The best of the best

MrG

MrG

Active member
Can someone,please,tell me what's the best mic i can get if i don't really care about the price and where can get ?
I'm looking for both shotgun and some sort of an omni directional mic :)
 
Talk to Dave Fisk at Coffey Sound.

Scheops CMC6 MK41 ($1495)
Scheops Shotgun ($1795)

If you can't wait for the Scheops then the MKH-60 is pretty good at $1400.
 
MattinSTL said:
Talk to Dave Fisk at Coffey Sound.

Scheops CMC6 MK41 ($1495)
Scheops Shotgun ($1795)

If you can't wait for the Scheops then the MKH-60 is pretty good at $1400.
Click to expand...

the 641 is not omnidirectional
and who sad that shcoeps shotgun is better then others - Dave?

Georg Best
 
ExileOnTheMainStreet said:
Definitely the " ADR -Concept " mikes
Click to expand...
Erm...that's kinna what I want them for :laugh:
MattinSTL: Thanks but i'm not sure if i'll be able to talk to that guy 'cos i'm kinna in the wrong country :undecided What do you mean wait? Is there a web site ?
 
Let's put it this way:
If you,guys,are doing a movie or 2...or 25 for television what are you going to use ?
I'm a person who strongly belives in post so we'll probably end up doing a lot of ADR .
 
Those Scheops guns JUST came out and it's already hard to find them... the first batch sold out almost instantly.

I'm curious if you have other sound gear... 'cause you might want to split your budget to include other stuff besides the mics.

Oh and I know the CMC6-MK41 isn't omni-directional... to be honest I think the request for an omni sets up another discussion altogether. I kind of wanted MrG to call somebody about these mics and bring up the omni question with them... the person he speaks with will think he's on the right track with the MK41 and then when he says "omni" he can get a verbal explanation rather then going into it here.

There's two things every filmmaker thinks he needs in a mic... the first is a shotgun (everybody thinks shotgun = mic for films) and the second is the omni... I like to encourage some exploration rather then repeat my exact same posts for each new (but similar) question. Also I think that in most cases the request for the best can be somewhat "reeled-in" when you quote the pricing for "the best"... I was just setting up for what I anticipated to be the next direction in this thread. Most people think getting the best mics gets the best sound and they don't realize that good technique gets better results then good equipment.
 
he meant wait untilthey would be available for sale since there were preorders for people who in rush
i say -wait until some more people would check it in the real world and not these who sell them.
what country you are living -i know the schoeps dealer in Dubai
Georg Best
 
Have you seen the Ken Loach film Sweet Sixteen (sound recorded by Ray Beckett). Shot on location, lots of different locations, sounds great, only one line of dialogue done in post. Now if only I can get Mr. Beckett to do sound on my film...
 
Best is subjective. There is best reputation, best technician, and best technique. There is also best within a certain budget.

I guratantee you that Matt can get better sound with an Oktava than I can out of the Schoeps because his technique is better...
 
MattinSTL,i agree with everything you just sayed but i don't have any good sound guys it's almost impossible to find one out here..or any other good crew member for that metter and since audio recording is the only field don't know much about i want to get the best i can and experiment in the 3-4 months we have left the we start shooting.
I already have the rest of the budget for the first 5 episodes figured out and multiplied by 2 and i still have money left so i think i should invest in what i'm worst at.
 
And another thing, why do ADR when you can get great sound right there on set. ADR will never equal the raw performance out of an actor right there on set. ADR is a bandaid, not a method. Nothing pisses sound people off more than delegating all sound to the motto: "We'll just fix it in post".

I am not a sound person, just someone who has caught the bug because more than 50% of the movie experience is what you hear. Bad sound pisses me off.
 
where is here , and why do you think that without actual experience in the field you will get good sound track?
you can always deliver sound guy from other region -the money is not an object ,right?

Georg Best
 
Yeah i didn't make that clear,the ADR is mainly 'cos we have a lot of VFX scenes but i'm hopping to get good sound on location for the rest :thumbsup:
I'm totaly there with you for the bad sound part,i hate crappy sound.
I'm located in Varna, Bulgaria.Just in case you can't find that on the map-it's right above Greece...actually above the Greece/Turkey border.
 
no problem , i know the casino very well, might fly if you have the money to pay with or without the equip
, is it in Bulgarian
i can read the kirillian without the problem
Georg Best
 
I find it hard to believe that you can't get a good sound person in that part of the world. You could have the best looking movie with tons of vfx but if the ADR isn't perfect, well then everything goes to hell... I recommend looking into a good sound person and eliminating the need for buying a mic all together.
 
Trust me,everything on tv that's made here's pretty lame,plus i once worked with "proffesionals" on a music video,they made such a good impression that i spent the last 2 months training my team and none of them has ever worked on anything before.
Look on the bright side,that's how I got a deal with the biggest tv station :)
 
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