AT4073a and Sennheiser 416 Comparison & Remarks

it would work fine , for loud situations use attenuating cable {better then barrel} 10-15 db would be fine for normal camera usage , if you run sony z-1 you can do it inside the camera menu .if not that one, look for mics with locut function , will help you eliminate wind and handling noise
the rode ntg is quit good for that aplication ( that only , shity mic for quality sound).
, you can also use hypercardioid mics on the camera , akg and others make few nice options ( 480 is one of my favorites , mainly since have locut and attenuation facility on the preamp and exellent sound ),
 
Thanks for the advice. Makes me start wondering about the CK98 again (because I have the bodies already). It isn't as good as the 480, but it does have a low-cut and attenuator switch on the body. Although, they can't be used at the same time like on the 480. Do you know anything about the sensativity of the CK98 going into the DVX. Thing is, I'm about to purchase a DVX100B, but I'm going to buy some other stuff at the same time, and I'm trying to sort all of that out right now. I also own a FP24 (aka mixpre) that has lowcut, but for the times I'm flying solo, I want to just be run-n-gun with a shotty on camera in one channel, and a wired/wireless lav into the other channel, with no mixer. Sounds like the 4073a runs a bit hot for the DVX, not too bad, but when loud it's too much. Is that right? I'm wondering about the CK98 cap with respect to "hotness." I know it's probably not as good of a mic, but it might be good enough for me. If the sensitivity is lower, and I can flip the lowcut switch, and I already own a couple of bodies, maybe I should go that route?
 
it will be ok the mic pull 25 mv thats about 8 db hotter then the 93 hyper , but its 9 db less then the 4073
the problem is the capsule is very long , that would be quit problematic to mount it on dvx , - i certainly was more thinking about 93 , for close micing if you shoot conversation or someone in front it would be less noticeable if it go out of center ,ok you have more side rejection with 98 ,but only in the high fq so the cars around and other lo fq rumble would be almost the same for the both mics , not to mention you will get less acoustic problems in re verb situation
so what if you will have to rise again a little to get the same level of the 98 ( 8db difference)
 
I've used a 4073a on-camera for exterior ENG-style interviews on a construction site and it worked very well for me. Used a Sabra-Som SSM-1 shock mount but others would work just as fine I think. Had lots of good comments on the results. I found the DVX's wider lens helped in this situation as it allowed me to work in close to interviewees. Don't expect miracles if you get much beyond 3 feet.

I didn't pick up any camera noise but the outdoor ambient would probably mask it anyway. Just be aware that any noise directly behind the mic will be picked up to some degree. When the mic is on-camera, it's mostly horizontal so it probably won't work well if you can't control the noise behind you such as in a crowd, etc.

-Dan


Tainted said:
Trust me, I know the pros and cons of on-camera micing, but the bottom line is sometimes you need to do it, and I'm looking for the right tool to do it with.

That said, would the 4073a work as an on-camera mic if it were properly isolated with a good shockmount? Or would I be better off going with a different shotgun if my intent is mostly on-camera use?

Thanks!
Click to expand...
 
ExileOnTheMainStreet said:
it will be ok the mic pull 25 mv thats about 8 db hotter then the 93 hyper , but its 9 db less then the 4073
the problem is the capsule is very long , that would be quit problematic to mount it on dvx , - i certainly was more thinking about 93 , for close micing if you shoot conversation or someone in front it would be less noticeable if it go out of center ,ok you have more side rejection with 98 ,but only in the high fq so the cars around and other lo fq rumble would be almost the same for the both mics , not to mention you will get less acoustic problems in re verb situation
so what if you will have to rise again a little to get the same level of the 98 ( 8db difference)
Click to expand...

Oleg,
I have no experience with the AKG mics so I can't comment on performance. However, I have had no problems with the 4073a length (9") when mounted on a DVX. Again, I use a Sabra-Som SSM-1 mount and even have the rings shifted forward. I also use a Lightwave Equalizer (like a Rycote Softie) on it which handles moderate winds. It sits well out of the FOV if that's what you're thinking would be problematic.
-Dan
 
i have no problems 2 whith 416 which is the same lenght . my coment was about the akg 398 which becones a monster
 
ExileOnTheMainStreet said:
i have no problems 2 whith 416 which is the same lenght . my coment was about the akg 398 which becones a monster
Click to expand...

Ah, I see now. I just read it wrong. Thanks for clarifying.

-Dan
 
ExileOnTheMainStreet said:
i have no problems 2 whith 416 which is the same lenght . my coment was about the akg 398 which becones a monster
Click to expand...

A "monster" in terms of it's physical dimensions you mean? When mounted on a shockmount to the DVX mic mount would it be in-frame at full wide?
 
Here's the deal, I've just finish a feature documentary called "Runners High" (www.runnershighfilm.com) where I've shot 100% of my footage handheld with the microphone mounted on the camera.
I've opted to do so for creative, budget and practical reasons, since I've followed 4 teenagers daily for about 6 months.
Since I've never done this before (working without a sound person) I've consulted and tested with a few location sound people and the audio designer/mixer of the film.
In the end we decided to use the traditional and cost effective combination of the ME66 and 64 with some very good results most of the times. The cameras used were the DVX100's.

A new project with similar style and (unfortunately again) limited budget is coming up.
I decided to raise my expectations and update my camera and sound packages. Thanks in part for the good reception, up to here, of the prior production.
So, consulting your latest recommendations and many others I'm very intrigued by the new Schoeps CMIT 5U and the short shotgun Audio Technica AT4073.
I understand they are very different 'beasts' (price wise and so on) and you never mentioned the camera mounted usage of that particular Schoeps nor did an actually review of the new AT's.
The situations will be the average doc. thing, quite unpredictable and a mix of various ext and int. I've also decided to use the HVX200 for my new camera choice.
 
Instead of blowing a wad of cash on the CMIT, how about you use wireless. Some G2 wireless (dare I say, even with the stock mics) are going to sound better then the CMIT on the camera.

Basically, if you are going to mount it on the camera you will find very little difference in sound quality between various shotguns.

Good luck
 
I recognize that camera mounted mics have limited performance. I'm just looking for the best deal.
We have a set of wireless (G2 btw) and I use them a lot for interviews but for run and gun shooting they are not practical.

Thanks for the input and whishes.
 
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