Schoeps CMC641 vs the rest

V

vrc2250

Member
Greetings,
Been reading all the threads regarding Hypercardiod mics and the schoeps keeps coming out as tops. Being in Louisiana, the concerns about high humidity is a concern, today a perfect example 94+ with 90+ humidity. Anyone out there ever use the CMC641 down here on one of our typical Summer days? I'm going to pickup the CK63 cap from my AKG ULS but was looking for a second mic. Is the MKH50 a safer bet in extreme conditions, are new model KMR81i's any better?
Thanks
 
Mkh 50 always safer, safer than everything else and Schoeps sound really good, but they are not $1000 dollars better than the MKH series
What do you mean the KMR81 "any better"? It's a great mic, it doesn't handle extreme humidity very well but besides that is an amazing mic. I shot a doc in Georgia the last summer, all Neumann microphone and didn't have any problem. it was humid ans sticky, but they worked it out. It handles Rf pretty well, not as good as MKH mics, but better than Schoeps and Sanken.
All these microphones are really good, pick than one than sounds the best for you
 
if you have already hyper , why do yu want waist money for another one , buy som,ething that would complete , the 81 is avery nice sounding mic , but it sucks heavily in humidity and its the widest shotgun i kow ,
the schoeps start to sing as well - avoid throing money for logo :)
 
So I got a chance to try out the Peluso CEMC6 series and the MBHO 603, they sound very similar to the Schoeps. It's just that all of these microphones are in their own "secret" world. Any of those microphones will work, even the ULS series.
 
exactly , and as you know my chiniz friends have the same capsules as peluso ( the bodies are not moded as the peluso but for dialog it more then enouth :).
 
Something I found interesting was that this quote about the sound on the latest Pirates movie...

"We really love the Sound Devices 744T recorder and in the small spaces we used the Schoeps CMC641 and the rest of the time a mixture of MKH 50, 60 and 70's--which held up great in the salty and wet environment."

Maybe I'm the only one, but I always thought Hollywood used way more expensive mics than I could ever dream of affording.
 
the only benefit of the schoeps over mkh-50 is it ability work with swivel adapter to reduce the lenght , but for half of the sum you can do the same with neumann , akg or mbho .
by the way the swivwl is another 400 TO ADD TO 2500 if you buy the schoeps with cut -1 .
not worth it
 
Try the MKh8040, is so small that you don't need swivel joint, it gives you a cardioid pattern and you can always buy the 8050 capsule and use it with the same power body. It's like having a MKh40/50 with the size of AA battery, but without pad or roll off.
 
For 950 you can get the mbho 604 + hyper cardiod incl shipping to usa :)
very short mic - 8 cm incl the capsule
aditional cardioid -300usd
 
i heard what oleg says about Neumann and humidity. he's right about it, but I used all my neumann (Km 184/185 Kmr81) on every condition, the jungle in Bolivia, South of USA and Africa and they work well. I ran into humidity problems once, but I was shooting inside a freezing cave, 100m underground and there was water running everywhere. All my microphones shocked that day, except the 416 that saved the day.
I never used the MBHo, but they look very good and if they work better under stress is a good try.
 
they work very nice , not that i have worked with for exteriors .
about neumans , the buzzing is with very high humidity in the air , spessially at night with no basket over the mic .
 
Oleg 2 said:
they work very nice , not that i have worked with for exteriors .
about neumans , the buzzing is with very high humidity in the air , spessially at night with no basket over the mic .
Click to expand...
What do you use mostly for exterior, besides your beloved Sanken CS3?
 
for the rest 10% - 5 %the sanken and 5 %all the rest :)
mostly mkh -70 or 816 when i have to go very tight .
but if i need 816 , i usially go with sanken lavalieres


http://5men.nana10.co.il/Section/?SectionID=2542&typeid=100

about 99 % of on location sound
not very good mix for the first 4 chapters
you all can guess what it was recorded with mostly
not in English but try to hear without get what it about
was about 10% rating on channel 10
the director for the first 4 is the same guy who's film was seen by 1 million americans ( ha tizmoret - the orchestra)
the first booman for the first 4 chapters was fired after 2 weeks as was completely asshole .
all the location are not studio with almost zero money for ambient improving
by the way , anyone know what camera was used for the shots ?
by the way in chapter 12 you can find one face you know in about 20 minute or so :)
 
Oleg recomended the MBHO 603 with the k500 hyper capsule to me and even though I´m "just a cameraguy" I´d say this mic is all I´ll ever need for indoors...

BTW Oleg, your link doesn´t play for me, do they block german IPs?:engel017:
 
dont have a clew why it doesnt work for you .
ABOUT MBHO-German mic doesnt have to be expencive ,EVEN IT HAND MADE :))
By the way , iam testing now another shotgun , it may become very nic eoption under 1 grand
stay tuned
 
For me what's interesting about the Mic debate is once files go to post production what happens there. Personally, I downloaded all the clips from the Kenstone.net shootout and actually prefer the sound of the Sanken CS1 over the Schoeps and MKH50 once I eq/compress and all that. I just completed mixing down a Documentary that mic rejection would have been above tone. The location guy used a mic that did nothing but pickup every noise heard in the kitchen. Very tough mix. Here's two questions for you guys.
1. Have you ever lost a job because you DID NOT have a certain mic, ie Schoeps?
2. Listening to Movies and TV shows, can you tell which mic was used?
 
if you like th cs-1 -you like the cs-1 . i dont like it at all ( have one for rentals )

about the ken stone shootout , it has nothing with real life
the mics you metioned sounding very different and have good sides and bad sides in every sitution .
after eq and compressing - do you think they have so much money to work on each line ?;-)
you usially pick up the mic which sounds best for situation
i never forund the situation the cs-1 was afavorit for anything exept place it on the camera :)
about picking up the noize in the kitchen , i bet it has nothing in general with the mic he used , just the reflection from the walls and general ambient you hav e,
usially lavaliers would make much beter job in places like that

oon give ashit what are you working with , exept mr ty ford :) as long you deliver the goods
never in my life any one ever asked me what brand i use and as so i mixed 100000usd comertial with 200usd mic
YOU WILL NEVER KNOW what good mic was used for dialog exept mkh416 which has the worst close mic proximity effect :)
 
IF YOU COME HERE YOU CAN RENT ONE OF THESE :)
SHOTGUN MICROPHONES


Sennheiser mkh-416, 60
Neumann kmr-81
Sanken cs-3 e, cs-1
Schoeps –CMIT-5
Audiotechnica-4073
RODE NTG-1

LONG SHOTGUNS


Sennheiser-mkh-70,816t
Neumann-kmr-82

CARDIOID AND HYPERCARDIOID MICROPHONES


Gefell m21, m20, 300 (matched par available)
Schoeps cmc5-mk4, mk41+ swivel mounts + cables
Mbho 603/4+ ka200, ka500 (matched par available)
Neumann 140,150+ swivel mount + cables
Sennheiser mkh-50
FEILO USA – CR-18 (Omni capsule available as well)

STEREO MICROPHONES

Pearl msh 10 MS
Pearl msh 8 MS
Sanken cs-5 stereo shotgun, mono and stereo modes
SHURE VP-88 STEREO MS + Internal matrix for left right

Figure of 8 microphones for stereo recordings

Neumann 130
MBHO 604+KA 800
Schoeps ccm8
LAVALIERS AND PZMS

Sanken cos 11
Countryman b6, emw
Sennheiser mke 2, gold
Tram tr-50
Sanken cub-1
AT-omni pzm
 
I have not experience doing feature, but in the documentary world nobody gives a sh**t about what mic you are using, like Oleg says. It's more important getting good sound on any condition, reliability is 90% of the job and after that you can for pretty sound. That's why I like the KMR81, besides the well known humidity issue and that's why I bought a 416, even if don't like the sound either, not just the proximity effect. i hate the off axis sound too. I was very enthusiastic about CS-3 but start going crazy with RF and it drives me crazy.
I should be working with MKH60, but I don't like the sound either.
Cs1, I like it for on camera work, but sometimes get's in the boom when I need this weird combination of wide pattern with sharp side rejection. it's sounds awful on very high voices, but for on camera works, who cares
 
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