2nd field shotgun mic recommendation similar to the Schoeps CMIT5U

[lonewolf2koc@hotmail.com]

I own the Schoeps CMIT 5U for past 4.5 years and it has performed extremely well. The dialogue accuracy and overall sound for both int & ext loc is similar to that of a studio condenser mic, except it's on the field. Crisp and accurate are best words to describe the sound characteristic. Looking to get something in par with the CMIT5U for a 2nd camera shotgun use. I read that the CMIT5U won't perform well in humid, harsh environment. I do not want to spend another $2K on a shotgun mic. Something in the $600-800 range. And if I intercut between the two, at least they both sound similar to each other and not way off.

It boils down to the Sennheiser MKH-416 and Rode NTG-3. I read that the Rode NTG-3 is almost similar to the much more expensive MKH-416. Any insights or recommendation for a 2nd shotgun mic in harsh field environment? This will likely be mounted on the camera's mic mount and w/ a Rycote Windjammer and Windshield products. My main use for the mic is broadcast EFP: dialogue on boom pole and natural environmental sound field recording (beach, desert, forest, jungle, etc..)

 

[Alan H. Chang]

Sanken CS2 or the MKH8060. Close bet. Love the CMIT as well here.

Or, sell the CMIT and get 2x CS2/8060. Now you have two of the same mics!

Since you're already basing your thoughts between the MKH416/NTG3, just stick with 416.

 

[lonewolf2koc@hotmail.com]

Did some research on the MKH-8060. It appears to be just like the 2/3" cam mic fr. Panasonic or Sony in term of form factor. It also is more forgiving on off axis. This has pro and cons. Typical 2/3" P2 cam can record 4 discrete tracks of audio@24-bit. I usually use the on-cam mic as an omni sound and looking for something more directional. I'm not sure if the NTG-3 or 416 has the most rejection to off axis. This saves a lot of time in using lav for fast interview situations. With a super wide angle lens, a good shotgun mic can pretty much eliminate the need for lav mic. Looking for a Shure SM 58 vocal mic characteristic that rejects very noisy surrounding but in a shotgun, super cardioid design. I saw somewhere couple years ago it was either a Sanken CS3e or some other brand/model shotgun that able to reject a very noisy rock concert environment and just pickup the on-axis. Didn't note it down til I need it today.

The CMIT5U stays w/ my EFP shoot as the price appreciated $300 ever since I bought it when it first came out. Very hard to get rid of it as from time to time I need that particular unique sound, the CMIT5U delivers. But in an extremely noisy situation, I'm looking for something even more directional than the CMIT5U to isolate the sound. For the most part, the CMIT5U is still my fav. for most normal recording situations.

 

[Alan H. Chang]

I've got to say, you have to give or take certain wants in order to meet your criterias, especially when it's also being used ontop of your cam.

1.) Rivels a CMIT5U in sound quality (very subjective from person to person)
2.) More off-axis rejection than a CMIT5U
3.) Costs $600-$800

Remember, the CMIT5U has three specific onboard DSP features that once turned on and activated, makes it sound similar to another microphone.

The only microphones that I think meets criteria 1 are the brethrens Sennheiser MKH70s, Sennheiser MKH8060/8070, Sanken CS2, Neumann MKR81i, big brother SuperCMIT2U (digital mic, needs a special headamp or provided AES42), and its cousin Schoeps 641.

More off-axis rejection than a CMIT5U would be the Sennheiser MKH816 (discontinued, but still used in the market), Sennheiser MKH70 , Sennheiser MKH8070, Neumann KMR82i, Sanken CS3e, Audio-Technica BP4071, Schoeps SuperCMIT2U. Sounding similar to a CMIT5U automatically drops to a Sennheiser MKH70, MKH8070, KMR82i, and the SuperCMIT2U.

Any of the microphones mentioned above costing $600-$800 NEW, Audio-Technica BP4071, but definitely not ideal for mounting on the cam. The Sanken CS2 NEW is somewhat close to your ballpark asking price. Getting them used would be the most realistic option and even then would need to be an extremely hard-to-find deal. The 8060 is a sweet sounding microphone, but costs close to a Sanken CS3e. Some tradeoffs.

In terms of size, the 8060 is like a Schoeps 641 small yet beautiful. Sanken CS2, CS3e, CMIT5U, KMR81i are close together.

Given by your options, I would suggest saving a bit more and go for a Sanken CS2 or Sennheiser MKH8060 for a fraction of a CMIT5U, with some tradeoffs of course.

 

[John Willett]

.....big brother SuperCMIT2U (digital mic, needs a special headamp or provided AES42)

The SuperCMIT does not need a special headamp.

It's a Mode-1 AES42 digital microphone, so it just needs to be plugged into an AES42 input. If you only have an AES3 input you just need a simple connection kit - both Schoeps and Neumann make these - and these just supply the 10V phantom to the mic. and convert the AES42 into an AES3 output.

NB: Mode-1 digital mics need to go through a sample-rate converter if you need to run several mics together (Mode-2 digital mics can also be clocked according th the AES42 specs and don't need to go through an SRC).