Best hypercardiod?

Sherman

Sherman

Well-known member
Aquired Sanken CS-1 as it seemed to be a one mic solution for both exterior and interior shoots. But I've noitced a bit of an echo at times that needs to be dealt with in post. Wonder if I should get a hypercardior mic too for some situations.
What is a good hypercardiod?

Also have the Shure SM 63 which is a dynamic mic, I believe, but it has to be closer to the sound source than on camera work allows when using a boom or mic stand.

One more thing on the topic of audio.
I'm thinking of getting the 100 G2 plug on trasmitter for the boom.
XLR cable is becoming a PITA, especially during dolly and hand held moving shots.
What do you think, a good addition.

Also how do you audio pros keep cable getting knotted and tangled during the course of a shoot. Seems to happen all the time.
Is there an XLR cable that doesn't become spaghetti or is this a user issue.:dankk2:

 
The AKG Blue and ULS line both sound good for the money. The AKG SE300b/CK93 is $478 where the AKG C480/CK63 hypercap is also very good. Both also give you options to change the cap to say a Shotgun. I use one of each and really appreciated the sound and flexibility. The other popular lower cost option is the Oktava MK012a in the $249 range. The Oktava sounds nice, but has no lowcut on the mic and you need good suspension to cut out handling noise. Of course, at the top of the heap is the Schoeps CMC MK41 line, that will set you back close to $2k..
 
Peabody said:
Aquired Sanken CS-1 as it seemed to be a one mic solution for both exterior and interior shoots. But I've noitced a bit of an echo at times that needs to be dealt with in post. Wonder if I should get a hypercardior mic too for some situations.
What is a good hypercardiod?

Also have the Shure SM 63 which is a dynamic mic, I believe, but it has to be closer to the sound source than on camera work allows when using a boom or mic stand.

One more thing on the topic of audio.
I'm thinking of getting the 100 G2 plug on trasmitter for the boom.
XLR cable is becoming a PITA, especially during dolly and hand held moving shots.
What do you think, a good addition.

Also how do you audio pros keep cable getting knotted and tangled during the course of a shoot. Seems to happen all the time.
Is there an XLR cable that doesn't become spaghetti or is this a user issue.:dankk2:

Click to expand...

I would like to recommend the Microtech Gefell M-210. I purchased one recently on Oleg's advice and have to say it compares very well with my Schoeps CMIT 5U. Its $1300 to $1500 depending on where you buy it. Did a side by side close up comparison with my Schoeps indoors on a female voice and it has the same low self noise and natural sound that the CMIT has. Didn't get the Schoeps hyper because its more than I wanted to spend on a second boom mic. Its off axis sound is smooth and its modular so you can get a cardiod or omni capsule as well. There is 10 db pad and low cut filter built in so nothing extra to buy. Oleg says that the MBHO capsules can be used on the Gefell body too.
Regards,
Bernie
 
Peabody said:
...
One more thing on the topic of audio.
I'm thinking of getting the 100 G2 plug on trasmitter for the boom.
XLR cable is becoming a PITA, especially during dolly and hand held moving shots.
What do you think, a good addition.

Also how do you audio pros keep cable getting knotted and tangled during the course of a shoot. Seems to happen all the time.
Is there an XLR cable that doesn't become spaghetti or is this a user issue.:dankk2:
Click to expand...

The Senn 100 does not supply phantom for the mic but the Senn 500 does. Consider that plugon instead. As for the cables, apply the correct over/under coiling technique will go a long way to preventing that tangle. A google will turn up a couple of videos demonstrating the technique.
 
Yes, the SKF 500 G2 is the solution at twice the price.
It evidenlty works with the the 100 G2 pick up.
Thanks.
Trew Audio tells me the CS-1 will be equal to hypercardiod mic. Either they know what they're talking about or they don't want to sell me a mic!
Likely the former I'm thinking.
OH, and when you have to take the dome off a Sennheiser wireless lav to switch the clip from mal le to female don't twist the damn thing off like Mr. Blindman (me). That's costing a repair as I twisted the solder off! The dome PULLS off.
That's PULL, don't TWIST.
Emphasis for me!
 
the best hyper is what you can afford :-)
the sc-1 is a short shotgun - and sorry usially salesman in trew audio have very little knowledge over the people they sell the stuff , sometimes much less .
but they have very big appetite for customers money , the only person that "trewly " knows something not really in the store these days .
about sc-1 - nice mic , not more , never found a reason to use it as there few which much better for interiors and these which much better for exteriors . but it short , so probably work best when the sky is very low :_)
 
Peabody said:
Also how do you audio pros keep cable getting knotted and tangled during the course of a shoot. Seems to happen all the time.
Is there an XLR cable that doesn't become spaghetti or is this a user issue.:dankk2:
Click to expand...

Learn to wind it up properly right from the start. That's the first thing I teach new folk. How? well it's hard to write, but you hold the first loop in your right hand, then add the following loops in an under/over fashion. The aim is, you don't twist the cable on itself.

Maybe needs a video....anyone?

Cheers.
 
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I'm a fan of CS-1 just because I have to use it as on camera mic a lot, but that's it. I think what they were trying to tell you on Trew Audio is that is a Shotgun with the pattern of a hyper. Glenn always has had that theory about the CS-1. he likes to call it the song of the marriage between the Mkh50 and the MKh416. I agree with him about that, is pretty wide for a shotgun but it has extreme side rejection for a hyper. That's why it's so good for on camera work. At the same time Oleg is totally right, if you are going to work on the boom there always is going to be a better option on the same price range, and probably a quieter one too.
 
vrc2250 said:
The AKG Blue and ULS line both sound good for the money. The AKG SE300b/CK93 is $478 where the AKG C480/CK63 hypercap is also very good. .............
Click to expand...

Recently bought the AKG SE300B/CK93 hyper---nice and clean with a healthy mid range. $349 from Alto Music, NY.
 
just my thoughts. I have both an audio technica at4073a shotgun and an audio technica 4053a hyper. while i love the 4073a shotgun for outside and some interiors where there is alot of carpeting and less reflective surfaces, the 4053a hyper rocks at interior dialogue, period. i once had the sanken cs-1 and did love it but i would never use it over my 4053a hyper indoors. on that not, there are many times when the 4073a shotgun picks up central air, HVAC noises, footsteps from boom operators, but the 4053a hyper is great at only getting dialogue. yes, the mic must be close but it always picks up voices and only that. before my first hyper i never quite understood what the big deal was. why not just use my shotgun. after the 4053a my whole understanding changed. HYPERS ARE AWESOME for interior work. i would never change that.

also, while i once had the sanken thinking it would be my ends all solution, i ended up trading it all in for one good exterior shotgun and good interior hyper (4073a and 4053a). i've never looked back.
 
I've been using an Audix SCX1-HC for interior work and have been very happy with the results so far. And as other have said, the proximity of the mic has the greatest impact on the quality; in other words, the closer the better.
 
In hindsight, the Audix may have been a better choice for a multi-use mic.
I have a large diaphram mic for VO work. Studio Projects C1, but it certainly doesn't work for the boom. The SCX1-HC would do both jobs by the sound of it.
No pun intended.
Still, the Sanken CS-1 is a great mic, but I think a hypercardiod would be better for some indoor environments and I will aquire one.
As the for the staff at Trew Audio, I've found they know what they are talking about and are helpful, from my experience anyway.
 
Anyone ever try an AKG 414 set to supercardioid? I know they're a bit on the heavy side, but I own two of them and always wondered how well suited they might be otherwise.

I also own a two Neumann KM84s and a Shure SM-81. Both are normal cardioid only, but I wondered about them too. I could buy a Oktava or an Audio-Technica 4053a, but I already have a huge mic locker, so I'm making sure I really don't have what I need covered (I do have a decent shotgun and 2 wireless lavs).

Thanks in advance for your insights.
 
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Ted Spencer said:
Anyone ever try an AKG 414 set to supercardioid? I know they're a bit on the heavy side, but I own two of them and always wondered how well suited they might be otherwise.

I also own a two Neumann KM84s and a Shure SM-81. Both are normal cardioid only, but I wondered about them too. I could buy a Oktava, but I already have a huge mic locker, so I'm making sure I really don't have what I need covered (I do have a decent shotgun and 2 wireless lavs).

Thanks in advance for your insights.
Click to expand...

I think you'll find all of those mics are closer working than is typically practical on a boom. The cardioids lack the side rejection that is important for getting dialog to pop out of the background.
 
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