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    20 years experience as a studio/live engineer but newbie mixer for film.
  • Interested in Sound for Picture

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  1. Thanks, but I apologize for not being clear: I've changed my original search goal from shotgun mics to affordable small diaphragm condensers because SDCs sound fine in my tests, plus they are more affordable, as long as low end frequency response is good. Not sure if I need supercardioid or cardioid is fine though. I'm considering a pair of sE7 ($220) as someone said they have a decently detailed low end. Can someone confirm that or recommend something better?
  2. I did a thorough mixing test with abovementioned mics. The cheapest Behringer C2 were actually not so bad in terms of picking the least reverberation. However they severely lacked low end. EQ doesn't really help because the frequency information isn't really there. C2 are cardioid. On the other hand MKH50 picked low end the best. Also MKH50 is supercardioid. So I need to get mics with somewhat similar pickup pattern and frequency response to MKH50 but much more affordable. Can you please recommend affordable pair of supercardioid SDCs within $300 with good low end representation?
  3. The funny thing is in that room 110 degrees ORTF mics point exactly at FOH speakers. That's why I think that anything omni or figure 8 is not the right fit for the room. Even MKH50 which is closer to hypercardioid did slightly worse that SM57 and MKH416 . As I mentioned in the first post, I did try a dbx RTA-M omni mic. It was the worst in the sense that it picked up more reverberation. Yes, that part I figured out earlier in the process. Thanks! Thanks for the idea! But I think buying such old stuff won't get approval from that church. This is for permanent installation and they won't afford that mic from me. I've been pushing them to upgrade things, was able to convince to upgrade many key components, but it seems like I'm reaching the end of my abilities to encourage then spending more... Especially on mics that only I will listen to ... And you see, I keep building this streaming system but it hasn't launched yet, so asking for much more money for it is shady right now.. It's interesting to hear opposing opinions on mic pattern choices and one vs multiple mic positions, as well as the need of feeding in main/matrix... I guess I'll have to experiment but not sure how to get cheaper mics to try aside from starting Amazon return rampage... I didn't have a chance to mix trial samples that I've recorded with those mics. But from monitoring in headphones I can tell that SM57 and MKH416 picked EXACTLY same amount of reverberation, but 416 sounded more detailed with open top and bottom while SM57 sounded more dull, slightly muffled. 416 should handle EQ much better. I've also briefly tried a BETA58 and there isn't much difference between cardioid SM57 and hypercardioid BETA58, I guess that's because reverberation rejection in dynamic mics is achieved by their lower sensitivity to details and slower response, instead of pickup pattern. Therefore it's tempting to just buy cheap dynamics... Do you think the dynamic HEIL PR 20 (50-18kHz, $100) may be closer to MKH416 ? So the choice is between a $100 dynamic (good rejection but dull sounding) and $200-250 shotgun with questionable rejection. The problem is that I don't know how critical pickup pattern will be in cheaper shotgun mics!
  4. Thank you all for your replies! Of course I'd time align the feeds. I tried to research some of these and it seems like they are all less directional than MKH416, please correct me if I am wrong! So I don't know if that would be critical in my situation, because super-to-hypercardioid MKH50 already picks up slightly more room! Also, some of these cheap mics's frequency response starts higher and I don't know if boosting bottom end on EQ would work. What do you think? Presonus StudioLive Series iii. I'll have to create 2 independent mixes, one for FOH, another for streaming (plus all Auxes for musicians), and control both from a remote location. It is a very complicated setup. So having a good room monitoring is critical. I know it's a questionable goal but I get a feeling that this can be done. Maybe I could pick a pair used for less money... Is ECM-674's pickup pattern compatible with MKH416 ? Tighter than those mentioned in my previous quote?
  5. Yes, in headphones. I compared an SM57 vs MKH416 vs MKH50 vs dBx calibration Omni at mixer location pointing one speaker and MKH416 and SM57 picked up the least of reflections, with MKH416 picking more highs and lows (which is better) vs SM57 but the venue can't afford two such expensive mics, therefore I'm looking for a cheaper alternative. Dynamic mics with extended frequency response are also expensive from what I can tell. Please correct me if I'm wrong. Yes, I did realize that just two mics at mixer position will not do the job and I need a mix of different mics at different locations and probably either main out or a matrix mix as well. But still, that makes my original question valid: need affordable shotgun mics with polar pattern compatible with MKH416 and preferably as extended lower end. I'm thinking of hanging a SM57 closer to one speaker (in addition to stereo shotguns at booth), making it pseudo stereo during monitoring, and mixing it with shotgun mics. Why one? Because the room layout is so unfortunate that drums and percussion are right by another speaker so that other mic will pick nothing but drums... This is a very bad room in acoustic sense, horrible layout with many life instruments (mostly drums) acoustically bleeding, therefore I must rely on mics as much as possible because mixer outputs may sound very deceiving. Are there shotgun mics within around $200 that may do what I need or is this an unrealistic wish?
  6. Hello. I'm a live sound engineer so far, not a film sound mixer (yet). I need to use two shotgun mics in a ORTF pattern at mixing booth to pick room sound while the band plays via FOH PA. The goal is to hear as close as possible to what a human hears in the room. This is needed for remote FOH mixing. I've experimented with a MKH416 (only one for now, since I own one) pointing at a FOH speaker from mixing position and it works quite well. But the church is on a budget and can't afford two such mics. A dynamic SM57 worked too, but it's much less detailed and rolls off too early at lows and highs. An omni dbx mic was the worst (too much reverberation). Can you recommend a budget shotgun with as much off-axis rejection as possible, preferably within $200 per mic? Extended low frequency response is much preferred. No battery operation needed, no RF-bias necessary because it'll be in controlled humidity. Low self noise isn't so important. I'm considering a Rode NTG1 ($190, 20Hz-20kHz) but looks like it's pickup pattern isn't as tight... Audio Technica AT875R ($150) seems to have a tight pickup but it's only 90-20,000Hz... Thanks!
  7. Are they also better in terms of RF interference handling as well, or just sound/built quality ?
  8. Thanks to everyone here for very helpful answers! I'll be aiming at 411/UM400a for now. How much does it generally cost to reblock (an old) system by Lectrosonics or anyone else in case if I the recommend block is overcrowded? Can they be reblocked to ANY Lectros block or there's a limitation to that?
  9. Better resistance to interference while maintaining small size and being lightweight for "in-the-bag" use. Thanks for the rest of the information.
  10. Thanks, I will take a look at those. So will 401 and 411 be better than things like Sennheiser AVX or G4? Lectrosonics keep literature explaining their product line away from public and only explain it to actual customers over other phone tech support, don't they? I was unable to find any info explaining their products...
  11. Are there any old Lectrosonics systems that cost around $700 per channel used, that would be overall better than Sennheiser AVX? What models would that be? I want to get into Lectro world but can't spend $2,500+ per channel as of now.
  12. I meant dead space in the front. The space that would have been used to get a mic 2 inches closer to sound source. I guess I'll have to call Roycote and ask them.
  13. I got from a video that they recommend front end of mic not to recede into that rounding cup area. Because I've never held an Roycote windshield in my hands, I don't understand whether that bar that holds two mic suspension clips can be moved towards the front, and if suspension clips in all of their windshields (WS4, Super Windshield and 416) can be moved into different positions on that bar. So I don't understand how close to front end a smaller mic (mkh50) can be moved in their WS4 or 416 kits. I've been there, the MKH 50 page is not working :))
  14. Can anyone recommend a good blimp with softie that would be suitable for MKH 50 (153mm) and MKH 416 without dead space on the front with either of the mics? If I understand correctly, Roycote's Super-Shield Kit, Medium is for 200 to 250mm, so in case of MKH 50 (153mm) there will be nearly 50mm dead space on the front?
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