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  1. Hello, Does anybody here have experience with the Schoeps MSTC 74 for stereo recording interiors and outside? I'm a journalist (podcast & print) but not an audio pro by any stretch. I'm experimenting with stereo techniques for ambience/reportage background recording and the possibility to create immersive audio for podcasts. I tried binaural, Double MS, MS, XY and ORTF and found ORTF the most acoustically pleasing to my ears. It's also super simple with no wide/narrow options to choose from in the mix afterwards. The MSTC seems simple and user-friendly because of its fixed angle and single cable. That's great for handling and traveling. I suppose the downside is that it's not easy to use with suspension/windshield (although Cinela have an Albert version for it). I was thinking of using it with Cinela Leos in light wind. What do the pros here make of the MSTC 74? Is it too niche and specialised vs. a pair of Sennheiser MKH 8040s or Schoeps CMC 1L with MK4s? And, lastly, how do you rate the MKH 8040s vs Schoeps MK4s? Thanks! PS: This New York Times article got me onto ORTF as a tool in news reporting: https://rd.nytimes.com/projects/tips-for-capturing-and-recording-spatial-audio/ I already saw myself hand holding the MSTC 74 during demonstrations or embedded in a tank, but I suppose I'm getting ahead of myself...
  2. Hi Guy's, I'm wondering what your experience is with the Schoeps Super CMIT in daily use, and what the feedback is from post production, or if you work in post.... your own opinion. What I experience is that the DSP sometimes is audible, of course even more in the tightest setting. It almost sounds like a gate when fast loud noises are present, for example next to a highway. Also I got some feedback from post that this (gating) DSP, which most times I can't hear on set for it's subtlety, is audible for them. Because they also use these techniques in post... it's one effect on the other, something they don't like. A couple of projects back I recorded in a rural environment with a highway 'hum' in the background. This was the only time I truly was satisfied with the mic. I use the mic with my SD 788T, but because the sub-d connector on the bottom of the recorder, where the AES42 input is situated, isn't shielded I get allot of RF spray. So I use the mini DA42 pre-amp from Schoeps to do the DA conversion for me. There are a couple of topic's about this mic, but none with this question as far as I could see. Let me know what your opinion is or if you have some tip's 'n trick's. cheers, Reinout.
  3. A new one from Schoeps http://schoeps.de/en/products/minicmit
  4. These mounts are custom made and can be used with any shockmount that accommodates 20mm diameter. They are compatible with the following microphones that utilize remote cables: SCHOEPS KCY/KC5/CMR with MK capsules and CCM ug/lg DPA Lemo style 4023/4028/4053 BUSMAN BSC2 http://www.busmanaudio.com/bsc2.htm PRICES INCLUDE SHIPPING NOS 30cm 90 degrees $70 DIN 20cm 90 degrees $65 DINa 17cm 90 degrees $60 ORTF 17cm 110 degrees $60 Vertical Address or A/B with spacings at 17cm and 20cm $70 MidSide at 0 degrees $65 A/B or Vertical Address w/ Spacings at 36, 43, and 51cm $100 ORDERING INFORMATION: Please email me at nolafishwater @ live.com with what you want to verify stock. ORTF (17cm @ 110°) The French Radio Organization developed this technique. A high quality, matched pair of cardioid condenser microphones are placed 17 cm apart at an angle of 110 degrees. The ORTF stereo technique uses two first order cardioid microphones with a spacing of 17 cm between the microphone diaphragms, and with an 110° angle between the capsules. This technique is well suited for reproducing stereo cues that are similar to those that are used by the human ear to perceive directional information in the horizontal plane. The ORTF stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. Care must be taken when using this technique at larger distances, as the directional microphones exhibit proximity effect and will result in low frequency loss. The distance from the sound source will determine the amount of room reverberation. When further away from the source, the recording will result in more reverb and closer placement will have less room sound. ORTF is very popular for outdoor recording where there's not as much reverberant sound as there are surfaces to reflect sound. A good starting placement for an ensemble would be approximately 7 feet away and 9 feet up. NOS (30cm @ 90°) This technique was developed by Dutch Broadcasting (Nederlandsche Omroep Stichting). The spacing of the microphones emulates the distance between the human ears, and the angle between the two directional microphones emulates the shadow effect of the human head. If used at larger distances to the sound source the NOS stereo technique will loose the low frequencies due to the use of pressure gradient microphones and the influence of the proximity on these type of microphones. The NOS stereo technique is more useful at shorter distances, for example on piano, small ensembles or used for creating stereo on a instrument section in a classical orchestra. The NOS stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. DIN (20cm @ 90°) (Deutsches Institut für Normung)The DIN technique is based on the spacing of the human ears. It is similar to NOS, however the cardioid microphones are 20cm apart and at an angle of 90 degrees. The DIN stereo produces a blend of intensity stereo signals and time delay stereo signals, due to the off-axis attenuation of the cardioid microphones together with the 20 cm spacing. DIN and DIN(a) have the 90 degree angle which reduces the amount of reverberant sound that's coming from bounced sources instead of directly from the source. DINa (17cm @ 90°) A modification of DIN which is designed for use with hypercardiod microphones. It still uses the 17cm (average distance between human ears) which helps to create a natural time delay and stereo image. The closer spacing creates a stereo image is more accurate and less reverberant. DINa results show a slight decrease in low frequencies which can be very pleasant for field recording in cavernous or odd shaped rooms. MIDSIDE This technique uses two microphones placed close to each other. One microphone has a cardioid pick up pattern and the other with a figure 8 pick up pattern. The cardioid microphone faces the ensemble (this microphone picks up the Middle). The figure 8 microphone is at a right angle to the cardioid (this microphone picks up the Sides). The cardioid microphone is panned to center. The figure 8 microphone is split into two channels and panned hard left and right. The phase of the left remains normal while the right is reversed. By increasing the level of the figure 8 microphone the room acoustics (reverb) will increase. The MS stereo technique is excellent for mono compatibility. This mount requires the use of two rubber rings placed at the end of the mount to secure the microphones in place (see picture for placement). Vertical or Front Address: 17/20 or 36/43/51 These two mounts are designed for use with the vertical address series (V) or for A-B stereo recordings with front address condenser microphones. The smaller of the two mounts has spacings at 17 and 20cm allowing the user to accurately reproduce the following recording techniques: • DIN (20cm @ 90°) • DINa (17cm @ 90°) • ORTF (17cm @ 110°) • OLSON (20cm @ 135°) The larger mount has spacings at 36, 43, and 51cm. It utilizes the principals of the The A-B Stereo Technique, which uses two spaced microphones. The microphone spacing introduces small differences in the time or phase information contained in the audio signals (according to the relative directions of the sound sources). As the human ear can sense time and phase differences in the audio signals and use them for localisation, time and phase differences will act as stereo cues to enable the listener to "capture the space" in the recording, and experience a vivid stereo image of the complete sound-field, including the positioning of each separate sound-source and the spatial boundaries of the room itself. Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be. Using a recommended microphone spacing of a quarter of the wavelength of the deepest tone, and taking into account the human ear's reduced ability to localise frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves. A user can also use the larger mount with the Vertical Address capsules when recording on stage or from distance. This technique creates a large sound stage and helps to capture the feeling of the room. The large 36/43/51 mount requires the use of one rubber ring per side to secure them in place (see picture for placement).
  5. Hi folks, I recently bought Colette cables for my Mk41's, to use them as a very small plant mics and also in cars. Then 2 weeks later I discovered the Schoeps CMR to put it straight into your transmitter, which is ideal for my purpose. Schoeps offers me to send the Colette back because I think I don't need them anymore. But I am wondering if I am missing something. Is there a possible scenario where I would need the Colette's over the CMR. Or where they would outperform the CMR. Thanks and yes....first world problems :-)
  6. rb1138

    Schoeps CMD

    Schoeps CMD-2U It's the digital version of the Schoeps Colette CMC amplifiers. Anybody use it? There's no specific section about it on the Schoeps website. However, in Coffey magazine they seem to indicate that it is more resistant to humidity. With all the talk of the SuperCMIT being resistant to humidity, I was wondering if anyone had any thoughts about this one. I've searched on the web but info's pretty slim.
  7. Does anyone have any dialogue audio samples that I can hear... of a Schoeps CMC1 or CMC6 with an MK4 (not a 41)? (Preferably at 12"-14" from subject) If you do have anything to share, do you remember if you were using a Cut-1 or Cut-60 or using a low cut on the mixer? Thanks, in advance. Much appreciated. Paul
  8. So i got this old CMIT 5u which worked like pristine a couple days ago. i always store the mic in my closet in a dry groom with normal temperature. Today when i started shooting the mic gave almost no sound and alot of self noise. i couldn't use it for the whole day. last time this happened was at a night shoot but every worked back when i layed it in a dry room for a while but now it doesn't work at al and is simply unusable. Even after a full day of drying there is no change and the mic still does the same noise and low sound problem. Have any of you guys got any tips or had the same problem. I'm thinking of contacting schoepst for a cleaning and check up but i have no idea how they are with older CMITS. thanks infant for the tips. (the mic was bought second hand from a trusted seller and everything worked when tested) Thijs,
  9. The CMIT I am using was purchased last year, April, and it mainly stays in the Blimp Windshield. Last week I went a set. It is a genuinely dusty indoor environment. So I paid extra attention asking the boom OP do not take it out of the Windshield. However, on the second day of shooting, The mic starts making weird noises like this. It is recorded in a quiet indoor condition. But the self-noise is extreme. I do saw on Schoeps website saying Not too sure if I should send it to do the services. It happened twice on my three-day shooting, so I do have a strong concern about it. If I sent it back, do I have to send it back to Germany, or I can do the service in the state. Thank you
  10. Hey there! I'm a big fan of using my Schoeps capsules for car scenes, but as of now haven't found a great windscreen for this application. For windows up I use the teardrop windscreens and that works fine, but when we need the windows down the only thing that will properly protect against the wind is a softie, which I find to bulky to hide properly. Has anyone found/made/imagined a low profile windscreen to protect against wind coming into the car?
  11. Hi everyone, I was looking at the Schoeps website and figured out there's this new (?) inline filter on the list. Seems like a CUT1 alternative, smaller fixed frequency inline hipass filter: http://www.schoeps.de/en/products/cut60/overview Has anyone already tried this? Masaki
  12. I was wondering if anyone is familiar with digital preamps and the various unique sonic elements that different brands offer. I 've tried a number of different analogue preamps in my life and can audition the differences of an SSL preamp and a more commercial Tascam preamp as well as the transparency of a Sonosax one but I am not much experienced on digital preamps. Has anyone compared the digital preamp offerings from Schoeps, Lake People and Audio root ? I am particularly interested on compact preamp offerings rather than 1 U units. Is anyone aware of the current draw required for Digital Phantom Powering and whether DPP restricts on board batteries on compact units ( i.e. DPP needs an external power source ). Since A/D is always taking place in the mic with digital mics, do digital preamps play as an important role as analogue ones ? Best
  13. Dear all, I’ve recorded some tracks in double MS and wandered if anyone has ever attempted to use the rear and fig-of-8 channels to increase (in post) the lateral and rear rejection of the front mic. The end result would be a super-directional mono (virtual) mic. This would be useful to adjust in post tracks recorded in uncontrolled environments, e.g. documentary setting, direct cinema style, no time to change mics or lav people. Is the idea making sense at all? If it is, any suggestion to make it work? My set up was a CMIT (front), CCM41 (rear), and CCM8 (Fig-of- inside a Cinela PIA-3, recorded on a Nomad with the three inputs with identical fader and trim settings, no compressor/limiter involved. The typical track: a quiet river surrounded by open fields, a man bathing 3m in front, an engine 100m in the back, kids babbling on the sides from various distances. The three channels are quite contrasted but the front mic still got too much engine and kids. The goal is to get a mono track with the kids, and more importantly the engine, attenuated. I played around with Schoeps' DMS plugin. http://www.schoeps.de/en/products/dms_plugin/overview The displayed polar patterns suggests that I could achieve complete rejection of rear and attenuation of side with some settings and using only the center channel (from DMS decoded as 5.1). But the actual result is unimpressive and there is some distorsion if I push it too far. So, what’s your take on this?
  14. Thought I would post here since I'd love to pick up some non-union sit-in and referral jobs in the Los Angeles Area. I've been mixing full time for 2 years and have a couple cable TV features under my belt, among a multitude of corporate and commercial work. I'm also comfortable swinging it or being a utility. I have a small Nomad 10 follow cart for narratives and a 302 bag for smaller OTF and sit down interview jobs. 4 channels of Zaxcom wireless (3 lavs and wireless boom), and 3 ERX IFB. Additionally, I have 2 Wisycom wideband channels with the assortment of COS11-D and DPA 4060 mics. If anything, feel free to refer low-no jobs so I can bid up the equipment and labor rates. I'm going broke turning down these $350/12 all in jobs, but I figure it's time to step it up in educating production about what they can and cannot afford with their budgets. Thanks for reading, and have fun out there!
  15. On August 23rd a friend of mine left my schoeps cmit and a comtek pr-216 receiver in a taxi on the west side of L.A. The serial number on the microphone is 757. If anyone has any information a reward is in order. Message me here.
  16. I posted this on my blog today. You are welcome to check out the post with all the pictures attached if you like here or read below: ---------------------------------------- I recently got a Schoeps CMR. It is a single cable solution for connecting a bodypack to a Schoeps MK series capsule. I'd like to start off by saying that if you love the sound of the Schoeps Modular MK series capsules as much as I do, and also use them for your primary plant microphones (in cars, on desks, etc.) you will LOVE what this product does! There were two ways (before the CMR) that we would use the Schoeps as a plant with the following chain of gear: Plug-on Transmitter: MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Plug-on Transmitter A fairly straight forward process and fairly simple chain of five pieces. Bodypack Transmitter MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Denecke P48 Box > XLR to TA-5 Cable > Lectrosonics SMV Transmitter This works, but it get's more complicated because of the need to introduce phantom power to the mic. The chain is eight pieces long. Then you add paper tape & Joe's Sticky Stuff (don't have some? GET IT! Miracle product for plants). As you can imagine, that can be a lot of different bits to grab, sometimes on a moments notice. With the Schoeps CMR and the Bodypack Transmitter: MK41 Capsule > GVC Swivel > CMR Cable > Lectrosonics Bodypack. This cuts the gack in half for bodypacks with a chain of four (or three if you prefer not to use the GVC Swivel). How does it work? Are there tiny German unicorns on a miniature hamster wheel stirring up the phantom juices to make this amazing product work? No, but that does paint a nice picture! (Bonus points for whoever actually PAINTS this picture, I'll attach it to the blog.) According to the manufacturer about the CMR: low power consumption: only about 1/20 to 1/48 that of a phantom-powered microphone So, it seems they have found a way to use the small current that the Lectrosonics bodypacks output (that can also power a Sanken CUB-01 for example) and use it to power the mk41 capsule. The Downside? Are there any downfalls? Well, like all things, the Schoeps name does not come cheap. I've seen it retail for between $659 and $770. It may sound like a lot to pay, but when you consider you don't need a expensive CMC6 to power the capsule when used as a plant, it is a pretty good deal and greatly simplifies a way to get that sweet Schoeps sound! The CMR will NOT work with the CUT1, but does work with the DZC- pad and GVC swivel. It will also not work with Zaxcom Transmitters. Also, it is a little bit bigger at the connection to the capsule than a Colette, but considering everything in the chain that it eliminates, this is negligible. Conclusion: That being said, I've already put it into play on set. The CMR worked like a charm. I'm sold! Notes: Some information about the CMR I found at Posthorn: ** For Sennheiser SK50 transmitters, the CMR must be ordered with the termination installed by Schoeps. It is only available with a 2 meter cable. We do recommend that all terminations are installed by Schoeps. Schoeps has confirmed compatibility with current and legacy Lectrosonics (TA5F) models, Audio Ltd. and Sennheiser SK 50. Other connector terminations available as a special order - exact wireless brand and model info is required. The Schoeps CMR will NOT work with known Zaxcom transmitters or the Sennheiser EW Series. The CMR also will NOT work with Colette Active accessories (e.g. CUT1, KC 5g) or the BLM 03 Cg. A DZC- pad or GVC swivel are the exceptions and can be used. THANKS! The Schoeps CMR was courtesy of Scott Bolland of Redding Audio & Christina Zofia Wittich of Gotham Sound. Many thanks!
  17. Just bought a CMIT5U and am getting ready to use it in conjunction with a Denecke PS1a power supply and a UM400a transmitter. Is there a distinct wiring configuration I need to use for the boom cable itself? Redding Audio's site says: "Special care must be taken if the CMIT 5U is used with an external phantom power supply going unbalanced into a wireless bodypack transmitter - pin-3 must be decoupled from the powering and pin-1 must remain connected. (Keep pin-2 hot and pin-1 GND)." Am i mistaken, or does a phantom power supply not only supply power across Pins 1 and 2 anyway? What am I missing? Any assistance would be appreciated. Thanks!
  18. Our microphones are available in their standard colors (usually gray or nickel) as well as in many special color at a low additional fee. We regularly do special colors due to certain customer demands. From Schoeps Facebook page
  19. Hi everyone. I was wondering how reliable a Schoeps CMC6 with the MK41 capsule would be in a place like Hong Kong? I'm sure some of you have been there working and know the climate but for those who haven't... it's pretty humid and there is a lot of moisture everywhere, all the time. I'll be capturing sound for an independent feature film to be shot in Macao (across the river from Hong Kong) and I need to get a super/hyper for lots of interior dialogue scenes. Renting is not really practical because we'll be shooting for a month. And I rather just invest in a good microphone for future productions. I don't have any experience with this microphone and I've been reading here that it can have problems with moisture. But I'd like to know just how bad the moisture has to be to really affect the microphone. I'm only asking because I have someone who has a used schoeps cmc6 mk41 for sale with a cut 1 filter here in Portugal and I'm tempted to take the plunge but I don't want to plunge into a sea of problems. I would get an mkh50 but suddenly the prices on the 50 went up to 1900 euros here and the 8050 is sold out everywhere. Thanks in advance everyone.
  20. Hi guys, I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries. The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds that I need to ensure are picked up both from a distance and close-up. I'm thinking of investing in a Schoeps SuperCMIT 2U or CMIT5u for the outside audio, feeding into a SoundDevices 788T-SSD recorder (with an XLR out to the camera for a base sync track). But want to ensure that I'm also capturing the surrounding audio as well, with the ability to mix (or leave out various channels) in post later. There is the need to take the immediate surround sound out at times, as I can occasionally be stood with other photographers and their camera shutters going off sounds more like a machine gun on the audio, so that obviously needs to be reduced as much as possible! For interviews, im thinking more of a Sennheiser MKE418, with something like a Sanken WMS-5 for the outdoor surround sound. My line of thinking is that outdoor would have a Schoeps and WMS-5 using seven channels on the 788T, while interviews would just have the MKE418. My question is do you guys think that is over the top, or the wrong set up? Also, for those who have used the SuperCMIT 2U/CMIT 5u I understand from a couple of colleagues that both the base setting and one preset at a time can be recorded simultaneously, so i presume that takes up two channels? I'm guessing the WMS-5 is the same but using 5 channels? Would something like the Schoeps Double M/S CMIT be a better idea than the WMS-5 AND SuperCMIT? Also can any of you guys suggest the best set up of windscreen for the shotgun mic that can minimise the noise of a gale on a hillside! I'd value your views? I haven't had chance to talk to any other sound guys that I know yet, so would value any opinions. I've no problem making the investment, but want to make sure I do it right, and with kit that is going to deliver long-term, potentially in a variety of weather conditions! Cheers Richard
  21. Hi all, Last Saturday morning a bunch of local Atlanta mixers, boom-ops & utilities met over breakfast at Whit's house to field test the Super CMIT. We had all heard how successful the Super CMIT had been used by Simon Hayes on “Les Misérables” in studio conditions. We wanted to test the practical applications of using the Super CMIT in the field. (Note: I am writing this from memory a week later, so I encourage any involved to correct me or add more details to our findings!) The Gear -788t / CL-8 Bag rig -Neumann KMR82i on a 22' Ambient Boompole -Schoeps Super CMIT 2U on a 22' K-Tek Boompole Note 1: To use the 788t in AES mode, you have to enable “AES Power” in the menu and also on the individual tracks (in same place you select phantom power). Hook up your AES Cable to the back. The cable we had was set to put the DSP (super-CMIT) channel on channel one, the CMIT (non-dsp output) on 2 through a single XLR output. The cable also had a second XLR to hook up a second Super CMIT if desired. Note 2: There are two preset DSP modes. One is “standard” DSP and the other what we termed “extreme”. From the Schoeps website: -Preset 1 1: moderate directivity increase (green LED); ca. 11 dB reduction in diffuse sound (5 dB greater than a Schoeps CMIT 5 U or channel 2 of the SuperCMIT 2 U) Preset 2: strong directivity increase (red LED); ca. 15 dB diffuse sound reduction. This setting is reserved for special applications since sonic artifacts can occasionally be heard. In our tests, we did not tinker much with Preset 2 as it isn't very applicable to our purposes with the introduction of artifacts into our tracks. We also did not engage the filters on the CMIT and left them open. This kind of became a test of three, as we compared all results between the Super CMIT in DSP mode and in standard CMIT versus the Neumann KMR82i. The "Shooting Range" Whit's house has some good conditions for a proper field test. There is a good-sized waterfall and a busy road nearby. Also, there is a small airport nearby. At the back of Whit's house is fairly quiet (except for the occasional aircraft). Test 1: Waterfall While booming a single person near the waterfall we noticed that the Super CMIT had amazing background rejection and pulled the dialogue right out of the waterfall. The background could still be heard, but was diminished greatly. The standard CMIT and the 82 performed as expected and did a good job of bringing the dialogue forefront, leaving the sound of waterfall in the background. While booming between two people have a conversation, the CMIT and 82 sounded “natural” while cueing. The Super CMIT had some issues here. Some noticed artifacts while cueing as the processing tried to match the movement and change of position of the mic relative to the background. To fight this effect, a BoomOp would have to be careful to keep the mic on a the same plane of axis when cueing. Which is better? Well, I suppose the answer is “It depends”. If that waterfall was instead a generator, perhaps the directivity would be exactly what you want. The waterfall as part of the scene, perhaps not. Test 2: Running Diesel Truck in Background We experienced similar results with the rumble of the truck as with waterfall. Again, if the rumble was a generator you couldn't get turned off, perhaps the Super would be the way to go... If a picture car, the CMIT or 82i sounded more natural to most of us. Test 3: The Wide We conducted this test with stationary subjects with an imaginary frame above our “actors” of 10-12 feet. On pavement, we noticed a reverb effect on all mics that was added. When moved to the grass, this was removed. The 82 lost a lot of low end frequency at this height, but was still very legible. The Super and CMIT both kept more of the low end and sounded better to most of us, with Super CMIT having a slight edge in a controlled situation of two actors having a one to one conversation. Whit brought up a very valid point here though: The Ad-lib. What if there were other actors in the scene were known to adlib often. Would you want the more directional and less forgiving Super CMIT? Likely not. Test 4: The “Really” Tight We ALL agreed the Super CMIT sounded too present and “splattered” when used to close to the source. It needs some air in between to sound natural. Test 5: Walk & Talk We did walk & talks two ways: from above, and from below. From above, all mics sounded nice. Noted that the Super CMIT might be nice in mitigating the sound of gravel or crunchy footsteps if boomed from the proper angle, if so desired. From below, they also sounded good. Of course, all were in some form more susceptible to aircraft noise with the Super CMIT giving a few more moments of “acceptable” sound than the others by mitigating some of the off axis background noise. The Conclusion Someone in the group called this mic a “very expensive one trick pony”. While it may be useful in more than just one scenario, it certainly is a very specialized microphone and at $4,449US it is certainly very expensive. Is it something to have in the kit? As a wise man once said... “It depends”... While it certainly would be nice in certain situations to have, it is one of those items that might be difficult to recoup costs outside of your standard kit rental. It is an amazing piece of technology and if you can afford it, and it would be a nice microphone to have in the arsenal. That being said, I don't think any of us rushed out to get one after our testing. But time will tell! The Players Mixers: Whit Norris, Chris Durfy, Aron Siegal, Todd Weaver, David Terry Boom/Utility: Chris Harris, Matt Derber, Maaike Snoep, Dana Simmons ENG/Post: Michael Wynne Special thanks to: -Whit & Kathy Norris for hosting us at their house. -Trew Audio for arranging the Super-CMIT appointment. -Redding Audio for supplying the demonstration Microphone. -Michael Wynne for taking the pictures of the event. THANKS!!!
  22. Bought a used CMC6 from bleep's rental department recently. They cut me a decent deal so I won't mention who. I bought another CMC6 and when in comparison I realized it had a higher gain range and virtually no noise floor compared to the one I bought from bleep. I changed out capsules, mixer, and cables so I know those are out and that it is specifically the preamp. It has also changed gain structure suddenly a few times. I was sitting in an interview and it jumped more than 10 db very suddenly. Just seeing if anyone has experienced this and what options you sought out to fix it. Would rather not send it to Germany.
  23. I am mixing a feature film in Bergen Norway and was asked by another Canadian production company to record some Scandinavian sound effects and ambiences while I am here. I unfortunately only have dialogue mics with me for this shoot and was wondering if anyone on here knows of any sound mixers/sound designers in Bergen who maybe have mics I could rent. Thanks Guys!
  24. Hi I need to buy a set of stereo omni's that I would like to use for: Types of recording 1) Atmosphere and nature 2) Acoustic instruments (Closer) 3) Choirs & orchestra 4) Organ 5) Brass Ensemble 6) Brass quintet 7) Chamber Strings Other info - I also have Schoeps CMIT5 & CCM8 in MS to add if needed I also have a Neumann U87ai to help where needed. Recording to Protools Via Apogee Trak2 and hopefully a Nagra vi in the very near future I was looking at 1) DPA 4006 TLM Stereo kit 2) Schoeps Collette HS Stereo Kit Will any of these mic's (or others) be able to cover all those recording needs. I only have budget for one set, and will then save up for an ortf setup as well. Thank you!
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