high ambient noise situations, you're going to hear backgrouns noise. You didn't hear the ambient noise and static while you were shooting? Don't know what the static might be about.

Good audio is not trivial...as you have found. :)

Regards,

Ty Ford
 
JauJau said:
Thanks.
I don't think sound-room.com delivers to Europe...
I find Oktava micros on other European web sites. The thing is that when buying it with only 1 capsule, it's the cardio that you get !
Click to expand...

I don't want to interfere with the USA-EU differences, :) but for EU, I would go with the AKG blue line or AKG ULS line for a hyper. Same with sennheiser 416 or AT 4073a some products are cheaper and easier to buy (Sennheiser and AKG and many other HQ products) within the EU. (no import tax etc)
 
Unless you know you will always have an experienced boom op, I would recommend you get both the hyper and the cardioid capsules. When I work with a novice boom op on low budget shoots (i.e. a PA converted to a boom op) I almost always go cardioid rather than hyper. The wider pickup pattern is much more forgiving - if the difference is a bit more ambient noise vs. off axis dialog, I always go with more ambient.

Phil
 
Thanks for the advises.

I don't want to interfere with the USA-EU differences, but for EU, I would go with the AKG blue line or AKG ULS line for a hyper. Same with sennheiser 416 or AT 4073a some products are cheaper and easier to buy (Sennheiser and AKG and many other HQ products) within the EU. (no import tax etc)
Click to expand...

... those are a bit more expensive...
 
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