New Hypercardioid Microphone Test - Feedback Requested

thisisapocalypse

thisisapocalypse

Well-known member
Hi guys, have been testing out this new Hypercardioid mic this morning, and I thought I'd post my results here. I am still very new to sound-editing, so I will be doing quite of work in improving my post production sound.

Test video:

http://www.vimeo.com/7615453

I am curious as to what you all think about the sound quality of this mic. Given its price ($149 w/3 Caps & Shockmount included) I have to say that I am impressed. I think with the right EQ, I'd be very happy with the results. As I said, I am still very new to sound editing and manipulation, so I wasn't able to dial in the EQ just how I'd like it...but that said, I think it still still sounds pretty decent given the cost. It's lightweight, which is great considering that it's going to be going on a boom, if I end up liking it enough, whereas say, the Rode NT3 is quite heavy. As far as I know, I haven't seen or read of anyone using this mic for film/video sound acquisition...but it's a relatively new microphone and not particularly well known at this time. Lots of folks have been using them mic'ing instruments, but I have not seen any mention of one being used for dialogue...so I was curious.

I recorded this test with a Zoom H4N at 96/24K and edited in Adobe Soundbooth CS4. I found that the 96/24 really helped when doing noise reduction. The original files were 96/24 wav and of course compressed for Vimeo.

The Avantone CK-1 is a modular condenser microphone that can either be purchased with a cardioid only cap, or with cardioid/hyper/omni caps. The -10b pad is built in, and it also has a switch to roll off lows.

Thanks everyone for your feedback!
 
Sounds pretty good for the price. Have you played with it at all on a boom to get a feel for wind/handling noise?
 
JordanBlock said:
Sounds pretty good for the price. Have you played with it at all on a boom to get a feel for wind/handling noise?
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Not yet, however from just handling it, it seems to have a pretty low level of handling noise, and its one of the things I'd read from other users as well that intrigued me about it - albeit all of those users were using it for very different applications, they did say that its handling noise was very low (lower than the Oktava for sure according to the users who had used both) - but as of yet I have not given it a real live test on a boom pole to check this out for myself. The included shock mount does appear to be very good quality, it's all metal (downside in terms of weight) but it seems very solid and good at isolating the mic.
 
Sorry but I thought the sibilance sounded boosted around 6-7Khz, and was boosted again in the 2nd sample. Might have been Eq? Try a sharp female voice, some gals may end up with a kinda lisp.
I'd run a test at 48/16, IMHO I don't think 96/24 helps human speech quality and when you record a lot of it it's a ***** in post. Just my opinion, and I agree with Jordan check it carefully when boom swinging. Cheers.
 
I'm hearing what I would describe as a vague metallic "ringing" in the timbre of the sound, like you were talking into a bucket Can't really tell if it's a flaw of the mic or f you night have been off-mic, if it's an artifact introduced by poor handling of the room refelctions or what. You said in the test you were 1 foot away from the mic so your distance is good. If that's as good as it gets in a decent recording space I'd have to disagree that it's acceptable.
 
Cheap and expencive are equal to "quite ok" and very good.

You can buy a mice of 200$ with more noise then a mice of 600$, but are you going to waste time denoising and eq-ing to have it right ?

The time wasted and given money to good plugins for EQ, denoisers,....is better given to a mice that's little more expencive but better in quality.

But then again, it all depends on what you're doing.

And the denoiser is used a little to much... sometimes it's better to leave some noise, rather then trying to remove it. Now it sounds to "robotic"
Have you done noise reduction first, and then compression ?
 
Steve House said:
I'm hearing what I would describe as a vague metallic "ringing" in the timbre of the sound, like you were talking into a bucket Can't really tell if it's a flaw of the mic or f you night have been off-mic, if it's an artifact introduced by poor handling of the room refelctions or what. You said in the test you were 1 foot away from the mic so your distance is good. If that's as good as it gets in a decent recording space I'd have to disagree that it's acceptable.
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The more I listen to it, I am starting to agree with you guys. I think that since sound is relatively new to me, and thus I'm only now learning and becoming familiar with it, that unfamiliarity has pushed me towards trying to find the best "budget" hyper that I can find, as opposed to just going with what I know will work. It's funny, since I'm a camera guy first and foremost, I don't think twice about a $2K lens, but for whatever reason, it always seemed like a $2K mic was "excessive" for some reason, and I think when I start relating to it in those terms, I realize that no, it's probably not excessive and sort of the equivalent of having a great Zeiss lens...worth every penny.

I'm hearing the metallic sound and I just don't think this will cut it. I'm producing an indie feature and so I'm trying to put money in exactly the right places to deliver the most with what I've got...but as it's a completely dialogue driven movie, I'm going to need a good hyper. I have the NTG-3 for exteriors, and I need something at least that good, if not better for interior dialogue. This will definitely be going to film festivals and local screenings, the script is outstanding, as is our talent, so the mic I use for interior dialogue is arguably the most important piece of equipment for the entire shoot, as 80% of the shots are interiors.

If I were to rent a Neumann or a Schoeps hyper to be used on a boom, which models would you folks recommend?

Thanks!
 
thisisapocalypse said:
...
If I were to rent a Neumann or a Schoeps hyper to be used on a boom, which models would you folks recommend?

Thanks!
Click to expand...

Schoeps CMC641

But there are others besides Schoeps that are up to the job ... Sennheiser MKH50 or MKH8050 for example. Sanken CS3 (looks like a shotgun but isn't) is a good mic for both indoors and out.
 
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The MKH50 (sennheiser) is a good one, and not to expencive to hire.

Difference are also in size... The CCM series of schoeps are small, which make them easy to handle with low sealings, or to hide more easely.

And sound is something that decides for 70% if your movie is "quite ok" or "very good".
If you have 2 takes, one take a very nice image, nice lightning, perfect focuspulling, perfect dresses, zero continuity mistake, but dialogues that sounds to "reverbed, echo, far away".
And another take very good sound, but focuspulling little to late, some place in the image little to dark... Which one will attract most in mistake ?
 
Just curious as to whether or not you guys think this sounds any better. Re-recorded and went easier on the EQ, COMP and NR. I am still not super happy with it and I don't think it can be my primary mic, but I may keep it around as a backup of extreme last resort or use it on camera for the scratch track (better than the built in mic on the GH1 at least).

http://www.vimeo.com/7626007
 
Used as "whitness-sound" (when surly doing ADR) it can be nice to have...

But as you said before: there is a difference between lenses 10$ and 1000$
 
That second example sounds better due to less processing, but you could get better again with a better mic.
BTW don't get carried away in post with processing trying to get the finished track to jump outa the set. Your boom swinger will be a major component in the success of this so if everything gels maybe look around for a pro recordist with gear and/or a post mixer. With the right people you can pick up a lot of major stuff from watching and listening and get a good job into the bargain. Cheers.
 
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