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puredrifting

puredrifting

Major Contributor
Hi all:

I am in the process of updating this article I wrote in 2001 http://www.kenstone.net/fcp_homepage...tgun_mics.html
I am planning on reviewing and testing about 8-10 new shotgun/hypercardioid mics and I am planning on also testing/reviewing wired lavaliere microphones.

The tests will be geared toward interviews, narrative and VO usage for film/video. They will be practical, hands-on tests, not lab testing and test bench measurements.

For the the shotgun/hypercardioids, I am planning on the following...

1. Oktava MK-012
2. Sennheiser MKH-50
3. Sennheiser MKH-60
4. Sanken CS-1
5. Sanken CS-3e
6. Beyerdynamic MC836
7. Audio-Technica AT-4073a
8. Audio-Technica AT-875r
9. Schoeps CMC6/MK41g
10. Schoeps CMIT 5U

Any other shotguns/hyper/supers I am missing? In comparison to the original article, which was geared toward cheap shotguns, this iteration is intended to be a definitive shotgun/hyper primer for camera operators, DPs and producers. It won't be geared toward sound mixers as most of them already know what to use and why.

Any suggestions for items you would like to know about/see/hear in this article?

As far as the lavalieres...

1. Tram TR50b
2. Countryman B6
3. Sanken COS-11
4. Sony ECM-77B
5. PSC Millimic
6. DPA DPA-4063

Will only be testing wired versions of the mics, no wireless systems.

Your suggestions, requests and input are much appreciated.

Dan
 
You have the cheapest hyper (Oktava), then the high end ones from Schoeps and Sennheiser. It'd sure be nice to hear a couple of the ones inbetween, such as the AKG se300b/CK93 combo or the AT 4053a.

Also, PLEASE don't test the mics in a perfect environment. Somewhere there is floating around a "shotgun test" that makes the ME66 sound almost identical to a 416 because it was recorded in a perfect sound booth.
 
I'd like to hear that test... I'd be surprised if the me66 ever sounds even remotely close to the 416... I got some of those tests and the difference in sound will knock you out.

I think the best test would be at the distances that mics should be used at... with part of the test on axis and part of it at 30 degrees off axis... the best way to do that is a slightly angled boom in a good room... and get the 30 degrees by moving to the opposite side... so that instead of angling into you it's angling away from you... but still overhead... and be sure to verbally document the distance and the stage of that repeated procedure.

Or something like that.
 
Speaking of which, you are missing the Sennheiser 416, still one of the workhorses in movie production.

And, on the lavs I would switch out the Sennheiser MKE2 for the Sony. Also, it would be interesting to add the pin-mic to the mix - I would love to know how it stacks up against the others.

Thanks!!

Phil
 
I would add the Countryman EMW. In a B3 vs B6 vs EMW side by side comparison at NAB I preferred the EMW. To me it had a richer sound. Though you clearly had to go under clothes whilst with the B6 you could go through a button.
 
You are missing the Neumann mics. They are not talk about much here but are actually favs of plenty of film people. Hearing a Neumann 81 compared to a 416 demonstrates the subjective nature of "good" in audio.

If you are doing something targeted at DVXUser types, I would be sure to A/B the good mics against the cheapos.

Cheers
 
I second the mke2 and the EMW.
I´d add the B3 for the Lav test.
I´d also add the MBHO 603 with the K500 hyper (I bought it as suggested by Oleg and love the sound, but it´s barely known I guess...)
And second the Neumann 81...
 
geffel 210
akg 683
my chiniz friends :-)
neuman 100+50
neuman 185
sennheisr mke platium /gold

by the way why do you waist your time , these tests say nothing for the real life work conditions
 
not really worth the efford to put on the boom
cheap solution as camera mic ( at least better then any **** that comes under sony/panasonic/jvc name)
can send you one for 150 usd
 
the hyper is very good for what it worth - hese would be here in acouple of weeks 3 capsul sets only
 
shawneous said:
You have the cheapest hyper (Oktava), then the high end ones from Schoeps and Sennheiser. It'd sure be nice to hear a couple of the ones inbetween, such as the AKG se300b/CK93 combo or the AT 4053a.

Also, PLEASE don't test the mics in a perfect environment. Somewhere there is floating around a "shotgun test" that makes the ME66 sound almost identical to a 416 because it was recorded in a perfect sound booth.
Click to expand...

Hi Shawn:
I think I have some mid-range stuff with the AT-4073 (seems a lot more people use this one over the 4053?) and the AKG BluLine stuff.

I will be recording the tests in a typical stage/location sort of setup. I may do some location VO but definitely not in a sound studio or in a VO booth.

Thanks for the input!

Dan
 
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MattinSTL said:
I'd like to hear that test... I'd be surprised if the me66 ever sounds even remotely close to the 416... I got some of those tests and the difference in sound will knock you out.

I think the best test would be at the distances that mics should be used at... with part of the test on axis and part of it at 30 degrees off axis... the best way to do that is a slightly angled boom in a good room... and get the 30 degrees by moving to the opposite side... so that instead of angling into you it's angling away from you... but still overhead... and be sure to verbally document the distance and the stage of that repeated procedure.

Or something like that.
Click to expand...

This was exactly what I want to do, document on-axis in a perfect setup as well as off axis.

Good idea.


Dan
 
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ptalsky said:
Speaking of which, you are missing the Sennheiser 416, still one of the workhorses in movie production.

And, on the lavs I would switch out the Sennheiser MKE2 for the Sony. Also, it would be interesting to add the pin-mic to the mix - I would love to know how it stacks up against the others.

Thanks!!

Phil
Click to expand...

I guess I left out the 416 because I used to own one and I think the MKH-60 is a MUCH better mic but that's just my opinion.

I guess not a lot of people use the Sony lavs anymore, do they? The pin-mic? Who makes that? I have to track down the manufacturer and convince them to give me a review unit.

Thanks for the suggestions.

Dan
 
shawneous said:
I would add the Countryman EMW. In a B3 vs B6 vs EMW side by side comparison at NAB I preferred the EMW. To me it had a richer sound. Though you clearly had to go under clothes whilst with the B6 you could go through a button.
Click to expand...

Hmm...

I already own the B6, I will ask Countryman if they will loan me an EMW and a B3, I guess it will depend on if they cooperate in giving me review units to test with.

I loves my B6s, they are great.

Dan
 
Reply

Reply

wabbit said:
You are missing the Neumann mics. They are not talk about much here but are actually favs of plenty of film people. Hearing a Neumann 81 compared to a 416 demonstrates the subjective nature of "good" in audio.

If you are doing something targeted at DVXUser types, I would be sure to A/B the good mics against the cheapos.

Cheers
Click to expand...

I wil try to get my hands on the short Neumann (the KMR-81, I think...)

I agree, I own a TLM-103, it's my favorite mic. Neumann makes great stuff.

Dan
 
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