[Powell]

Looking to add a pair of handheld microphones for EFP
and interview work. I'm most interested in increasing
transient response and micro detail in the drama of the
spoken word. Considering these three potentials so far.
Sennheiser MD 431 II
Neumann KMS 104
Earthworks SR20
Any hands-on experiences?

[nebulax]

On Dec 12, 3:37*pm, "Powell" wrote:
Looking to add a pair of handheld microphones for EFP
and interview work. I'm most interested in increasing
transient response and micro detail in the drama of the
spoken word. * Considering these three potentials so far.
Sennheiser MD 431 II
Neumann KMS 104
Earthworks SR20
Any hands-on experiences?



Most interview mics I see are omni-directional dynamics, like the
Electro-Voice 635A or RE 50. I'm not familiar with the Earthworks
model you mention, but the other two mics are uni-directional.

-Neb

[RD Jones]

On Dec 12, 3:37*pm, "Powell" wrote:
Looking to add a pair of handheld microphones for EFP
and interview work. I'm most interested in increasing
transient response and micro detail in the drama of the
spoken word.

What does transient response have to do with spoken word ?
And what does "micro detail in the drama" mean ?

Considering these three potentials so far.
Sennheiser MD 431 II
Neumann KMS 104
Earthworks SR20
Any hands-on experiences?

I use the (original) 431 for singers on stage.
What makes it a great vocal mic is a liability for
interview. It's got quite a tight pattern.

Of the 3 the SR20 has the widest pattern,
but you really should be trying out omnis.

What are you using now ?

rd

[Powell]

"RD Jones" wrote

Looking to add a pair of handheld microphones for EFP
and interview work. I'm most interested in increasing
transient response and micro detail in the drama of the
spoken word.

What does transient response have to do with
spoken word ? And what does "micro detail
in the drama" mean ?

Want a more seamless integration between the audio
quality (signature) from studio microphones and takes
from handheld field recording. When doing video
editing for DVD, TV, or even radio ads the audio
splices are too discontinuous for my ear when
alternating between a studio track and a field track.
And this manifests itself mostly in the transient
response and micro detail of the sound recording.


Considering these three potentials so far.
Sennheiser MD 431 II
Neumann KMS 104
Earthworks SR20
Any hands-on experiences?

I use the (original) 431 for singers on stage.
What makes it a great vocal mic is a liability for
interview. It's got quite a tight pattern.

"tight pattern"... I don't see that as a limitation as long
as the polar pattern isn't hypercardioid. These are
largely staged recordings (as many takes as needed)
not ENG.


Of the 3 the SR20 has the widest pattern,
but you really should be trying out omnis.

Why? Even unprofessional talent can be tutored
to use a handheld microphone in short order. Not
that I've not been burned.


What are you using now ?

For handheld applications using EV 635A and Shure
SM63. The 635, for example, does not match well
with a Shure KSM 27/32. Many times I've used only
27's for studio and the field (XY) sections with good
integrated results. Obviously it's not appropriate for
many of the indoor field recordings.

[Scott Dorsey]

RD Jones wrote:
On Dec 12, 3:37=A0pm, "Powell" wrote:
Looking to add a pair of handheld microphones for EFP
and interview work. I'm most interested in increasing
transient response and micro detail in the drama of the
spoken word.

What does transient response have to do with spoken word ?
And what does "micro detail in the drama" mean ?

I think he's looking for something with an exaggerated top end that
will be super-bright.

Considering these three potentials so far.
Sennheiser MD 431 II
Neumann KMS 104
Earthworks SR20
Any hands-on experiences?

I use the (original) 431 for singers on stage.
What makes it a great vocal mic is a liability for
interview. It's got quite a tight pattern.

Yes, and that goes double with the KMS104 which is very tight.

However.... if you want it to sound peaky and bright like a U87, the
KMS104 will do that, the MD 431 will not. Top end on the MD 431 is
actually very mellow.

The SR20 is extended but not super bright.

Of the 3 the SR20 has the widest pattern,
but you really should be trying out omnis.

I would agree. If you want a bright interview mike, the Beyer MCE58
is designed for that. It's not as peaky as the KMS104, but it's got
a lot of top end to it, it's omnidirectional and well-controlled in wind.
--scott

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

[WillStG]

On Dec 13, 11:04*am, "Powell" wrote:
Want a more seamless integration between the audio
quality (signature) from studio microphones and takes
from handheld field recording. *When doing video
editing for DVD, TV, or even radio ads the audio
splices are too discontinuous for my ear when
alternating between a studio track and a field track.
And this manifests itself mostly in the transient
response and micro detail of the sound recording.

I'd still say EV RE50 omni - or the Beyer MCE58 - or maybe omni
lavs
like MKE102's with Micro Cat fuzzy's or under the talent's shirt
wrapped in moleskin....
Because omnis are far less sensitive to wind and handling noise, and
because you need to hear people
being interviewed even when your talent fails to point the mic at the
subject, and because for field work
people are well conditioned to hearing that sound. Unless you live in
Europe, where they use shotguns at a distance
for field work a lot. And it isn't nearly as good sounding, really.

Why? *Even unprofessional talent can be tutored
to use a handheld microphone in short order. Not
that I've not been burned.

Even Professional talent will burn you enough that you really might
not want to be responsible for trying
to reinvent the wheel. It will fall on your head, not the talent's if
the Director and Producers hate it, or
worse if you end up with unusable tracks on a critical interview.
When you try non-industry standard methods, you
expose yourself to greater professional liability than if you follow
established models.

However if you have the budget and the go ahead to experiment, then
good on you. But I would try to post the tracks
if you want them to match better, and if that's not enough maybe track
lavaliers on the studio side so you had omnis all around.

Will Miho
NY TV/Music/Audio Post/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits