ronmac

You get what you pay for, in both examples.

Trew and B&H are both h showing $649USD

Male or female puppet?

My take and experience on the "modelling" mics is that they offer a wide palette of "simulated" flavours. A good analogy is flavoured potato chips. They all start with a rather neutral tasting chip and add a simulated flavour. They taste "like" the flavour added, but will never have the nuance of a proper combination of the two real foods (potatoes + dill, as an example) mixed and cooked together. You really do need to try before you buy. I'm not sure you will hear a world of difference between the TLM103 and MK4. You will hear a big difference, and have flexibility of choice, if you add different types of mic to your collection (shotgun, ribbon, dynamic, etc.). As an example, you can buy a Shure SM7B (dynamic) and a Rode NTR (ribbon) for almost the same price as a single TLM103. If you are fixed on getting one mic for all situations it is even more important to do a proper audition of mics you think will be the right choice.

JP Gerard of NoHype Audio is a MBHO dealer who is very active on GS and responsive to questions. I am sure he can sort this for you. nohypeaudio@gmail.com

Personally, I would focus on getting the best protection you can get. Although this may yield a bigger rig than you want, the weight won’t be significant. I generally pack two systems, a medium shotgun (MKH60) and a MS pair (MKH30/40) in separate windshields. The weight is insignificant compared to the recorder, small tripod, cables and food/water. It all fits in a medium backpack. If you are going to hike for hours to get the sound, it is worth expending a little extra energy to make sure you get something useable,IMO.

I believe that has been discontinued

The smallest XY config setup I have been able to find is the Cinela Albert. If you are happy with ORTF there are more options. If you are OK with ORTF (or spaced pair) you can use a pair of Rycote BBG and a small stereo bar. They will break down to a more manageable size, but you will need to assemble the rig in the field. There is nothing to stop you from manufacturing your own XY kit, if you are into DIY, but considering the need for proper shock mounting and dead air space around the pair you will need to be very creative (building a modular system that packs easily) to get the size down.

I use 2 of the ART S8 splitters to take feed from FOH for live shows and have never had a problem with Mic or Line level. They have a -29dB pad for Line level that can be engaged per channel. From the manual: USAGE: Connect low impedance dynamic or condenser microphone to any MICROPHONE INPUT on the S8. (Alternatively connect line level signal to any MICROPHONE INPUT and engage corresponding front panel INPUT PAD switch.) Connect corresponding DIRECT MICROPHONE OUTPUT to mic input on main mixer (switch phantom power on at mixer if desired). Connect corresponding TRANSFORMER ISOLATED MICROPHONE OUTPUT to mic input on secondary mixer or recording system. Set GROUND switches to LIFT or GND. Use whichever setting provides lowest noise performance. NOTE: The chassis ground connects to the Channel One input ground only, in order to reduce the possibility of channel crosstalk through chassis ground. To provide the noise-shielding benefit of the chassis enclosure when the S8 is not mounted in a grounded rack system, be sure to use the Channel One input when using fewer than eight channel input connections.

The Triad-Orbit is definitely not a contender for boompole use, imo. The clamping action between boompole and shock mount is quite sloppy. It is a good alternative for antenna mounts or mics used where there is no physical swinging.

Not sure if this will fit, but as soon as I saw this simple device I thought it may be good for the fidgety USB-C port on the MixPre series.It is designed to stick to the area around the port and keep the cable from detaching easily.https://eshop.macsales.com/item/OWC/CLINGON1PK/

I have a KMR81i and MKH60 (x2) and appreciate the different tonal characteristics. Have you considered a 60 vs. the 8060? I know they have some tonal difference, but having the pad and cut/boost switches on a 60 can be very helpful.

I thought this may be interesting for those hopping into the 360 world.... https://training.npr.org/audio/360-audio/

Thanks, Eric. That is what I thought, but just trying to be forewarned/forearmed before I go check them out. I will take along my trusty MixPre and a set of phones to give them a listen. Cheers, Ron

Has anyone sited or heard of MKH60 counterfeits? I am able to inspect prior to purchase, so I will look for obvious signs and do an audio test.