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Found 17 results

  1. There's a new budget shotgun out under the 'Synco' brand, which is made by Guangzhou Zhiying Technology Co., Ltd. This mic is clearly targeting the budget segment, as it is retailing for $250 but from reviews, it sounds better than previous generation shotguns at that price point. http://syncoaudio.com/ 416 Killer? Synco Mic D-2 Shotgun Mic for Voiceover SYNCO MIC D2 | Unboxing and Review I think the Synco D2 and the Deity SMic 2 are competing for this under-$500 segment, and maybe Rode's new NTG-5 is in that segment too if they ever sell it without the kit. It
  2. Hello jwsound! First off, I'm not too sure which board this should go in... it is a question about technique -- but the answer is probably one or two types of equipment! So, anyone who is knowledgeable about audio technique or equipment, especially around the late 70s, this question is for you! I have a huge interest in location sound and the techniques used in location sound from back then, I have a question which I'm wondering if any of you can give insight into with your experience. The productions which achieve that high quality location sound really impress me, yet
  3. 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"
  4. Hi everyone. This is my first post. Which is the best axial position for a shotgun mic in a blimp? Center the middle of the slotted part with the middle of the main body of the blimp (at least where dimensions allow it)? IIRC Rycote recommends to not place the front of the mic further than the main body of the blimp (i.e. before the end covers). Can the maybe about 1" wide annular [non perforated] part where the front end cover connects to the main body of the blimp cause audible degradation? Does it matter if tube slots are left and right OR at top and bottom (
  5. Hello everyone, I recently got a Sennheiser mkh416 and a classic softie to go with it. During my first test (indoor) I noticed that the softie (to my ears) considerably improves the directionality and generally the sound of the mic (if compared to the mic naked). This came as a surprise to me, as I originally thought that the softie would just block the wind and damp the highs a bit. Am I being fooled or are there actual sound improvements with the use of a windjammer? Thank you in advance for any clarification, Leonardo
  6. Hi everyone I'm in the midst of some filming for a documentary project and I'm hoping for some recommendations regarding indoor run-and-gun recording. For my main shotgun microphone I'm using the RODE NTG-3, which is excellent for outdoor shooting or in rooms with minimal reflective/echo'y surfaces. The problem is I'm finding myself in environments where it sounds quite echo'y and/or shallow, where I need to follow the action of one or more people. I do have my main subject mic'ed up with a TRAM TR-50, but the main subject is at times not close enough to another subject to capture t
  7. Hi folks; I was told I had a budget of around $5k for some new gear at the video production company I'm now at as audio guy and video assistant editor. So I know it's everyone's favourite question in boom mic land, but I'll phrase it differently Currently they're using Sennheiser ME66 and ME2 boom/lavs and when I priced out some Sanken COS-11 and Rode Lav wires and a complete package Senn 8070 (with grip, blimp, and rycote total of over $3k), the answer I received was "You wanna spend HOW much on one microphone?!?! You're crazy! What's wrong with using lavs, we already have a boom mic!" So:
  8. Is anyone here using 1 mono shotgun/hyper and 1 stereo mic housed together in 1 blimp? I'm considering placing a stereo mic like the AT BP4025 underneath a CS-3e in the same blimp to capture stereo along with mono. Seems like a simpler way to do it than M/S for times when the post guys aren't comfortable with decoding M/S. I suppose this means there'll be two (three?) cables out of the blimp (3 pin XLR for CS-3e and set of 3 pin XLRs for BP4025). I'd be recording onto 3 channels, but it seems like a handy setup for docs or to get FX with the option of a little stereo ambience with
  9. Last year's 'SHARE YOUR SANKEN STORY' was such a huge success that we are adding to the fun this year with VIDEO. Reenact it, show it or just tell it, you story is worth hearing about. Follow the link below to get involved! http://www.plus24.net/sanken/contest2014.asp
  10. I direct you all to view this hilarious video of a reporter falling off a boat. Classic. Hilarious. Possibly all fake. Point is is the second this accident happens this sound guy comes in, wearing no headphones, and INSTANTLY throws his boom towards the woman as if for her to grab on for dear life. Though sorta seemed to try to be nottttttt quiettttttt clossssse enough as if he was second guessing his decision. What do you think? Is this a real sound guy? Is this a real video? What would you do? What type of mic would you save a drowning woman for and which mic would you p
  11. Brian McCarty, an audio professional presently living in Australia, seeks to conduct a series of tests to evaluate subtleties of microphone performance. His theory is that the shift away from interference tube microphones to cardioid and hypercardioid designs yielded an improvement in the intelligibility of dialog recording. Even if background noise increased slightly with the less directional designs, the dialog itself was more understandable and this more than compensated for the additional noise. He will be in Los Angeles later this month and would like to conduct some controlled tests
  12. Here's a little something I found today while clearing out some old bookmarks - an in depth look at a few of the usual (and maybe not so usual) shotgun, hyper, super and cardioid suspects. Now, I did not write this and to be perfectly honest I don't know if I would agree with some of the stuff that this guys says (admittedly, he is a video guy apparently) but I thought it did make interesting reading and there are some decent samples recordings with each mic that he reviews. Apologies if this has been posted before, I did do a search (yes, on google) with no results, so here goes.. htt
  13. Hey guys, I'm recording a short this weekend and I can not rent the shotgun I normally use these days (good ole 416) as they don't have any available. They have either the NTG-3, the CS2, or the KMR-81i. Pretty straight forward shoot (single camera, two wires). I'll be recording indoors (typical office with drop ceilings, desks, carpet, etc), as well as outdoors (rural farm, and it's a bit colder. I'm up in Ontario). This is about all the info I have on my locations as i was not on the tech scout. Was wondering what you guys thought about the above mics as i have never used any of them
  14. 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
  15. Hello everyone I know they have been covered separate, but just want to hear from people using either or both as their main all-rounder. I have been using a CS-1e and love it, but need a new all-rounder for noisier, outdoors and so on. CS-3e was the obvious choice to complement the 1e, but found a CMIT5u used for the same price so i thought i check Thanks
  16. Not sure how many of you know about these already, but I thought I'd post about it anyway with some pics for those that do not as I think this is a very good solution for any that have been looking. I bought a Sennheiser MKH-416 last year and like many of us newbies dabbling in the DSLR video and audio world I started with the Rode NTG-3 as a first shotgun mic. When I decided to upgrade to the 416 and sold the NTG-3 I was sad to see the storage case that the Rode came with go. For those that dont know the Rode NTG-3 comes with a very nice aluminum, pipe bomb looking, rubber gasket sealed s
  17. I'm buying a new mic. I need a short very directional mic, and have norrowed it down to 3. I want to know what people think of them and which one would you recommend. It is between Sennheiser MKH50, Sennheiser MKH8060 and the Sanken CS-3e. Any coment will be great.
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