Prahlad Strickland

hahaha, I don't remember calling you senny. I will take a look at more posts on micing on this site that's a good suggestion. It's just a common response I get both in post production and location sound. You ask 'what mic did' such and such use, and they say, it's not the mic it's the engineer... you get my drift, I am fully aware that echo will always be present. It was always just a simple, which one has the least echo pickup. May I as you Senator, what is your all time favorite shotgun mic.

That's a great idea, I'll start looking around at the polar patterns of some of the smaller mic's, interested to see the polar pattern of the CMIT

First of all. Thanks heaps for the responses. I really appreciate this site and all it's users Best site ever. "" there is no such thing as a magic microphone that makes reverb (or bad location problems) go away. " AMEN True but reverb can be substantially reduced with mic choice. As I said. A u87 above a talent vs a 416 The u87 had substantially less echo. I was just curious which of the smaller shotguns perform better under echoey rooms. These shots I'm able to boom within 8 inches above the talents head. The u87 was at least 40 or 50 percent better. Sounds like you all disagree? Or haven't compared in this regard ? I don't know and it was only my experiment with the u87 that sparked my interest in the topic. Again... This is purely a mic choice for me. Close miced or not Thanks for the advice on a super cmit will give it a try. I understand the process of acoustic treatment being in the post production side of things for 12 years Ina beautifully treated room. In the last couple years I've been doing a lot of location sound for interviews for documentarys. This would be in situations where I don't have the luxury of installing treatment. And thanks studiomprd for keeping me laughing your posts always bring me a good laugh glad to be at the receiving end after joining your forum after reading for a few years

haha, yes that is pecisely my point, Sennheiser 416 is a medium sized shotty... the rear pickup of echo is quite large.... I know the smaller sennheiser shotties reject rear echo a lot more then my larger 416, Just wanted to get some specific suggestions for indoor micing... To be honest my Neumann U87 above a talent on a boom pole rejects echo about 50% better then the 416... But hardly a good field mic... The CMIT is a long tube mic, i'm surprised it was suggested as from what i've heard it cannot reject rear echo anymore then a 416. Anyone else?

Dfisk. I just saw the pictures. This is a dream. Amazing !!! It's the small things in life that make life a lot easier. And this looks perfect.

Dfisk. That sounds delicious

Hi there. I have a maxx and I have a petrol 607 I had to use the cushions to keep the mAxx off the ground since the connectors r on the bottom. What r other people doing. This is a very finicky rig. Are the feet available yet ? Do you know if anyone is planning a proper bag? It's really difficult to unplug input cables without taking the bag open and re arranging. Certainly not a hot swap scenario.

Can I get some thoughts on your favorite indoor mic for least echo? I was thinking of schoeps system since multiple capsules can be used. If I went shoeps what capsule is best served for echoey rooms But any other mic suggestions r greatly appreciated

Too late but i'm editing this because only my last 5 words were posted here... Couple of weeks ago I was working on a blue screen set. The room is cement walls and floors. Fortunately the roof was sprayed with paper acousic spray, but I would none the less it was basically an echo chamber. I'm using a Zaxcom maxx, I have some DPA4063 and Cos11 mics, My shotguns are Sennheiser 416, Neumann KMR81i. I have a wide range of studio mics including a U47 and original M49, Flea M49, Neumann U87 and the usual dynmaic suspects. The 416 had really bad reverberation pickup in my oppinion, the KMR81i was better but still no cigar for me. I ended up mounting my U87 mic to the end of my boom pole, which is not something I want to do again... I guess the polar pattern of this mic was perfect as It really avoided at least 50% of the reverb of that room (compared to the sennheiser 416. I don't want to lug the U87 to anymore film sets as it's just not designed for the rugged film world. Would really like some Mic models thrown at me to try in these kinds of echoey situations Can I get some thoughts...