Best mic

Uhh...

About a dozen (or more) of them. What kind of mic? Hypercards, shotguns, lavs?

What are you talking about?
 
Historically, Sennheiser's MKH-series of RF-condensor mics have been the standard for most production sound. Specifically, the MKH816 (long-shotgun) and MKH416 (short-shotgun) have impressive track records. If I were to choose a single mic as a benchmark for evaluating production sound equipment, it would have to be the `416.

However, that's an oversimplification of a very complicated technical issue. The only real standards for production sound recordings have to do with exchange formats and industrial standards (eg. SMPTE, EIA, AES, etc.)

The forum stickies contain a wealth of information regarding microphone reccomendations. Also, a cursory glance at a film/television production equipment rental company's price list will give you an idea of the gear that's commonly taken out in the field.

When you get right down to it, the correct mic for any given job is the one which gives you the desired results.
 
SMuir:

I would agree with your observations if it were 1998, but today, almost all of the sets I have been on recently, the sound mixer is using Schoeps, usually the CMC641 and the CMIT5u. Sennheiser MKHs are getting to be somewhat rare on TV sets and features. I own an MKH60 and love it but it doesn't seem to be the standard that it once was.

Just an observation.

Dan
 
Jaimebailon said:
what kinds of microphones(models) are the standard for big Hollywood productions
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nobody give a **** what mic you use as long you deliver the goods .
from someone who have about 10 different shotguns and 2 dozen other mics i can tell you what really matter is the acoustics on your location , proper polar pattern , good booman and how good is your dialog editor .
.
by the way ,not one of my last 6 projects was recorded with schoeps as a main mic ( and i have few :-)) but was mixed by almost any other brand .
one of them just took Haifa festival as the best picture and frankly was the one with the best sound ( there is no sound award - how pity :-))

so for most of the new buys like you i will more suggest keep your money for books and proper training then reading advertising and make someone reacher as you share the " logo" .
 
akamoll said:
nobody give a shi* what mic you use as long you deliver the goods .
from someone who have about 10 different shotguns and 2 dozen other mics i can tell you what really matter is the acoustics on your location , proper polar pattern , good booman and how good is your dialog editor .
. .
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i disagree the mic you are using really does matter. of course your location and the acoustics of the room have a huge part but so does the microphone.



im sorry my question was too much of a general question my excperience is only with large diaphram studio condenser microphones i currently use the Akg c 414 and an avantone microphone. I am not looking to buy one of these microphones but just trying to find out what are the mics that most big budget films use i don't think i would be using one of these microphones with my dvx100b either:embarasse that would be too much microphone for my little camera lol.
 
Jaimebailon said:
im sorry my question was too much of a general question my excperience is only with large diaphram studio condenser microphones...

...just trying to find out what are the mics that most big budget films use

... i don't think i would be using one of these microphones with my dvx100b either:embarasse that would be too much microphone for my little camera lol.
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If you're looking to put a mic on your camera, you're playing in the wrong field.

Hollywood productions (much like any well produced film or video) need to use a variety of mics for various work. lavalieres for wide shots when clear dialog is important, hypercardioid for boom pole work, short and long shotguns for exterior work, etc. You need to use the right mic for the right application.
 
PerroneFord said:
If you're looking to put a mic on your camera, you're playing in the wrong field.
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Aye. The top of a camera is just about the worst place you could put a mic, for most production sound scenarios. It'll rarely be close enough, and it'll never be on-axis.
 
thanks perrone and no i wasnt looking to put a microphone on my camera i was just wondering i dont even use my on camera microphone i work with the limitations i have doing mostly narrative stuff with voice overs recorded directly to pro tools via digi 002
 
Basically, the answer to your question is all of the above. On large budget "hollywood" productions, the mixer will probably have somewhere between 10-15 different microphone models in his/her bag of tricks. And, they will probably have at least 2 of each (with the exception of lavalieres, where they will probably have 10 or so of each). It all depends on the conditions. For example, Schoeps mics aren't too happy in heavy humidity, where the Sennheiser 416 works very well. In my kit, I still have my trusty AT897 (my first shotgun) that I pull out if the conditions are really terrible (like the herring processing plant we shot in once). I know of a couple of mixers that have a couple of Octava's in their kit as "expendibles". If it blows, it goes in the trash.

So, your best bet is to read the threads here to get a better understanding of the different types of mics and their target purposes and then decide what will work for you.

I will offer one piece of direct advice (well, actually 2): Avoid anything Azden and the Senn. ME66 like the plague that they are. Both smell worse than I did coming out of the herring plant. :-)

Phil
 
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