yoclay

Having now asked the same question on every possible forum under the sun, the OP finally arrived here I see. Interesting to see that in the end, he preferred the heavy coloration of the Oktava. Doesn't surprise me. Flattering for a male voice in controlled situation (especially/probably if it was his own). The problem was well stated here though by Petros. Anything other than the subject directly on axis and it's a different story... I wonder how aware he is of how close he is going to need to get that mic and that he is going to need to buy a couple of BBG + windjammers and the lyre suspensions necessary to seriously reduce wind and handllng noise on those. I wonder too how much more gain he is going to have to pump through those to compensate for the lack of DR and what mixer he is planning on using. (Probably a handheld recorder to boot). However, here is what I have noted: Accuracy of sound is not what impresses newcomers about mics, it's how flattering the mic is to their own voice that generally convinces them. It's all about the coloration and drama on-mic, not in post. Good solid, neutral capture is not their goal.

The mythical 332.

Sorry, but "Just hire a professional!" is a very poor response and to be honest is verging on disrespectful in this situation. Ironic that one of the posters who states this also says pretty much anyone can make a good image. Typical. The original post struck me as sincere and the OP was acknowledging his lack of experience. Which is why he posed the question to begin with. He was asking about making an appropriate choice in terms of a reasonable purchase and about where the standards are going today. I absolutely understand this, because more and more I am faced with the knowledge that if I ever want to produce some of the projects that really count to me, I am going to have to do it on my own, and I do want some things to remain consistent across them. It absolutely makes sense to invest in certain basics like a good mixer or recorder for instance. Because I know that if I do not I will spend at least as much in renting them eventually anyways. Further, in the world of low budget indies, where I am often competing with other low budget productions for certain folks who have the chops but not yet their full kit, if they know that when they walk on my set they have got a reasonably serious setup to work with like a good SD unit with 4 or more ISO's and a Schoeps CMC6K41, guess what? I am going to have them for the duration of my project vs another production and perhaps even for other projects after that. They know too, that I care about sound. If the OP had chosen not to come back, I would certainly have understood. As I read through this thread it struck me that a certain level of response to this "outsider" seemed pretty self-serving and was definitely verging on the edge of hostile. It says a lot more about the frustrations of some on the board than it does about the OP. In the future, just answer the man's question for god's sake.

The 60 is particularly resistant to handling noise, making it an excellent choice for beginning boom operators. It is Sennheiser's more modern alternative to the MKH416. The 70 is definitely more directional and is really only for exteriors under certain conditions as has already been mentioned. With the 60 many people use the low cut filter, as it is less directional than the 70 and this keeps it from becoming too "boomy". I have used it on occasion in interiors (though not really for that use) when there has been a very well damped environment and it really has given me the extra reach I sometimes need. I like the microphone. I find it a realy great all around microphone. It has a bit of drama too it, so not as transparent as some like here, but hey there wouldn't be art if there weren't choices.

Be aware that the popular tendency is to compare the Schoeps cmc6k41 with a SennMKH50, and then complain that the latter has less forgiving off axis rejection. Actually, the closer fit to the Schoeps is the Senn MKH40. You will find that the rejection is very similar.

Long live Captain Kirk. My favorite moment has to be when he announced that the Red site was being attacked during the new Scarlet update presentation. Simply because their servers could t handle the volume of interest. Gonna miss the cigar smoking, macho, battle metaphor laden BS, and the blatant brown nosing for fear of being booted for something that might upset "Jim"...like a hole in the head.

Hey thanks John, sounds darn good.

Thanks for the replies so far. I understand that the mod is only for the mic pre's. If I was just using the machine as a bit bucket for a mixer (line in), then I wouldn't consider the mod. However, as a primary in certain situations, it could be interesting if I didn't need someone to ride levels on more than a single track at a time (which would be sufficient for a single boom and a 2 radio lav setup - allowing 3 iso's rather than just a stereo mixdown). However, I am just trying to understand where the noise floor and DR is compared to a unit like the 552 for instance? With the mod, it strikes me that in the high gain setting it should be at least on par with the latter, but really would like to know from someone who has used it as compared with other units...soundmanjohn?

Hi, As I am looking at a variety of alternatives from high to low right now, I am just curious what people's opinions here of the Busman modifications on the Tascam DR-680 are? Obviously I am speaking to people who have hand's on experience. How would the modded pre's compare with a SD 552 for example? Or something like the Fostex DC-R302? As I am looking for various options for less serious personal gig's, it could be a good fit. SD 552's are cheap right now as many folks are moving towards 664's or the new Zaxcom Maxx, but it seems to me that one of the advantages of the modded Tascam unit would being able to put a decent mixer up front OR even use the unit on it's own with the mod if one didn't need to ride the levels too much. Obviously the interface leaves something to be desired, but when I need serious mixing then I just get someone who has a full kit anyway... Here is the blurb: This modification provides much better detail and natural sound than the stock unit. All of the njm4580 op amps are changed out for high speed, extremly low noise op amps. The input capacitors are changed out for better values that allow for great bass response with an open sound and smooth high end that has excellent detail. This modification lowers the noise floor in the high gain setting by over -8db. http://www.busmanaudio.com/mods.html

In terms of image making, actually professionals and amateurs are now sharing the same lenses too. You just have to spend some time at REDuser to see this going on. Further, the level of image quality coming out of consumer cameras is now astounding. RAW from a hacked 5D absolutely competes with $50,000 cameras. Shooting in many situations such as low light, is now better than on 35mm film from 15 years ago. Things advance. Actually, when I look at what Zaxcom is doing with their "neverclipping", it seems obvious to me that they have taken the principles of HDR in image making and applied them to sound. It's not going to be so long before it spreads. However, the potential corrollary to this is that as a visually educated person, I generally know when an image has been HDR'd. There are often some form of compromise which happens in the mid-range and it is occasionally very noticeable. This kind of solution therefore has a certain look and that amounts to a kind of visual artifact of the time. Unfortunately there is often also a certain cheap and cliched association with it now as a result. I have to wonder will this be true of "HDR" sound? Just guessing here... Anyhow, just a tangent. Don't want to hijack the thread. Getting back to the H6, it would sure be nice if someone did some hard concrete tests of the unit for it's noise floor and DR like Avisoft did a few years ago.

There is perhaps a little bit of snobbism going on here. To be expected on a forum with serious, dedicated technicians. I'll tell you why this product is important as a DP/shooter. Radio lavs - and one man band situations for DSLR users. Which is becoming more and more common. Like it or not when there is NO budget. Having a mixing bag hanging on a tripod is just not going to happen. Forget the interchangeable mic system too. No one's going to stick this on a boom pole, because we are already behind a camera.No one (well probably a few silly folks) will put this on top of a camera, because who wants cables hanging over their lenses?I will probably never use those capsules, unless I am in a purely journalistic type situation. However, when it comes to radio lavs, putting them on a big mixer makes no sense for a growing number of shooting situations. Their dynamic range is for the most part already compromised anyhow. So most of what you need can happen in a small form factor. Now I can have 4-6 tracks, when before I had just two. Now I can set a few levels, and maybe add a security track at -12db for each of my subjects.I often have 2 or 3 folks lav'd up, maybe occasionally I can use a boom if I am on a tripod. In that instance I can do a line in with something small like a juicedlink or an a mix-pre D, but definitely not a full blown mixer. It's great to be able to access the channels without having to go into the menus. Do I think it's realistic to ride the levels? Probably not, but I couldn't anyhow and still operate the camera or perhaps manage the situation with one other person. The most common situation out there is 2 lavs and a boom. Yet no one offers a 3 track with ISO's. So you have to go to a 4 track mixer+recorder or a 302 and a Fostex FR2LE. However, mixing down to stereo is already impractical in the situations I am describing and the heavy bag is once again hanging off of a tripod of a mic stand. So what is one to do? Here is an alternative. I do not undervalue or underestimate the importance of a dedicated team with someone working a boom and another mixing, but sometimes a Zaxcom Maxx or a SD 664 is just not necessary. Do I wish for nice pre's, a decent noise floor and excellent DR? Of course. Do I have that expectation? Of course not, but within the limited needs of a growing number of situations, $400 for this expanded capability is practically a miracle. You can all assasinate me now, for my insolence.