Christian Spaeth

OK I gave it a try, don't know if this is useful to anyone. FYI the text is more of a report about that workshop than a review... It was a workshop last year attended by 40 users. Part of it was about the Super CMIT, other parts about film sound in general. I'll focus on the Super CMIT part here. All of the attendees expectations were fulfilled or surpassed by the mic. The workshop's focus was using the Super CMIT for film sound. Main differences between the Super CMIT and other shotguns (as stated by manufacturer): 1) narrower pickup pattern (less diffuse signal) 2) two channel output 3) digital connection There was a small fountain and a Biergarten close to where they did the tests. They found that at 0 degrees, using the film preset (preset 1), the signal is identical to the standard CMIT. That seems to be the main message in here. There were strong differences at 90 degrees compared to the MK41 super cardioid. Switching from supercardioid to conventiopnal shotgun (output 2, I guess that would be identical to the standard CMIT) results in significantly lower high frequencies (we're still at 90° signal). Then, going to output 1 (the actual Super CMIT signal), results in lower mid and low frequency signals. Another demo showed better feedback behavior of the Super CMIT for PA use. The developer talked about the difference between regular beam forming arrays and the one used here, which therefore is called the first Pro Audio Beamforming Microphone. They developed the algorithm from a sound mixer's point of view (simulation of mics with narrower pickup pattern) rather than a scientist's (traditional beam former). He showed then how they completely avoided artefacts in that way. Then they explained how the mics were used at the soccer world cup 2010 (the SuperCMIT's first job ever) for close ball miking (12 mics placed around the pitch). For the final they actually used preset 1, though preset 2 might be more adequate for soccer as it produces higher SNR, and the background artefacts can easily be masked by the other mics. ___ I will not be held responsible for any of the information in this text. And no one paid me to do this

Kudos to everyone, I have learned a lot in this thread, it is packed with great insight and experience. I can see Rado how one can get into your situation. I was recently offered to do a low budget feature length drama. They told me how much money they had for production sound (significantly less than what I or even a boom op would regularly charge) and said that I could decide whether I wanted to pay a boom op with a part of that money or keep it all to myself and do one man sound, or even get someone who would boom for free(!). While the credits would have been nice, I ended up declining the offer. The line needs to be drawn somewhere. My experience is that the less they pay, the less respect you get on set and the worse you're treated.

Something like the Rode Pinmic might be a good compromise for situations like that. Accurately painted and hidden in plain sight, no clothing noise should occur.

my first shoot without any human talent yesterday... instead some nice cars... [img width=491 height=368]http://www.tonabschicken.de/DSC05428.JPG really nice ones... [img width=495 height=371]http://www.tonabschicken.de/DSC05430.JPG

okay Oleg you so got me on that one... ashes on my head

...including 2 usually unsusable tracks (internals) to me it's either internals (fx, ambience) or externals, I couldn't imagine a film/video situation where all four should be useful.

I use LiquidCD. Somewhere in between the two. It's free. Toast always struck me as being somewhat overloaded with features. http://www.macupdate.com/app/mac/19994/liquidcd

I'd go with the Tascam. If nothing else, it's more robust.

I recommend an Olympus LS-5 or LS-10 and a Rode Lavalier mic with the Micon 2 connector (mini plug). specs say "The MICON-2 is designed to connect to a standard 3.5mm stereo minijack, with a power supply of 1V minimum." For stealth recordings of ambience I strongly recommend Soundman binaural mics (look like in-ear headphones, nice stereo imaging)

wow, just saw they have a new preamp for 4-capsule surround recording. Have never seen this setup though. Something like a double ORTF with one axis rotated by 90 degrees... impressive, I'd like to know how they de-matrix that and I'm very curious about how this works.

As soon as I get my figure8 adaptor I will try to do some Oktava double M/S surround recordings, Schoeps style. Just have to figure out how to properly de-matrix them...

I know, and that's why I wrote it's a pity, because in that situation the mics couldn't show their strength/why they work so well for sports.

yeah but the recordings you did sound great plus I like the idea of the adapter since I (as many others) have the 6 capsule kit... as for the quiet stuff having noise problems - have you tried the MS setup with your shotgun as mid signal? Should deliver quieter recordings...?

right, of course I didn't mean to say the Super CMIT was problematic... The sound guys at the world cup were probably happy they had them but even an army of Super CMITs couldn't kill that level of noise, so effectively all you could hear was still the Vuvuzela noise instead of more sounds from the pitch. A pity, since the Super CMIT was created partly for that reason, to get closer to the ball acoustically. I'm sure in a normal game situation without Vuvuzelas it would be obvious how well they work.

if the one you mean is the same that I mean, then it's no good because though it is not as wide as the "old" one, its shape is like a ball which means you'd have to increase the distance between the mid and 8 mics, so that would be impractical for M/S in a zeppelin.

From what I've heard they were used on the FIFA soccer world cup this year, if that's of any help. Those who watched games will remember there were incredible problems with the Vuvuzelas...

great recordings, Zack. Makes me wanna get the 8 adapter (it's a cheapo at 99 Euros over here) and a Rode blimp... You got the stereo clips directly from Rycote UK?

afaik the Chinese versions are fake, however quite easy to tell from the real ones. A web search will provide info on how to find out if an MK 012 is fake or real.

Has anyone here worked with the Rode Lavalier yet? I saw some comparison video with COS-11d and Trams where it sounded very nice, but I'd love to read some experience from the field, considering off-axis sound, hiding the mic, noise etc. Also, is there anyone who knows of a concealer that fits that mic? Like the DPA concealers that fit the Sennheiser MKE 2, but from the specs the Rode is a bit smaller in diameter.

Hi everyone, I'm new here, and I'm glad I found this great forum. I've been using Oktava MK 012s for almost three years now and I'd like to offer my perspective. I bought a matched stereo set with cardioid, hyper and omni capsules at oktava-online.com here in Germany for less than 400 Euros, primarily in order to record music. This is the official dealer and I'm quite sure the mics they sell are quality checked. After some time I realized how well they work for dialogue, so I started using them as boom/plant mics. I have experienced them to be the most effective for interiors, especially in rooms with low ceilings where sometimes a short mic can come in really handy. I mostly use the hyper capsule, but also the cardioid when I can afford it. I even used the omni capsule a couple of times in loud shouting, fighting etc. situations. I never used an MK012 on a boom without a low cut roll filter. Impossible if you ask me. But any standard mixer's or recorder's low cut rolloff works nicely so there is no more boom movement noise. I put a standard cheap foam windshield on the capsule, bought a couple for a few euros and it works fine. The mount I use for inside is a Rode SM 3. When I use the Oktava for expeteriors I put it in a Rycote S 300 zeppelin and put the short end to the front. The mic has the same diameter as the Sennheiser MKH 416 so it fits on many standard mounts. The MK012 is not a very loud mic, and comparing it to my MKH 416 you'll need a bit more amplification, so good preamps are crucial if you're going to record quiet stuff (as with Schoeps by the way). With Sound Devices pres you won't have notable noise even when you do nature/ambience. My favorite stereo setup for these mics is A-B stereo with omni capsules at about 10 inches distance between the two mics. Very nice imaging. I recently bought the Oktava mini preamp which is sort of like the Colette system by Schoeps. Great for planting/hiding the mic, e.g. in a car (something I love the Oktavas for by the way). That way the whole mic is about as long as an XLR connector. Thanks Zack for the blog about Oktava M/S recording. I intended to do the same but ended up not buying the 8 adapter because it wouldn't fit in my windscreen. I might buy a Rode blimp and the adapter now after seeing this... Bottom line: I can recommend the Oktava MK 012 to anyone who wants a great versatile mic that is not too expensive. However if I didn't have to worry about money I would definitely buy Schoeps instead, all I ever saw and heard by this company is just perfect. A bit like Apple I was at the Schoeps factory once and they're total perfectionists. Anyway, the Oktava mics have a similar sound to Schoeps which are extremely linear, so they're a great bargain at the price.