Mic for indoors

David W. Richardson said:
Who mentioned the ATM-650??? The other mic you mentioned was the Rode NTG-2, which is a shotgun.
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I didn't mentionned the ATM-650 but it was specified in the video I posted though.
David W. Richardson said:
The ATM-650 is a dynamic vocal/instrument mic. For this to work at all adequately, it would have to be placed VERY close to the speaker's mouth -- which would render it useless for an awful lot of indoor dramatic work.
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I agree that it needs to be close to the source, so boomed wouldn't be the best solution so far but for ADR or Voice Over, it produce a crisp, clean and deep voice out of it.
 
I've got the AKG blue line which when you include the price of the hyper capsule that is sold separately, costs around $450. When I bought it it seemed to be the best mic for the price. After using it a while, it's ok but not amazing. Kinda wish I had gone with the audio technica.
 
The Audio-Technica MB4K is not an omni-direcitonal microphone. It is a cardioid condenser.
The Audio-Technica ATM-650 is a hypercardioid microphone, but is a dynamic microphone designed for up-close vocal and instrument use. That is why "it requires a good preamp to get decent signal".
Neither of these mics have the "reach" (directionality) and sensitivity (signal output) to be very suitable for use as a boom mic.

Omnidirectional mics are probably the least suitable pattern for use on a boom. The objective here is to capture the "cleanest" recording of the dialog with the minimum influence from the location surroundings, including both the ambient noise, and whatever reflections, etc.

The Oktava MK-012 with the hyper-cardioid capsule is probably the most popular lower-cost microphone for location production boom use.
 
I do have some thoughts here, not the fact that there's a difference between cardio and shotgun inside... But with the quesiton who was the boomoperator ? How did he hold the mic ? What was the location ?

A cardio mic in a large hall or bathroom will also sound "reverb" (roomy)... And when the mic is 44664646 miles away, it will sound roomy even in a room full of curtains, clothes...

So I think it's a combination of "shotgun" with "not the perfect room".
 
The Oktava is good for the price, but you should take note that it's quite sensitive to handling noise and wind movement. If going with it, you may have to invest in a new shockmount and something like a baby ball gag, which makes the total cost not that much lower than the AT4053B or AKG blueline, which are not as sensitive and just might work with your existing shockmount (this should be tested before making that decision though).
 
other mics and non proper use (bad booming) would also result in handling noise... And windprotection (foam) is always good (not to be confused with the windjammer)

I think the rycote invoice is good enough
 
Richard Crowley said:
The Audio-Technica MB4K is not an omni-direcitonal microphone. It is a cardioid condenser.
[..]
Neither of these mics have the "reach" (directionality) and sensitivity (signal output) to be very suitable for use as a boom mic.
[..]
The Oktava MK-012 with the hyper-cardioid capsule is probably the most popular lower-cost microphone for location production boom use.
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1) My mistake.
2) They're not designed for that, but I found them useful for different purposes. The ATM-650 gives a crisp and deep voice when used for ADR.
3) I'll check for it when I'll upgrade my gear!
Jema said:
The Oktava is good for the price, but you should take note that it's quite sensitive to handling noise and wind movement.
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Thanks for the infos.
 
About the Oktavas. Their nice. But not great. Not for my job (i do much more Doc Run-Gun style, than fiction). In a controled enviroment it could work well. But for me, it sits in the case for months. If you find one (with the hyper capsule, the cardiod don't cut trough for ENG/Film sound to my ears - they don't have that "reach"). But, f you find one for a good price, think about it. Beware that there's a huge number of fakes in the eBay and likeso. Their handling noise is an issue with an unexperienced boom man. Even with the amazing Rycote Lyres, it picks up handling if you don't threat then gently.

About the AT4053. I recently worked with one in a fiction set. It was a A version. They performed OK. Not good, not bad, just ok. In one interior location it had an issue with some lights/electrical cabling in the set. All my cables are star-quads, but i don't have the EMC RF suppresion conectors that Neutrik offer. I think i should get then... Or, it could be a design flaw that had been inprooved in the B version.

Yesterday i was searching for another Hyper. I'm towards the MKH 50, or the 8050. But they are out of my budget right now. And the Schoeps, seens to be a far away dream for years... I would love to hear real field test from the Audix SCX1-HC. Specwise it seens to fit my needs.

Anyone could refer me some sound samples of the Audix that is not a musical sample?
 
Craesmeyer said:
Beware that there's a huge number of fakes in the eBay and likeso.
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The "fake" Oktavas (made in China) were a short-lived phenomenon and there probably aren't as many out there as we think. There are web pages online that feature comparison photographs to easily discriminate between the genuine and the knock-off. Note the the body (electronics, amplifier) part of the Chinese version is actually better than the original Russian product. But the Russian capsules are superior.


About the AT4053. ...In one interior location it had an issue with some lights/electrical cabling in the set. All my cables are star-quads, but i don't have the EMC RF suppresion conectors that Neutrik offer. I think i should get then...
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You didn't mention what kind of "issue" you had. It seems unlikely that interference from "lights/electrical cabling" would be reduced by the RF shielding in the Neutrik connectors.
 
I just ordered an AT 4053b based primarily on your recommendation and plan to use it hard wired (also based on your recommendation when I asked about wireless issues). I just wanted to say thanks for the insights. I am going to plug it into the balanced XLR input of my Sony F3 which can provide phantom voltage. I plan to put it on a microphone stand that will boom it out of the frame, and use a 30' cord to the camera. If this works well I hope not to need a separate recorder.
 
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I don't know how Oktava is compared to 4050b. But 4050b is sensitive to handling noise and wind movement.
 
I've used them both and the Oktava is definitely more sensitive. A real bear to use on a boom pole, even with the right KSSM shockmount, etc. But the sound clarity with speech is outstanding, to me, it offsets the handling problems.I often used it on a fixed boompole when actors were stationary, eliminating the problem.
 
I don't know how Oktava is compared to 4050b. The 4050b is sensitive to handling noise and wind movement
-- Do you mean the Audio Technica AT4053? .. The 4050 is a totally different type of mic, and not designed for field production.. and further more, I can't imagine that on a boom pole.
The 4053 on the other hand is less sensitive to wind and handling noise than the Oktava 012. However, with a compatible shock mount for the Oktava's weight and size, (like the Rycote Invision 6 or 7) it's not a problem in experienced hands. A cheap foam windscreen is usually adequate for interiors. Engaging a mixer's 75 or 80Hz. HPF also helps.. I wouldn't consider using it outdoors... same goes for the 4053.
 
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Rick R said:
I don't know how Oktava is compared to 4050b. The 4050b is sensitive to handling noise and wind movement
-- Do you mean the Audio Technica AT4053? .. The 4050 is a totally different type of mic, and not designed for field production.. and further more, I can't imagine that on a boom pole.
The 4053 on the other hand is less sensitive to wind and handling noise than the Oktava 012. However, with a compatible shock mount for the Oktava's weight and size, (like the Rycote Invision 6 or 7) it's not a problem in experienced hands. A cheap foam windscreen is usually adequate for interiors. Engaging a mixer's 75 or 80Hz. HPF also helps with wind and handing. I wouldn't consider using it outdoors... same goes for the 4053.
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Nice catch! And thanks! Yes, I meant AT "4053b" (I don't think there exists AT "4050b" and even if so, I don't know it;-).
 
So, I got the 4053b and also a boom stand to hold it and am running an XLR cable directly into my Sony F3 which has phantom power. I set the camera gain control at -35db which matches the specs on the mic and it sounds spectacular! My only previous experience was with a wireless G3 lav and this is clearly better. I noticed if I change the gain to a higher - value the sound is louder at the same external volume setting and I might move it up a notch to -38db since it still does not clip.
 
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