Affinity

Thanks for this comparison video!

Consider the Line Audio CM3/CM4 as perhaps the best value option.

Thanks for these initial thoughts. If one already has the Schoeps and the MKH50 do you see this complementing those in any way or is too similar to the MK41? How did you find the reach compared to the Schoeps?

How does this do outdoors in a noisy environment as compared to the CS-3?

I use the 801, 802, and TL-40s with my G3s. Highly recommended and OST has great customer service.

Ha. Thanks for sharing your experience. You never miss the limiters of the 552 as compared to the F8?

"The F8n's dual-channel recording mode allows you to create safety tracks by doubling up the recordings from inputs 1-4 onto tracks 5-8. Tracks can be controlled independently, allowing you to customize each safety track with different gain, limiting, and more." ----- I have a SD-442 mixer. If I put this in front of the F8n and used the SD-442's limiters, could I then use the F8n's dual channel recording to record hotter tracks on the safety channels? Is this a rational approach?

How close to the COS-11D would the Oscar Sound Tech TL-40 get you on the G3?

In what context do you see the 10T preferable to the 633, apart from number of inputs?

I've appreciated his and many other's contributions here over the years. I find this forum unique for the consistent quality it manifests. A rare bird amongst online forums.

I've done several searches but I've come up with very little information about the Audix 1280B with shotgun capsule. Does anyone have this mic? How does it compare to something like the Rode NTG3 or Sanken CS-3e? I did find a single reference from a Senator Mike who in 2012 stated: "I've used the Audix 1280 HC and 1280s and their micro-booms myself, and they are terrific"

Thank you all for the replies and reality checks. I will follow up on the information provided and attempt to find someone local who I can solicit (trick?) to let me observe and learn from. I'm guessing there aren't that many boom ops in my area (Edmonton, AB, Canada), but I will find out.

I have my boom pole, my shotgun and hypercardiod mics, and my SD 302 mixer feeding a Zoom H4n recorder. I am recording dialogue indoors and outdoors. I've never operated a boom pole before and would like to learn some of the basic technique. I have Google'd the subject but I was hoping someone could point me to an online source that they felt did a really good job covering the basics.

I very specifically need a hypercardiod. I considered the Oktava but saw too much feedback about it being a difficult/poor choice for boom use due to significant handling/indoor wind noise. I own a NTG-2. It's not suitable for the interior dialogue work I'm trying to do. The CS1 is interesting but not a hyper. I was considering the NTG-3 (as a 416-like mic) for interior dialogue since it seems to do okay indoors but in the end I found I really did need the hypercardiod pattern. I think the only non-hyper that I would consider is the CS3e but it's out of my current budget of about $600.

And my second question would be where is a USA or Canada source to purchase a MBHO 603?

I want to add a hypercardiod mic to my kit for recording dialogue in interiors (and perhaps in some outdoor conditions as well). I will sometimes be booming this mic and other times I will be putting it on a stand. I understand the philosophy of buy a good quality/performance mic the first time around so to save money (and gain performance) in the long run. But as I've recently purchased a SD302 mixer my budget is more constrained. What I would like to know is what is the cheapest good quality/performance hypercardiod? After doing some research I've narrowed my choices down to: Audio Technica AT4053b Audix SCX1 HC AKG Blue Line CK93 MBHO 603 with hyper cap Peluso Cemc6 with hyper cap Of these 5 the Audix and the MBHO seem to stand out the most to me, but I have no experience with any of these mics. I was hoping that some of you could help me with this decision?

Thanks for sharing a finished product and letting us know what equipment you used. I googled the "trx900". They look nice and expensive. One thing that is claimed about the trx900 is that "Superb audio quality that rivals a hard wire". What is an example of a hard wired recorder that an audio pro might use with a lav?

I recently purchased 2 OST-802 lav mics with with 3.5mm plugs for my Zoom H1 recorders. I subjectively compared the OST lav's to the $25 Gaint Squid lavs I had and didn't really notice much of a difference. I'm guessing my findings are more a commentary on the recorder (or my inability to evaluate) than they are on the microphones. The recorder I've been looking at, because of reportedly better pre-amps and noise levels, is the Sony PCM-M10. However, I don't want to spend a few hundreds just on an experiment (i.e., will the Sony recordings be that much better than the H1's?). Has anyone ever compared the mic in on H1 or H2 of H4N or whatever to the mic in on the Sony PCM-M10? The reason I bought the OST-802's with the 3.5mm termination is because I wanted to avoid the cost/complexity of a wireless system.