does

...hope there is no cell phone action around the CS-3. They pick up the signal very fast....

About a year ago, I was asked to record sound for a series. The locations were mainly outside in a big town. There was no possibility of blocking the traffic while shooting dialogue.So I decided to test the Super Cmit to find out if it could proces the background away. At least, that's what the specs say. The test setup was: 2 overhead Rycote zeppelin on a boom, pointing to the same person, who was reading out of a Berlin travel guide. One Rycote held the Cmit 5u and the other held the Super Cmit. The recorder was a SD 788T providing the AES42 power for the Super Cmit. We recorded 3 tracks. 1: digital Super Cmit ch1 2: digital Super Cmit ch2 (the processed channel) 3: analoge Cmit 5u We chose a number of difficult locations to see what the Super Cmit would make of it. -On a bridge over the highway -next to a park, about 60 meters from a busy street -indoors, in an art gallery that was completely tiled and empty with a lot of reverb -indoors on a sound stage, while a host talks in front of a green key The results were a bit disappointing towards the Super Cmit. In the first position, the background noise was a little bit attenuated but the dialogue was still usable. In the second position, the background noise was a lot less, but the voice was unusable for dialogue recording. It sounded very thin and lacked 'presence'. Later I went to the audio post-production to get the files analyzed in a studio environment. There we discovered that the analog Cmit still sounded the best and that the attenuation of the background noise, as it was done by the Super Cmit, could easily be obtained by Pro Tools. So it saved me from having to buy the Super Cmit!

Good topic. Even in a cart friendly production, you will get in the situation where you need to do car dialogue while the car moves or a lot of locations, with very short scenes, on one day. Then you want to go into 'bag'-mode. Choose the recorder keeping that in mind. I never worked with the Zaxcom Nomad, just looked @ the Zaxcom website, I would go for that option. Happy Recordings, Miguel

The 788T does that. It was not on the first firmare I used, but since june 2011 it's there. Maybe you run an older firmware version?

Forgot to mention, the MKH50 has a low-cut and a -10 attenuator switch. Never used a 8060, so I can't comment on that mic. The cmit is indeed a wonderful mic. Did a travel documentary with that mic on the boom. Even hectic scenes on an arab market where everybody was talking and yelling, could be perfectly captured. The post guys were very pleased with the fact that there was no coloration. When moving towards a person that suddenly starts speaking, they simply could push the fader up to compensate for the first off-axis words.

I used both microphones on a series I shot last year. I have compared extensively the MHH50 and the MKH 8050. At a certain point I even used one of each for a car dialogue. What struck me the most is that the MKH 50 has a richer, warmer sound than the smaller MKH 8050. When I can choose, I will always go for the MKH 50. On the other hand, the 8050 is , because of it's size, a perfect mic for hiding behind a prop or a table-end. It's mostly for those situations that it was used. When we had a cell-phone conversation in a Porche Carrera, the 8050 came very handy, again because of it's size. (it's a very small car) Greetings, Miguel