User feedback on the Audix SCX1-HC?

puredrifting

puredrifting

Major Contributor
Thinking about a new travel hypercardioid and I am narrowing down to this. I can't afford the Schoeps CMC641 and I sometimes shoot in high humidity environments too.
I've used the Audio Technica AT-4053b and I have to be honest, I don't find the sound that appealing. Not bad, but just meh. Okatava, too sensitive to handling/cable noise and microphonic.
I am looking to keep it under $500.00 so used MKH-50s and so on are out. Anything sub $500.00 I am missing?
 
A used Neumann 185 may on occasion be found for 500$ but tends be a little higher than you want to spend.
 
Mbho makes some very good Mics that aren't well known in the us. German company , dale audio is one of the places that sells them. I believe they are close to your price range.
 
I would say dollar for dollar the Audix SCX -1HC is the best value piece of gear I have. It is rugged and sounds fantastic. It’s a hyper with a wonderful pickup pattern for dialog even with two people. I’m primarily a shooter and I was on a job with a producer that wanted a mic on camera even though we had full sound. I hooked up the Audix. The soundie, who had a Schoeps for his dialog that day sang the praises of the Audix. He said he had a few of them, he uses them all the time for plant mics and for dialog. If you get it, you will love it.
 
I purchased the Audix SCX1-HC and the Schoeps CMC641 to compare and ended up keeping both. The Schoeps wasn't so superior to the Audix to warrant buying another Schoeps for backup/stereo, and the Audix wasn't good enough to return the Schoeps and buy another Audix. For our simple YouTube/IG productions two Audix's would be perfectly fine (for stereo).
 
jcs said:
I purchased the Audix SCX1-HC and the Schoeps CMC641 to compare and ended up keeping both. The Schoeps wasn't so superior to the Audix to warrant buying another Schoeps for backup/stereo, and the Audix wasn't good enough to return the Schoeps and buy another Audix. For our simple YouTube/IG productions two Audix's would be perfectly fine (for stereo).
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We shoot documentaries for HBO and Netflix and I really try to hire sound mixers but for pickup interviews, which are recurring, it's often just me and my production partner or at times, me alone. The documentary we have been shooting about women outrigger paddle racers, we are following one of our paddlers who has been diagnosed with Cancer so not having a crew has been actually much better for her opening up emotionally. We will be shooting one of her Chemo sessions and that will be just me with the X-T3 on gimbal, using wireless.
 
Compared to the AT4053, the Audix SCX1-HC is about $100 less and about two inches shorter. The 17mV sensitivity is about 4dB less than the AT. IMO, both are decent and do not have the undesirable characteristics of the Oktava, i.e., handling/wind noise and low output.. among others. (though my Sound Room Oktava set sound real good with a high quaity preamp.
 
puredrifting said:
We shoot documentaries for HBO and Netflix and I really try to hire sound mixers but for pickup interviews, which are recurring, it's often just me and my production partner or at times, me alone. The documentary we have been shooting about women outrigger paddle racers, we are following one of our paddlers who has been diagnosed with Cancer so not having a crew has been actually much better for her opening up emotionally. We will be shooting one of her Chemo sessions and that will be just me with the X-T3 on gimbal, using wireless.
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I’ve used the Audix and Schoeps in a stereo pair for dialog and it works great. If you read the reviews on GearSlutz and B&H the Audix is said to be around 80% of the Schoeps. If you’re looking for a mic that sounds and performs like the CMC641, the Audix is a great value. Paired with the SD MixPre3 (and Mogami-level cable) you’ll get excellent results- plenty good for Netflix & HBO.
 
I don't own an AT4053 or Audix SCX1-HC, but I've demoed both. In perfect environments with speakers who don't move much, they seem pretty good. Nowhere near as nice as my Schoeps, and with a less forgiving sweetspot. But professionally OK. And like Rick, my Sound Room Oktava sounds pretty good too, but I only use that for plants and stuff these days.

But with my Schoeps, I can split a twoshot with a single mic and get good tracks. And I haven't had trouble in humid environments. Note that I'm not full-time in humidity (I live in Northern California), but I've done plenty of work in the upper midwest, New Orleans, the east coast in rather sticky environments. The general opinion is that if you keep the contacts and threads between the capsule and preamp clean, you won't have trouble... that matches my experiences. And the Schoeps is so easy to use... But ya, it's expensive.

I'm hearing really good things about the new Sanken CS-M1. It's US$900 and just becoming available. And some of the early online reviewers haven't really earned my trust. But some mixers who have bought the mic seem happy with it so far. Perhaps they're still in the honeymoon phase, and perhaps this mic is beyond your budget. But it's worth checking out, imo:

Details:
https://www.sankenmicrophones.com/production/shotguns/cs-m1/
CS-M1_Hand_1000.jpg


So I'd suggest demoing the mics out in the field, if you're working with a dealer who will let you do that. Compare the AT4053, Audix, Sanken, and a Schoeps and see which you prefer...and if that preference is worth the cost. Try the mics in a reverberant room (they should all be acceptable), with a twoshot, and with a speaker who keeps moving around.

Also, since you'll be in a hospital or clinic or something, see if you can replicate all the RFI you might be subjected to (Or at least Google around to learn about others' experiences with those mics in busy environments).

Bottom line: I'd guess you'll find the Audix decent enough, but I'm not going to buy one. I probably will buy a Sanken CS-M1, though... Mostly for on a boom or planted, but sometimes on a camera. At least, that's my thought right now.

Looking forward to hearing about what you decide to do.
 
The more expensive mics really earn their pay with frequency behavior as sound sources transition to off axis as well as off axis performance (noise rejection and ‘color’). In the studio with Jacqui dancing and jumping around with fixed mics overhead the Schoeps and Audix perform similarly enough to use as a stereo pair.

For about double the Audix, the Sennheiser MKH50 is rated well (more sensitive and lower noise, longer).

After having started with NTG2 level gear (still useful!), the lower cost gear can work perfectly fine for professional use; every now and then a situation arises where the more expensive gear saves the day and/or makes the work easier.

For the intended use, the Audix should work well and is a good value at that price point. Lots of reviews online.
 
That new Sanken is really tempting, I love Sanken mics. I've used the CMC-641 and the MKH-50 for years, love them both, but not being a pro sound mixer who can bill extra for it, it's hard to justify spending thousands on mics. Over the past two years, I've shot in the jungles of Brazil, the Sahara Desert in Summer and a few times in a blizzard in Montana and Idaho. So while my usual is a lot less extreme, I do, on occasion end up in some demanding environments for mics. I will probably get a hold of review copies of the Audix and the Sanken and will see if the Sanken is worth almost double to cost to me, for my audiences. I know it's a better mic but how much better? In most demanding environments, I would probably tend to use something cheap like my Audio Technica AT-875r so if it becomes damaged, cheap to replace.
 
Audio Technica make great products for the money. I was using the BP4029 as my top mic (recording mid-side and choosing mono or stereo (and width) in post). Then one day recorded in a reverberant room which for the first time yielded completely unusable audio. That’s what prompted the Schoeps+Audix indoor specialist mic additions (also upgraded to the CMIT5U to complete the upgrade cycle).

After having used the industry ‘top’ mics for a few years, the Rode NTG2 still gets used as part of an ultralight/simple shooting package using the AA battery power. Haven’t used the 4029 in a while, though I plan to use it with a handheld gimbal with mid-side stereo on something like the A7S3 (when released)+XLR adapter.

The 875r is plenty good for your intended use, except of course in the special reverberant spaces where the Audix is perhaps the best bang for buck indoor mic (can work outside too blimped/furred).

Someone also mentioned the MKH40 working well and better matched to the CMC641 sound.
 
Jim Feeley said:
I don't own an AT4053 or Audix SCX1-HC, but I've demoed both. In perfect environments with speakers who don't move much, they seem pretty good. Nowhere near as nice as my Schoeps, and with a less forgiving sweetspot. But professionally OK. And like Rick, my Sound Room Oktava sounds pretty good too, but I only use that for plants and stuff these days.

But with my Schoeps, I can split a twoshot with a single mic and get good tracks. And I haven't had trouble in humid environments. Note that I'm not full-time in humidity (I live in Northern California), but I've done plenty of work in the upper midwest, New Orleans, the east coast in rather sticky environments. The general opinion is that if you keep the contacts and threads between the capsule and preamp clean, you won't have trouble... that matches my experiences. And the Schoeps is so easy to use... But ya, it's expensive.

I'm hearing really good things about the new Sanken CS-M1. It's US$900 and just becoming available. And some of the early online reviewers haven't really earned my trust. But some mixers who have bought the mic seem happy with it so far. Perhaps they're still in the honeymoon phase, and perhaps this mic is beyond your budget. But it's worth checking out, imo:

Details:
https://www.sankenmicrophones.com/production/shotguns/cs-m1/
View attachment 133965


So I'd suggest demoing the mics out in the field, if you're working with a dealer who will let you do that. Compare the AT4053, Audix, Sanken, and a Schoeps and see which you prefer...and if that preference is worth the cost. Try the mics in a reverberant room (they should all be acceptable), with a twoshot, and with a speaker who keeps moving around.

Also, since you'll be in a hospital or clinic or something, see if you can replicate all the RFI you might be subjected to (Or at least Google around to learn about others' experiences with those mics in busy environments).

Bottom line: I'd guess you'll find the Audix decent enough, but I'm not going to buy one. I probably will buy a Sanken CS-M1, though... Mostly for on a boom or planted, but sometimes on a camera. At least, that's my thought right now.

Looking forward to hearing about what you decide to do.
Click to expand...

I finally got my Sanken CS-M1 back in October. I bought it primarily as a nat mic for my F55. And it is ridiculously tiny. If you opened the mic mount, you'd see that it's 50/50 XLR barrel and mic barrel. The mic is so short that with the Softie on, there's not much mic barrel left exposed.

I did a quick A/B with one of my CS-3e's and SD 664. The M1 sounds good, but if you're used to the balls that the 3e has, the M1 just doesn't have that same low-end.

IMG_1703 copy.jpg
 
Hey Dan, I’ve used both the Audix and 4053B for interviews for years now, both sound great, the AT is a little more sensitive and also bassier and I tend to prefer it but it’s nothing a quick EQ can’t do on the Audix. The one difference is we’ve beat up the Audix and it is incredibly dependable and solid, whereas the 4053B has three pieces - the body, the capsule, and the tip of the capsule, which has a very crappy thread that has fallen off and most recently actually broke off, requiring a $250 capsule replacement or repair job for a similar out of pocket cost. So going forward I’d probably buy the Audix, especially if using with a preamp like the MixPre. Cheers -
 
slavikb said:
Hey Dan, I’ve used both the Audix and 4053B for interviews for years now, both sound great, the AT is a little more sensitive and also bassier and I tend to prefer it but it’s nothing a quick EQ can’t do on the Audix. The one difference is we’ve beat up the Audix and it is incredibly dependable and solid, whereas the 4053B has three pieces - the body, the capsule, and the tip of the capsule, which has a very crappy thread that has fallen off and most recently actually broke off, requiring a $250 capsule replacement or repair job for a similar out of pocket cost. So going forward I’d probably buy the Audix, especially if using with a preamp like the MixPre. Cheers -
Click to expand...

Whoa, you aren't supposed to use it as a hammer around the house for that bathroom remodel! ;-)

I just ordered the Audix, it arrives tomorrow. I was also impressed with the AKG Blueline CK93 in Curtis Judd's test video, it sounded pretty good and is a few bucks less than the Audix. https://www.youtube.com/watch?v=q-b_1gOYOEQ&t=277s
Funny, year ago, when I did my big shotgun mic article/review, I had an AKG Blueline and it was distinctly not that great sounding compared to everything but the horrible sounding Sennheiser ME-66 but this CK93 is a cardioid variant, not the shotgun version I tested.
I think the Audix will work well for my needs though, we shall see.
 
slavikb said:
Hey Dan, I’ve used both the Audix and 4053B for interviews for years now, both sound great, the AT is a little more sensitive and also bassier and I tend to prefer it but it’s nothing a quick EQ can’t do on the Audix. The one difference is we’ve beat up the Audix and it is incredibly dependable and solid, whereas the 4053B has three pieces - the body, the capsule, and the tip of the capsule, which has a very crappy thread that has fallen off and most recently actually broke off, requiring a $250 capsule replacement or repair job for a similar out of pocket cost. So going forward I’d probably buy the Audix, especially if using with a preamp like the MixPre. Cheers -
Click to expand...

Remind me not to buy any used gear from you!

Seriously though you are going to have problems treating your gear that rough. You can do all kinds of internal damage that might not be obvious long before the physical damage gets to the point where it is literally falling apart. Mics are fairly fragile devices. Internal damage will start showing up as limited or skewed frequency response, buzzes at certain frequencies, lowered dynamic range, various hums and buzzes.

I've been doing field recording and SFX work for...30 years or so, and that is a pretty rough life for mics and gear. I have yet to destroy a mic, that wasn't a planned destruction. Planned is too strong a word but there have been SFX that we knew were probably going to be dangerous to the mic so we used one that was sort of "disposable".
 
Noiz2 said:
Remind me not to buy any used gear from you!

Seriously though you are going to have problems treating your gear that rough. You can do all kinds of internal damage that might not be obvious long before the physical damage gets to the point where it is literally falling apart. Mics are fairly fragile devices. Internal damage will start showing up as limited or skewed frequency response, buzzes at certain frequencies, lowered dynamic range, various hums and buzzes.

I've been doing field recording and SFX work for...30 years or so, and that is a pretty rough life for mics and gear. I have yet to destroy a mic, that wasn't a planned destruction. Planned is too strong a word but there have been SFX that we knew were probably going to be dangerous to the mic so we used one that was sort of "disposable".
Click to expand...

Have you recorded gun shots and explosions? I usually use a cheap HH dynamic like an old EV or something for that. No way I would use a good mic for recording things like guns and explosions.
 
Depends on proximity. Up close you are in danger of damaging the capsule, but at a distance not really. In side engine compartments is a big danger area, and down close to railway tracks is pretty dangerous. Most dangerous situations are more of a danger to the recordist than the equipment.

But I have to say gunshots and explosions have been a very small part of what I have recorded. Partly because of the types of shows and partly because I have a pretty large library of both. There are people I know though that do it on a regular basis. So the up close mics are usually dynamic and either durable or disposable, but distant mics or down range mics are generally high quality. A direct hit would be lights out but that is a very small danger.

Explosions are often not so much about the shock wave, these are for FX and are not designed to be terribly destructive, just as a firecracker has very little explosive and is generally not very damaging compared to the noise it makes. But in a lot of cases you do get a heat wave that can melt mic parts if you don't have some protection.

Even with a "disposable" mic you don't want to trash it because you aren't getting any usable sound from it after that. You use it b=incase the precautions you have taken were not adequate.
 
puredrifting said:
Whoa, you aren't supposed to use it as a hammer around the house for that bathroom remodel! ;-)

I just ordered the Audix, it arrives tomorrow. I was also impressed with the AKG Blueline CK93 in Curtis Judd's test video, it sounded pretty good and is a few bucks less than the Audix. https://www.youtube.com/watch?v=q-b_1gOYOEQ&t=277s
Funny, year ago, when I did my big shotgun mic article/review, I had an AKG Blueline and it was distinctly not that great sounding compared to everything but the horrible sounding Sennheiser ME-66 but this CK93 is a cardioid variant, not the shotgun version I tested.
I think the Audix will work well for my needs though, we shall see.
Click to expand...

great thread filled with good info.

if allowed, i will do a wee bit of self-promotion:

i have a AKG Blueline SE300B/CK93 for sale in the marketplace for plenty cheap!

for the money, i always thought the AKG Blueline did very well.

i hope i did not step on forum protocol or break any forum rules.

thumbs up.

rob
smalltalk productions/nyc
 
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