Shotgun Mics : AKG SE300B + CK98 Capsule VS. Rode NTG-2

S

synchroman

Member
I am considering buying either the AKG SE300B + CK98 Capsule shotgun mic combo or the Rode NTG-2 shotgun mic.

Have any of you compared these two mics for sound quality? The AKG combo costs quite a bit more so I assume it is better. ($399). The Rode NTG-2 is about $270. If the AKG is better, are than any shotgun microphones of comparable quality and price?

I am going to use them on a Rode boom pole and use them with either the Zoom H4N or the Tascam DR-100

Thanks!
 
The AKG is modular therefore allowing you to get a CK93 and have a Hypercardioid when needed as well with only one preamp module.
 
I have heard bad things about the AKG shotgun capsule. The CK93 is an OK hyper for indoor use but all other caps for that are sup-par. But as far as shotguns go the NTG-2 will be better and save you money. There is the AT4900b-48 that also takes different capsules (like the awesome AT4053b hypercardioid) but I'm not sure if there is a shotgun cap for that. Anyone?
 
Chadfish said:
I have heard bad things about the AKG shotgun capsule. The CK93 is an OK hyper for indoor use but all other caps for that are sup-par. But as far as shotguns go the NTG-2 will be better and save you money. There is the AT4900b-48 that also takes different capsules (like the awesome AT4053b hypercardioid) but I'm not sure if there is a shotgun cap for that. Anyone?
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Not sure I made the right decision but I did buy the AKG CK93 with preamp combo for indoors use. i had heard some samples online and was comparing it against the Oktava MK12 and the AKG sounded comparable and seemed to have less issues with noise from handling the mic.

But I have not been able to find sound samples of the AKG with the CK98 shotgun capsule. I am not sure how it compares to the NTG2. The NTG2 is about $270 while the CK98 capsule costs about $400. So I am very curious to know if the CK98 cap is really any good? Maybe I am better off just getting the NTG2, that way I have a totally separate mic not sharing the same preamp module.

I am using the shotgun for narrative type shooting.

How do you compare the AT4900b-48 against the AKG CK93 and the Oktava MK012?
 
Well the AT is usually only referred to as the "AT4053b", and that mic beats the CK93 in sound quality and resistance to humidity, and it trounces the Oktiva. That being said, the CK93 is a decent sounding hyper. I would save your money and avoid the shotgun cap. Both the AT and AKG hypers are usually only bought and used for the Hyper cap, but the AT's other caps sound better than the other caps offered by AKG. So I'd say go for the NTG-2. I would more-so suggest the NTG-3 at 600.00, but if you are out of budget then NTG-2 is OK. The NTG-3 is really sweet, and is a clone of the MKH-416 that goes for more than twice the price. Check it out if you can stretch a little.
 
Chad, this is so utterly offtopic, but I have to say that vimeo clip of your niece has me rolling.
 
Chadfish,

Thanks for the info, that helps a lot. Yeah, the NTG3 is out of my budget but I am still considering it because sometimes it is worth it to just bite the bullet and pay a bit more to get something that you won't quickly grow out of. Going to have to think about this a bit. But I may just go ahead and get the NTG3. Now here is another question. If I bought the NTG3, was it worth it for me to have bought the AKG CK93 for indoors audio? Or is this a situation where the NTG3 is so good it can double for indoors and outdoors type narrative shooting? Should I return the CK93 if I get the NTG3?
 
Definitely keep the hyper man. A shotgun is the wrong tool for indoor dialogue. Sometimes you can get away with using one, but never know when until you're done shooting and listening in post. So keep it. Think of mics as tools that last 20 years or more. Get a good one and you are good for 20 years. Yes there are better mics - much better than the NTG-3, but it's a good, solid mic that will serve about any job need (for outdoor dialogue). You will be buying a new camera before you get a new mic. People are using MKH-416 mics from the 80s and still loving them. The NTG-3 sounds very similar, but has a bit wider pick up pattern, which is good for the less experienced boom op.

Here's a little comparison:
 
Thanks for that advice. I really had no intention of spending that much but I do want a shotgun mic with semi-pro capability that will last me awhile. Later at some point I can look at upgrading to an even better mic but it sounds like maybe the NTG3 might be good for the stuff I am trying to do right now. Again, thanks for that advice!
 
The NTG-3 will be better for recording straight into your Tascam DR-100 (better than the Zoom H4n). The NTG-3 is 6db more sensitive than the NTG-2. That's a lot. Effectively it's twice as loud. You should be using a preamp like the MixPre, now the MixPre-D to take advantage the awesome limiters. But you're off to a good start.
 
Chadfish said:
The NTG-3 will be better for recording straight into your Tascam DR-100 (better than the Zoom H4n). The NTG-3 is 6db more sensitive than the NTG-2. That's a lot. Effectively it's twice as loud. You should be using a preamp like the MixPre, now the MixPre-D to take advantage the awesome limiters. But you're off to a good start.
Click to expand...

If I have the Tascam DR-100 do I also need the MixPre-D? What's the benefit of having the MixPre-D? Not too familiar with that device. Are you saying I should have both or one or the other?
 
If you are doing indi film stuff with with dialogue, it's standard practice to use a mixer/preamp between the mic and the recorder, be it a field recorder or a camera. Good preamps (like the 2 channel MicPre) have quality, optical limiters that prevent clipping at both the input stage as well as the output. Yes the field recorders have limiters too, but not so great ones. So with for example the SD MixPre: You can calibrate it with your recorder so you are virtually unclippable! That's big. If it saves you re-shooting a scene after you've already packed up and the actors are gone, it's paid for itself in a day. But beyond the limiters, a preamp provides clean gain. You turn it up and you don't hear that hiss you get on the toy 300.00 recorders. So you boost your signal with the preamp, then you can turn your levels down on the recorders, which turns down the hiss as well. If your recorder can record at Line level (DR-100 & H4N can) you get even less hiss. So basically a preamp improves your overall sound quality, while protecting you from clipping your sound person may not have noticed in the moment. It's an investment that anyone doing sound for video needs to make. Yes you can get by without a preamp, but that's all you are doing - getting by. But maybe you'll be happy with just a mic and a DR-100. You can always add the preamp later. If you are striving for higher quality you have to put a little more into your audio. Audio is more important than the images in film and TV ads and cooperate work, so everyone may as well resign themselves to the fact that they need to budget in enough money to do it right.

Good luck!
 
I think I will probably start off using just the Tascam DR-100 for now while i get used to the equipment, but in the near future I will take your advice and pick up the MixPre. Thanks for the info!
 
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