Any suggestions?

On Mon, 15 Mar 2004 22:28:29 -0500, Dave Smith
wrote:

Any suggestions?

The Sennheiser K6/ME66 is right at $400 but as an ME66 owner i'd
rather have an AT.

The new AT897 is supposed to be a great mic for the money. It's $280
US at B&H. I haven't heard one but AT has always been rock solid
stuff. The AT 835 is a good mic and the 897 is supposed to be better.


http://www.audio-technica.com/prodpr...les/AT897.html

Dave Smith wrote:
Any suggestions?

Why do you want a shotgun?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Bryan Beasleigh" escribió en el mensaje
...
On Mon, 15 Mar 2004 22:28:29 -0500, Dave Smith
wrote:
The Sennheiser K6/ME66 is right at $400 but as an ME66 owner i'd
rather have an AT.

I own one of this (K6/M66) that i used for a short film. It sounds good to
me. Very sensitive.

I should like to use it for home recording. For what musical/studio
situation could i use this mic?
There must be a musical use for this mic....

Thanks.

This is for recording dialog for an independent film.


José Luis Amores wrote:
"Bryan Beasleigh" escribió en el mensaje
...

On Mon, 15 Mar 2004 22:28:29 -0500, Dave Smith
wrote:
The Sennheiser K6/ME66 is right at $400 but as an ME66 owner i'd
rather have an AT.


I own one of this (K6/M66) that i used for a short film. It sounds good to
me. Very sensitive.

I should like to use it for home recording. For what musical/studio
situation could i use this mic?
There must be a musical use for this mic....

Thanks.

Dave Smith wrote:
This is for recording dialog for an independent film.

Where? Do you already have a good hypercardioid? Do you have locations
outdoors where you're specifically going to need a shotgun?

If you only have a couple days where you're going to need the shotgun, it
will be cheaper to rent a 416 than buy some cheap junk that you'll probably
put in the closet after the shoot.

If you're going to be using the shotgun on the whole shoot, it might be
worth looking at a used 416, even over the A-Ts. The A-Ts are getting
better every year but they still can't pull a voice out of the muck in
a bad situation like the 416 can. And if you aren't in a bad situation
you probably won't be using the shotgun anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

A lot of the shooting takes place outdoors in the city. We need to be
able to cut as much of the city noise out of the dialog.

I am not famiiar with the 416. Who makes it?


Scott Dorsey wrote:
Dave Smith wrote:

This is for recording dialog for an independent film.


Where? Do you already have a good hypercardioid? Do you have locations
outdoors where you're specifically going to need a shotgun?

If you only have a couple days where you're going to need the shotgun, it
will be cheaper to rent a 416 than buy some cheap junk that you'll probably
put in the closet after the shoot.

If you're going to be using the shotgun on the whole shoot, it might be
worth looking at a used 416, even over the A-Ts. The A-Ts are getting
better every year but they still can't pull a voice out of the muck in
a bad situation like the 416 can. And if you aren't in a bad situation
you probably won't be using the shotgun anyway.
--scott

Sennheiser MKH-416

http://www.sennheiserusa.com/newsite...transid=001511

A fantastic mic... pretty much standard for broadcast location work...
superb for dialogue and many other things too.

Guy

Dave Smith wrote:
A lot of the shooting takes place outdoors in the city. We need to be
able to cut as much of the city noise out of the dialog.

I am not famiiar with the 416. Who makes it?


Scott Dorsey wrote:
Dave Smith wrote:

This is for recording dialog for an independent film.


Where? Do you already have a good hypercardioid? Do you have
locations outdoors where you're specifically going to need a shotgun?

If you only have a couple days where you're going to need the
shotgun, it will be cheaper to rent a 416 than buy some cheap junk
that you'll probably put in the closet after the shoot.

If you're going to be using the shotgun on the whole shoot, it might
be worth looking at a used 416, even over the A-Ts. The A-Ts are
getting better every year but they still can't pull a voice out of
the muck in
a bad situation like the 416 can. And if you aren't in a bad
situation you probably won't be using the shotgun anyway.
--scott

Dave Smith wrote:
A lot of the shooting takes place outdoors in the city. We need to be
able to cut as much of the city noise out of the dialog.

If you're stuck in that situation, you're probably going to be dependant
on body packs anyway.

I am not famiiar with the 416. Who makes it?

Sennheiser. It is the most popular shotgun microphone in the world and
is pretty much the standard one that you'll see at rental houses. It is
not as clean off-axis as some of the newer designs, but it's better at
pulling a voice out of the muck than anything else. And if you care about
off-axis response, you shouldn't be using a shotgun anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

THERE SOME THINGS THAT MUCH BETTER ,SUNKEN CS-3 AND ,NEUMANN 82 AND THERE IS
816 IF YOU REALLY NEED TO PULL SOMETHING ,BUT FOR RELIABILITY THERE IS
NOTHING AS 416 AND THAT A HUGE PLUS


--
Oleg Kaizerman (gebe) Hollyland

"Scott Dorsey" wrote in message
...
Dave Smith wrote:
A lot of the shooting takes place outdoors in the city. We need to be
able to cut as much of the city noise out of the dialog.

If you're stuck in that situation, you're probably going to be dependant
on body packs anyway.

I am not famiiar with the 416. Who makes it?

Sennheiser. It is the most popular shotgun microphone in the world and
is pretty much the standard one that you'll see at rental houses. It is
not as clean off-axis as some of the newer designs, but it's better at
pulling a voice out of the muck than anything else. And if you care about
off-axis response, you shouldn't be using a shotgun anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In Article , "Oleg Kaizerman"
kaizero wrote:
THERE SOME THINGS THAT MUCH BETTER ,SUNKEN CS-3 AND ,NEUMANN 82 AND THERE IS
816 IF YOU REALLY NEED TO PULL SOMETHING ,BUT FOR RELIABILITY THERE IS
NOTHING AS 416 AND THAT A HUGE PLUS

The 816 is great for movie sets, but its length and cost put it out of the
running.

The CS-3 isn't much better in my opinion, although it's very nice in its own
way, but it's out of your price range, as is the Neumann.

The AT 835 is as close as I can come.

At some point putting price before perfomance is like going to the dance
wearing bunny slippers instead of shoes.

Regards,

Ty Ford



For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

the good thing with mikes that they live longer then your profession ,
consider good used one as investment for old days,

--
Oleg Kaizerman (gebe) Hollyland
At some point putting price before perfomance is like going to the dance


wearing bunny slippers instead of shoes.

Regards,

Ty Ford



For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

Ty Ford wrote:
In Article , "Oleg Kaizerman"
kaizero wrote:
THERE SOME THINGS THAT MUCH BETTER ,SUNKEN CS-3 AND ,NEUMANN 82 AND THERE IS
816 IF YOU REALLY NEED TO PULL SOMETHING ,BUT FOR RELIABILITY THERE IS
NOTHING AS 416 AND THAT A HUGE PLUS

The 816 is great for movie sets, but its length and cost put it out of the
running.

I have an 816 around here somewhere and it is a freaking pain in the neck.
It's okay on a pistol grip, but it is just too unwieldly to boom it. I
got it back when people actually used pistol grips. Today it's sitting in
the closet with the Uher 4000 and all the other junk from that era.

The CS-3 isn't much better in my opinion, although it's very nice in its own
way, but it's out of your price range, as is the Neumann.

The response on the CS-3 off-axis is really goofy... right on-center, a
voice sounds okay... then when you get a little off of it, it gets kind of
shrieky on the top, end then when you get off a little more it gets muffled.
Some folks like that because it helps you know when the boom is starting to
drift off a little. I find it kind of annoying but I could see liking it.

The AT 835 is as close as I can come.

At some point putting price before perfomance is like going to the dance
wearing bunny slippers instead of shoes.

I do think the 416 pulls a voice out of a cocktail party better than the
AT 835 by a long shot. It's not all that natural sounding, but who cares?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

What are the selection criteria for selecting a shotgun mic. It would
seem that rejection plays a major role with tone coming second. I like
the sound of the AT (4071/73) yet that mic is considered middle of the
road. The thinner sounding CS-1 is getting raves.


On Mon, 15 Mar 2004 22:28:29 -0500, Dave Smith
wrote:

Any suggestions?

Bryan Beasleigh wrote:
What are the selection criteria for selecting a shotgun mic. It would
seem that rejection plays a major role with tone coming second.

Pretty much. If you care that much about tone, you shouldn't be using
a shotgun, you should be booming with a hypercardioid. When you pull
the shotgun out is when you have noise issues that you can't solve with
the hypercardioid.

I like
the sound of the AT (4071/73) yet that mic is considered middle of the
road. The thinner sounding CS-1 is getting raves.

Thin-sounding can be good. You just don't get low end directionality even
with a shotgun, so in most cases where you're using it, you're going to have
to be cutting a lot of low-end off anyway.

The 416 has a on-axis heavy presence peak, that makes it sound forward without
sounding too thin. It's not very natural, but it's very useful. If you try
to EQ a presence peak up in post, you'll be adding it both to the on and
off-axis signals, which defeats some of the purpose. I think the CS-1 tries
to do something similar although I don't think it's as successful.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

When you do it with good booman its worth more then the 416 , for wide
angle shots its a live saver, if you don't wont to deal with 816 or 82 .
the cs-3 doesn't add low fq to the natural sound and it quit different from
the old 416 which is the standard for many people ( many mikes over the
world :-)), but that's because the majority don't know other species , sorry
I had almost every mike in my hand that you can call shotgun and found my
self using this one on 95% of the time in last 3 years
for motion picture is one of the best tools .
Real street prostitute :-)

--
Oleg Kaizerman (gebe) Hollyland


The CS-3 isn't much better in my opinion, although it's very nice in its
own
way, but it's out of your price range, as is the Neumann.

The response on the CS-3 off-axis is really goofy... right on-center, a
voice sounds okay... then when you get a little off of it, it gets kind of
shrieky on the top, end then when you get off a little more it gets
muffled.
Some folks like that because it helps you know when the boom is starting
to
drift off a little. I find it kind of annoying but I could see liking it.

The AT 835 is as close as I can come.

At some point putting price before perfomance is like going to the dance
wearing bunny slippers instead of shoes.

I do think the 416 pulls a voice out of a cocktail party better than the
AT 835 by a long shot. It's not all that natural sounding, but who cares?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."