Good Audio Specs

[ministersin]

I have purchased an old Electro-Voice Condenser Shotgun System (CL42S). I was wondering if any oldtimers have experience with this model. Or if someone in the know can tell me based on these specs what kind of issues I might look for in recording sound with this mic from a boom pole for short films and maybe an indie feature using the DVX100.

SPECIFICATIONS
Element:
Condenser (electret}​

FreQuency Response:
-8 dB at 100Hz​

-5 dB at 200 Hz

500 Hz to 12 kHz ±2~ dB

(See Figure 2)​

Polar Pattern:

See Figure 3​

Impedance:

250 ohms (nominal)​

Output Level:

-33 dB​

(OdS", 1 mW/10dynes/cm2)​

EIA Sensitivity Raling:

-125dB​

Maximum SPL:

129dB

(1% THO@ 1 kHz open circuit)​

SIN ​

Ratio:​

78 dB "A" weighted​

Dynamic Range:

115 dB​

Operating Voltage:

AS or Phantom mode (48v)​

Here are the graphs for freq. response and polar pattern:​

​

 

[TVSound]

never used it. i cant see the numbers on the frequency graph but clearly it is not a flat sound. possibly a presence boost. polar graph looks super-cardioid and cardioid on low end like many shotguns. your specs say 500hz to 12khz. not great or even good. yea, you can get dialogue, but dont even think about getting music.

if you want more info on how to read specs, check out
http://www.microphone-data.com/pdfs/mw%20mic%20specs.pdf

if you log in to http://www.microphone-data.com/default.asp you can see many "standard" mics and specs to compare them

 

[ministersin]

Yeah, I noticed that most of the mics I looked at to compare were way below 500MHz at the low end (more like 20-80) so I was worried about that, but I didn't know exactly what it meant. But according tot he manual I think that is what it's going to be.

The mic will only be used to capture dialogue bwtween characters and some ambient sound. I also have wireless lavaliers for the dialogue which I will use if they can be hidden in the scene. Otherwise I'll be stuck withthis baby.

Thanks VERY much for the link. My biggest weakness right now is audio. I just don't understand the concepts at all yet. Thsi will help ALOT I'll bet.
Thanks again for your input.

 

[TVSound]

my bad. i reread the specs.

500 Hz to 12 kHz ±2~ dB

that means in that range, the mic output will deviate either +2 or -2db output from a reference to its own response at 1khz. actually good.

 

[ministersin]

TVSound, what you are saying sounds like a foreign language to me, but I appreciate the input, especially learning that it's not going to be as bad as I might have thought.

The mic cost 100 (including what appears to be a very nice shock mount). But it'sa weird looking beast.

Here's a pic

 

[mainstreetprod]

Everyone here has their favorites. If you count the number of mics you will see most often here on the forum, it will add up to less than ten. The number of shotgun and hyper mics manufactured in the last 20 years: hundreds. Obviously, you can find mics that are a few years old, out of production, not anyone's favorite that will still do the job and some that will do it quite well. Case in point: I own a Sony short shotgun mic, a C-74, that was produced over a 15 or 20 year period. Broadcast cameramen used this with a pistol grip or on a boom and got great audio. The mic can still be found leftover in the inventories of broadcast equipment dealers at it's list price of $1250. However, when found on Ebay (quite often) it sells for typically $75-$200. There is also a long shotgun version , the C-76 with the same specs. The specifications are not identical, but comparable to the Sennheiser 416. The frequency response curve and polar pattern are very similar. However, both mics are larger and heavier than that mic. They also use an obscure, expensive battery, so phantom power is best. They have a 3 position low cut switch and have done a fantastic job for me.

The point is that if you don't have the bucks for the current popular mic, look around for one of the good, formerly expensive, now inexpensive not so popular mics of the past, and you can get great sound at a great price.

Sony C-76 specs:

• Super-cardioid directional characteristics, rejecting indirect sound
• 2-way powering-internal battery (50 hours of continuous operation) or external power supply
• RF condenser design for low noise level
• Battery check lamp
• 2 position low cut switch
• Capsule type: Condenser
• Frequency response: 40 -16,000
• Directivity: Uni
• Tone control: M,M1, V1
• Battery: 7MR9
• Ext. power: DC24-48
• Microphone Connector: XLR-3-12C type
• Recommended Sony Battery: 7MR9 (Mercury)
• Battery Life: 50H
• Output impedance at 1kHz (balanced) (1/2 ± 20%): 250
• Inherent noise (0dB=20µPa.): 14(dB SPL)
• Wind noise (0dB=20µPa.): 50(dB SPL)
• Effective output level at 1kHz (0dBm=1mW/1 P: -38(dBm)
• Sensitivity (0dB=1V/1 Pa at 1kHz): -38.0 ± 2.0(dB)
• Dynamic range: 112(dB)
• Signal-to-noise ratio (A weighted, 1kHz, 1Pa.: 80(dB)
• Induction noise from ext. magnetic field (0dB=20µP): 5
• Max. input sound pressure level (0dB=20µP: 126(dB SPL)

Sounds like the mic you found may fall in the same category- expensive when
new, cheap used. Try it out on a production and see what you think. Rent the industry standard 416 and use them side by side. If your sound is comparable,
congrats, you just saved a bundle.

Weight

5.82 oz. (175 g)

 

[saneproductions]

I think you are goint to have fun working with the mic. My suggestion is to boom it in close 12"-24" above and slightly in front of the talent. Do some tests, make a quick short and take notes and stills of the mic position and see what is going to work for you before you spend a ton of time shooting with lots of people involved and it has to be good. You may find it does what you want, it may not. The biggest thing is to get that mic in close!!! 4' is not close! 3' is too far away! Also aim that sucker like a laser beam at the target's mouth!