Looking for a compact on camera mic

M

MartinF

Active member
Hi all,

I want to get a new mic mostly for on camera use.
So far I have been using a Rode NTG-3, which sounds, lets say, good enough but is pretty long and I would like to get something more compact. For indoor interviews I use a boomed Audio technica AT4053b, which I really like. But as i am mostly working solo, a good on camera mic which is not too directional is really important to me.
I was thinking maybe the new Sanken CS-M1, which is super compact, or maybe a Sennheiser MKH 8060. Or more exotic, a Audio Technica BP4029 which with its MS design could help in certain situations where the subjects are off axis.

What do you think, what is everyone using these days when working without a sound tech?

Thanks,
Martin
 
I run a Sanken CS-M1 on my F55. It’s almost comically small and sounds great.

Ran it yesterday off camera in a set-up with two of my CS3e’s and my audio guy actually liked it better in that particular scenario, despite the 1 not having the “balls” that the 3e’s have.
 
+1, the Sanken CS-M1. 4 inches and less than 2 oz. Under $1k usd.
Of course if expecting better than 'nat sound,' it ain't gonna happen with any camera mic, no matter how good it is.
 
I have a Schoeps mini CMIT on my camera right now. I didn't buy it as a camera mic, but it is certainly the best option that I own as a camera mic.
I keep a BP4029 in my camera bag when I need an on camera mic for useable ambient sound. It is just as long as the NTG-3, but it is lighter. I usually only run it as a single channel mic since I generally want the second camera channel for a hop. I do think the M/S is a decent option, though. The side isn't quiet enough for a low ambient background stereo recording, but you can always add in the side channel to a mix when you have a nice loud stereo sound like a city street or event.
 
I have mine mounted in a Sony mic holder. It actually only goes back about half-way into the mount, the rest of it is the XLR barrel.

Also pictured with a CS-3e for size reference.

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Thanks for the feedback!
How do you, who use the CS-M1, think it handles handling noise (or also the Schoeps, but this is out of my budget range)? I mean it is so short and therefore so close to the hands, that I am a little hesitant. Otherwise it seems to be a really nice option. How does it compare to something like the Sennheiser MKH 8060, which is much longer but still manageable?
 
Yes, I own the Audio Technica 875R. It was made to be an on-camera mic, and so its handling noise is low. It is not as small as the CS-M1, which looks tasty, but the 875R is just $169. Don't dismiss it by its price. Many agree it has the best bang for the buck.
 
combatentropy said:
Yes, I own the Audio Technica 875R. It was made to be an on-camera mic, and so its handling noise is low. It is not as small as the CS-M1, which looks tasty, but the 875R is just $169. Don't dismiss it by its price. Many agree it has the best bang for the buck.
Click to expand...

Since we all know mounting a mic on camera results in just okay ambient sound and everything else is going to sound bad, I can't see putting a nice, higher end mike like a Sanken or Schoeps on a camera. To what end? Better quality bad talent sound? You can, but it's just a waste of money. My last three cameras have all worn the trusty AT-875r
and it's just fine and was cheap. Rycote softie for sure. I'm using the 875r on camera and the Audix SCX1 on boom.
 
My recommendation would go to the Ambient TinyMic. It’s very small and lightweight, but has a sensitivity and low noise floor equalling or bettering an NTG-3. Only downside IMO is the proprietary mini-XLR to XLR cable it uses, which makes me nervous as it will be tough to replace when it breaks. Check out their site for details. Jason
 
I have no view on the Ambient TinyMike for the OP's use, but it certainly doesn't have 'a sensitivity and low noise floor equalling or bettering an NTG-3': the TinyMike's published specs are 33dB CCIR and 17mV/PA, which are significantly worse than the NTG3's 13dBA (around 24dB CCIR) and 32mV/PA. As indeed you would expect given the different sizes of the diaphragms.

Cheers,

Roland
 
puredrifting said:
Since we all know mounting a mic on camera results in just okay ambient sound and everything else is going to sound bad, I can't see putting a nice, higher end mike like a Sanken or Schoeps on a camera. To what end? Better quality bad talent sound? You can, but it's just a waste of money. My last three cameras have all worn the trusty AT-875r
and it's just fine and was cheap. Rycote softie for sure. I'm using the 875r on camera and the Audix SCX1 on boom.
Click to expand...

+1 the 875R is my goto.
 
Go for the new Sanken CSM1! Is the hot new mic announced in 2019 for the location world

You couldn't get more bang per inch
 
I am supposed to be getting the new NTG5 from Røde to play with, it looks to be pretty amazing for the money.
I'll report back once it gets here and I have a chance to put it through its paces.
 
puredrifting said:
I am supposed to be getting the new NTG5 from Røde to play with, it looks to be pretty amazing for the money.
I'll report back once it gets here and I have a chance to put it through its paces.
Click to expand...

VERY interested to hear your thoughts. My NTG-3 is still rocking after 9 years. It’s a backup to my Sennheiser 8060 for dialog, but does still get put into use often and especially with my SFX recording kit.
 
puredrifting said:
Since we all know mounting a mic on camera results in just okay ambient sound and everything else is going to sound bad, I can't see putting a nice, higher end mike like a Sanken or Schoeps on a camera. To what end? Better quality bad talent sound? You can, but it's just a waste of money. My last three cameras have all worn the trusty AT-875r
and it's just fine and was cheap. Rycote softie for sure. I'm using the 875r on camera and the Audix SCX1 on boom.
Click to expand...

I can’t speak for everyone, but who is using an on-camera mic for (primary)talent sound? It’s there for “nats”. If you have or do work in any type of “news” environment(news, sports, doc, etc.), a good on-camera nat mic is essential for its primary purpose of capturing “nat” sound and has or will save your bacon in unexpected situations or audio equipment mishaps. Some may say it’s overkill putting a mic like the Sanken on a camera, but it was about 2/3rds the cost of my last two Panasonic nat mic’s for my VariCam’s[and is Panasonic world renowned for their mic’s? ; ) ].
 
Run&Gun said:
I can’t speak for everyone, but who is using an on-camera mic for (primary)talent sound?
Click to expand...

You'd be amazed when you run a sound for picture audio post facility, at what people do and try to get away with.
I've seen people with all kinds of crazy expensive cameras and mics, with the camera mic only, even shooting narrative
content without a sound mixer and without wireless lavs. It boggles the mind.

I'd still say the majority of DP and camera ops are relatively clueless about sound, how sound works and why things are done
in specific ways.
 
Alex H. said:
VERY interested to hear your thoughts. My NTG-3 is still rocking after 9 years. It’s a backup to my Sennheiser 8060 for dialog, but does still get put into use often and especially with my SFX recording kit.
Click to expand...

We'll see, the rep said it was coming...Not sure if from Røde Australia or from Røde here in California, the Fire Capital of the country. The water drop choppers are roaring over my house every ten minutes, I should get out and record some ambient!
 
puredrifting said:
We'll see, the rep said it was coming...Not sure if from Røde Australia or from Røde here in California, the Fire Capital of the country. The water drop choppers are roaring over my house every ten minutes, I should get out and record some ambient!
Click to expand...

Yikes! Hope the flames stay clear of you. Be safe out there!
 
puredrifting said:
You'd be amazed when you run a sound for picture audio post facility, at what people do and try to get away with.
I've seen people with all kinds of crazy expensive cameras and mics, with the camera mic only, even shooting narrative
content without a sound mixer and without wireless lavs. It boggles the mind.

I'd still say the majority of DP and camera ops are relatively clueless about sound, how sound works and why things are done
in specific ways.
Click to expand...

I know. It was kind of rhetorical. My audio guys love me, because I actually "get" audio and it's probably why I own ~$50K+ in audio gear, as a camera guy. And yes, it cracks me up to see these guys with $50K-$100K camera packages that try to get by with $200 worth of Amazon audio gear.

A discussion in this vein came up a few months ago with an audio guy I work with through a client and another camera guy/friend of mine. The audio guy said, "We're cheap. We hate spending money on gear. If that stuff really worked, don't you think we'd be buying it and using it, but there's a reason we're all using the expensive stuff."
 
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