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Large-Diaphragm Condenser for sitdown Interviews

Armin Siegwarth

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by accident I found a link on this form to voice over mics. I think John B. was the one:


Hearing these files I am amazed by the KEL HM-7U and found this comparison with MKH 8040 as well: http://www.gearslutz...-kel-hm-7u.html

despite the 8040 be more natural I like the airy KEL more on the guitar.

So my question is do you think it will provide enough "size" if its lets say 5-10cm above head on c-stand?

Only in good rooms for sure.

I recently used rental CMIT (could be a bit more mid detail) and MK41 (could be a bit bigger and more low end) which aren't bad for sure.

I like to get away from mics with ssssssss (416, CS3)

Wanted to rent MKH 8040 but isn't availible.

So I think about buying that cheap lightweight KEL HM-7U even if I won't get the investment back. If the sound overhead is good.

As I think noone tried that mic on set does anybody tried to do overhead with large condensers like U87 / TLM 103 or AT - 4047/SV?

to which result compared to onmic voice over?

And how about Sennheiser e 965?

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You can use a an LDC if you can make it work. A lot of LDCs are cardioid, which would need to be closer to the talent to have the same reach as a directional mic, and it hears more of the BG. LDCs are bigger, so more shadow problems, and heavier re mounting, and for outdoors don't have zeppelins made to fit them w/o mods. But early in my career I worked with a mixer why did just about everything we do with boom mics with U87s, incl booming dramatic dialog, and his stuff sounded good; and on occasion I've brought mine out for interviews etc and been happy with the sound. It's just that I wasn't happy enough to deal with all the extra hassles of using them, most of the time.

phil p

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I've used Rode NT1000 on lots of shoots. Mostly indoor ambience or foley, but on occasion I've also used it with great success as an offscreen dialog mic, or VO on set. They're very cheap (if they're still available) so loosing one doesn't break the books....

I find them to be very neutral but just a little brighter than other mice. They mix well with an mkh50 IMHO.

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thanks phil - I did not thought about the shadow issue...

I am aware of the extra hassle, will certainly not use it for booming only for the indoor sitdown Interviews where I could get quite close on an c-stand. I am wondering if it would sound that much thinner overhead like most small mics do just because its not onaxis.

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thanks phil - I did not thought about the shadow issue...

I am aware of the extra hassle, will certainly not use it for booming only for the indoor sitdown Interviews where I could get quite close on an c-stand. I am wondering if it would sound that much thinner overhead like most small mics do just because its not onaxis.

It will have the same fall off in low -end and detail as any mic would when you move it away from the sound source, but it will still sound good. You might prefer it for some things to how a hypercard or shotgun sounds at that distance--certainly more open sounding.

phil p

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I would personally pass on a LD mic on set unless it has a hyper pattern i can choose. you mite get thicker sound but you are also going to pick up tons of BG's. When i am doing VO or ISDN and the 87 is requested. i always run the talent close and i can still hear the room.

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Way back then....

the big guys were the sorts of mic's that were used; but today, why??


If you want something more generous in the low frequencies, if the acoustic is Ok, and if the frame permit it, just use a less directive mic (MK4 for example).

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I did some tests and want to share results:

Setup was in an very reverbant room - mics 7-8cm above my head on stands, recorded by SD 552


Sennheiser e965 - 1" Capsule / condenser Cardioid + Super-cardioid

BPM CR-73II - Neumann U89ai alike 1" Capsule / omni + Cardioid

Rode NT5 1/2“ cardioid

Sennheiser MKH 416

Sennheiser MKH 70

Sennheiser e935 dynamic cardioid

Sennheiser e835 dynamic cardioid

Sennheiser SKM100-945 wireless dynamic super-cardioid

I compared all mics to Sennheiser e965 as I could get one quite cheap at 370 Euro B-Stock (little misprints on bag)

First 416 vs 965 super cardioid

very close sounding, 965 deeper bass and more open, maybe a tiny little bit more detail - BUT its not sensitive enough - little noise

416 vs 965 cardioid

416 little boomy but good, 965 card definetely less bass, little more detail, sounds more "round", - still little noise

NT5 vs 965 cardioid

NT5 sharp s - lack deep bass but surprisingly is the reverb not that disturbing - sounds round + nice low mids

BPM 73II cardioid vs 965 cardioid

sensitiy both too low - little noise on both; BPM 73II picks by far the most background of all mics but sounds very round and natural, reverb is not that disturbing and i could listen relaxed, lacks bass // 965 more bass more highs - sounds more clinical and detailed but voice is not that one piece

MKH 70 vs 965 cardioid

70 much bass - boomy and dull and lots of reverb - not made for this

935 cardioid vs 965 cardioid

despite the specs is a little more selfnoise on 965 ; 965 more bass more highs more dynamic 935 bit more middie + constant

835 cardioid vs 965 cardioid

835 cheaper sounding and much less sensitive - middie less detail bit dark

skm 100-945 super cardioid vs 965 super cardioid

wireless by far the worst sounding (no detail no bass thin SSSSS), but very very little background, voice seems round but unpleasant


Despite I spent quite some time with this I can't pick a clear winner. I would avoid MKH 70 and the EW 100 SKM100-945 but that's obvious anyway.

I am disappointed by the noise of the 965. Of the specs it is more sensitive than the dynamic Sennheiser and it is; but the signal to noise ratio isn't good enough for me in that boom situation. (Not noticeable on TV speakers though) It is useable but not great. Detail, openness, dynamic and bass are great. Just my voice seems not to be one piece.

945 on cable would have been interesting as it surpresses a lot of background.

935 is good but a bit thin / bright

I am surprised how well the 416 holds up in that reverbant room. I have a hate love relationship to my 416 – but actually it is never never bad. 2nd place in this test.

The Neumann 89 alike BPM 73II has that much more background to the other cardioids. But it is very very pleasant to listen to. In fact I would take a little more background noise for these mellow relaxed sound. With this kind of sound I feel a little more connected to the talent. Maybe I can find a better LDC with less noise and a little tighter pattern.

Biggest surprise to me is Rode NT-5. I think with a little EQ on the SSS this mic sounds best in that situation. It has not that much detail in the mids but the reverb isn't that much disturbing. Very little background. Lacks deep bass but rich deep mids.

I would have liked to have CMC641 and 8040 / 8050 / Audix SCX-1HC to test as well.. Next time I want to have a least one of them...

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I still like the U-87 a lot. Usually keep one on the truck just in case (the "Ai" version, which is lower noise than the original). We have even occasionally used it on the Fisher.

One thing I love about this mike is the bi-directional pattern, which can significantly reduced the amount of rumble and other LF noise in some situations. The first time I tried it I was astounded (although considering most of the early ribbon mikes like the MI-10001 were figure-8, I guess I shouldn't have been too surprised). The only time this won't work well is if you have a lot of noise coming from the rear.

I built a custom cage type ball windscreen with nylon mesh at one point, which unfortunately met an early demise after accidentally being crushed on the truck :(

It doesn't have a very tight pattern, but does have that wonderful "full" large diaphragm sound. Not a mike for everyday use, but great when you have the right situation.


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