What's your favorite Lav?

V

Victor Nhat Nguyen

Well-known member
I currently own Sanken Cos-11d. But I might be wanting to buy more other lavs for different situation.

I was considering getting trams TR-50, but I prefer the sound of Sanken much better. Should I still get the Tram? Maybe just for male voices?

I think I might want to buy a b6 for button holes tricks. I also want a backup for COS-11D in dangerous situations. Anyone use the Oscar Sound Techs before? It seems like their TL-40 is comparable to COS-11D
 
I have Trams, OST TL40s; 801/2, Sony 55/77s, Lectro 150/2s. IMO the OSTs' the best bang for the buck w/o seriously compromising quality.
I love/hate the B6. The B6 extreme sensitivity to air turbulence is an issue if so exposed. I have four; two-black, beige and white. (normal sensitivity)
 
Rick R said:
I have Trams, OST TL40s; 801/2, Sony 55/77s, Lectro 150/2s. IMO the OSTs' the best bang for the buck w/o seriously compromising quality.
I love/hate the B6. The B6 extreme sensitivity to air turbulence is an issue if so exposed. I have four; two-black, beige and white. (normal sensitivity)
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Thank you Rick, you have been extremely helpful with all of my questions. I found it interesting that you don't carry an Sanken. I'm guessing that's because the OST sounds good enough for you. Do you think it's even worth it to carry Trams?

I think I'll just have 2 Sanken, 2 OST as back up and dangerous situations. And 1 B6 for really special shot where other lavs won't cut it.

What's your preferred lav in harmful conditions like sweaty actor/water and fighting scenes?
 
I had two Sankens, nice sounding mics fo'sure. They were lost in an unfortunate (uninsured) reality show incident, along w/ 2 UM200 transmitters. I no longer do reality shows. I had three Trams prior to OST availability. If mics get trashed, production pays for L&D. (Just confirm production has ins) Just the same I'll use the Lectros' or Sennheiser M2s since I have more than a few and are basically back-ups. The B6 is allegedly sweat-proof/waterproof, to a point anyway. I boom most fight scenes, depends on the activity, more to protect talent from the falling on a transmitter than anything else.
 
Being a post guy I would be really impressed if you managed to place a lav on actors in a fight scene and get usable audio. There is just so much movement, I've heard tracks by folks who tried but I don't think I have run into any tracks that have actually worked.

Though I'm sure there are folks who have done it and it came out like a studio. When you hear really good production you think WTF were those other guys doing? And then if you go out and do some production and you remember how hard it is to get decent sound on a shoot.
 
Rick R said:
I love/hate the B6. The B6 extreme sensitivity to air turbulence is an issue if so exposed. (normal sensitivity)
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Agreed, that' how I feel about my B6's but, they are great to hide and sound decent.
Over all I like the Sennheiser MKE2 Clean wide open sound. Takes abuse and is said to be sweat proof. Pretty good for outdoors also.

Noiz2 said:
Being a post guy I would be really impressed if you managed to place a lav on actors in a fight scene and get usable audio. There is just so much movement, I've heard tracks by folks who tried but I don't think I have run into any tracks that have actually worked.
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For fight or high action scenes I use a match pair of condensors in an 'XY" spread. Then I just drop 2 to 4 lavs around the action. Easy to hide and the entire scene comes alive. Don't even use a boom.
 
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