best boom mic for interiors?

[Mirror]

Best mic is the one you already own.

That's what I meant to imply.

[Marc Wielage]

I also think "Best Microphone" might hinge heavily on cost. Cost no object, it's hard to criticize the Schoeps. For half the price, the MKH50 is a fantastic mike. And the AudioTechnica is half the price of the Sennheiser. Is the Schoeps worth four times the cost of the AT? There are diminishing returns with high-end sound gear; sometimes, you might pay 100% more for maybe 20% better performance. But more often, you get what you pay for (as someone once said).

I think all of us have tried a specific boom mike, listened to it, then said, "nope -- let's try something else." There are no hard and fast rules, since so much depends on acoustics and placement.

[old school]

I have 2 Schoeps from the 80's that I still use. Not a bad return on the investment at any price point IMO. Personally I don't care what mic anyone uses if they are happy with it and they make their rate. I have a lot of mics, but I use my 3 Schoeps on interior shots most of the time.

CrewC

[studiomprd]

" There are diminishing returns with high-end sound gear; sometimes, you might pay 100% more for maybe 20% better performance "

often, and especially at the higher prices, : sometimes, you might pay 100% more for maybe 1% better performance...

this is true of many high end products.

[OmahaAudio]

" There are diminishing returns with high-end sound gear; sometimes, you might pay 100% more for maybe 20% better performance "

...sometimes, you might pay 100% more for maybe 1% better performance...

this is true of many high end products.

And hookers.

[Eric Toline]

Is that the voice of experience?;-))

[Marc Wielage]

often, and especially at the higher prices, : sometimes, you might pay 100% more for maybe 1% better performance... this is true of many high end products.

My old friend J. Gordon Holt, who founded Stereophile magazine many years ago, often said the same thing: that a lot of the cost of high-end audio equipment was in getting those last few percentage points of performance. A $10,000 amp is rarely ten times better than a $1000 amp.

I do think you can hear greater differences between transducers (speakers and microphones) than any other kind of component at different price ranges. Maybe the best advice for Mr. Commpost is to rent a few supercardioid or hypercardioid mikes for a weekend, and decide for yourself.

[commpost]

My boom operator is rather excited about some very thin microphone from Germany called an MBHO. It's a company, I'm not sure what model he is referring to. http://www.mbho.de

Commpost

[studiomprd]

MBHO has been around for a long time, just not typically found in our work.

[Glen Trew]

The AKG 451 and 452 have largely been overlooked for boom pole work, but not for any specific reason other than marketing and distribution. For when a cardioid/supercardioid mic will do, such as most interiors, there is no reason to not use the AKG 451 or 452. I say use it just like you would a short Schoeps, Neumann, or Sennheiser version. When you need a tighter pattern, such as in noisier extreriors, I would not hesitate to use the 416. I would not go into debt to replace you mics. Instead, I'd invest in proper wind protection and suspensions. Save the money until you can easily afford what you'd rather have.

Glen Trew

[Mick]

I haven't seen one mention of the Neumann kmr81, which IMO is the best sounding mic out there. Indoors or out.

MIck

[r.paterson]

I love the Neumann km150 indoors but the Neumann 100 series don't seem to be very popular on location sets..richard

[David Silberberg]

"I haven't seen one mention of the Neumann kmr81, which IMO is the best sounding mic out there. Indoors or out.

MIck "

schoeps cmc6/mk41 vs. the Neumann kmr-81

I own both, but keep constantly returning to the Schoeps. In an interview situation with the boom mounted on a stand, you can park the mic just above the frameline and the mic's diaphram is right there just a few millimeters away. Conversely with the Neumann kmr81 short shotgun- or any shotgun mic-- the mic's diaphragm is several more inches away, and it does make a difference in high noise situations. I originally thought the kmr81 would be better in rejecting noise--air conditioning for instance- but the advantage goes to the Schoeps in this situation.

Also while booming on the go, the Schoeps is much easier to keep people on mic-- or to mic back and forth between 2 or more people.

But the Schoeps has a very strong bass response and sometimes that's not what you want. Also there's the humidity issue with the Schoeps-- which is why I like having the KMR81 handy as a back-up. And the kmr-81 does work well indoors and out. Also I do really like the Neumann sound- it has a mid range sizzle that's really nice on some voices. It's also good for acoustic instruments.

I'd like to try some more modern mics- but this is what I own. I also have a Sennheiser MKH70 in a big zeppelin--definitely an outdoors mic.

[sergiofucchi]

Generally, interference tube microphones are indicated only for external use because they tend to emphasize the acoustic reflections of a room. Indoors it prefers to use micron cardioid or hyper cardioid because they are less subject to these problems.

[pkautzsch]

It's not really a "general rule" that interference tube mics emphasize the reflections. Its more a matter of how they color off-axis sound.

The 416, for example, does add quite some color to off-axis sound. KMR 81 is quite clean in this respect, and MKH 60 or 70 even cleaner. The most common hypers (MKH 50, MK 41, KM 150/185) add the least color, actually less than cardioids.

I use the KMR 81 a lot indoors, especially in larger rooms and studios. With lower ceilings and small rooms I prefer the KM 185. I'll go the cardioid route only when the mic needs to be fixed and can't follow the talent - like mounting in a car. Neumann again: KMF-4. Seems I'm a Neumann guy...

OTOH: When I boomed for a friend, we used his MKH 70 in about every situation indoors and outdoors, except for things like car interiors. Sounded good, too. He has 50s and 60s as well, but they tend to stay in the drawer.

[RPSharman]

I find the MKH50 and 416 match nicely if used correctly, so if you need to use two mics and don't have pairs, then it's a good choice.

I also use my 50 outside a lot. Just bought a third one recently.

If you're trying to work with just two or three mics, then a 416 and a 50 is a great combination.

[benr]

I find the MKH50 and 416 match nicely if used correctly, so if you need to use two mics and don't have pairs, then it's a good choice.

I also use my 50 outside a lot. Just bought a third one recently.

If you're trying to work with just two or three mics, then a 416 and a 50 is a great combination.

Thats the combo I use.

[sergiofucchi]

It should be noted that the interference tube microphones are bulkier than cardioid or hyper cardioid and this thing can be a problem when shooting indoors.

I use Sanken CS-3e and MKH 416/816 outdoors and Schoeps CMC 641 and Oktawa MK-012 indoors.

Sergio.

[dominiquegreffard]

I also use my 50 outside a lot. Just bought a third one recently.

I own a 50 as well that i enjoy working with in interiors. It s compact so it helps with lower ceilings

Outta curiosity for what reason would take the 50 outside instead if the 416? For the wider pattern when u cover multiple people?

[RPSharman]

Outta curiosity for what reason would take the 50 outside instead if the 416? For the wider pattern when u cover multiple people?

The 50 has ample reach and a natural sound. I think it's important to hear a bit of the real world in your tracks, provided the real world makes sense to the story and doesn't overwhelm the dialog or make editing difficult.

The 416 is great when used properly, but it's "clampy" when too close and harsh when off target, so I only use it (or my CMIT) when needed for extra reach or rejection.

Extra reach outside isn't always a good thing.

Robert

[Simon Paine]

My boom operator is rather excited about some very thin microphone from Germany called an MBHO.

I used an MBHO for a while. The hyper cardioid version. It was a good match to my MKH-50 and since I couldn't afford to get a second 50, I went with the MBHO. It was such a good match in fact, that a local post house used it for ADR sessions to match the 50 and ended up buying it from me because they liked it so much.

I wanted to get other MBHO mics and accessories, but I couldn't find any dealers in Canada and very little response from the one american dealer I found. It's too bad, because they make a good product. But they are pretty rare in this side of the pond.

[James Lopez]

Even though less known around here, i have to give thumbs up for the Audix SCX-1HC. Ive been more than satisfied with its performance those 6 months ive been using it, almost exclusively for indoors interviews. It gives me a very natural and articulate sound, very little sibilance (and only in specific voices) that usually requires very little work in post. I am very happy with this purchase and i think that it worths trying it out, even though it hasnt been praised as much as others in its category.

[Winter]

Even though less known around here, i have to give thumbs up for the Audix SCX-1HC.

+1 This mic has a MBHO capsule, IMHO only the Schoeps MK41 outperform it clearly soundwise (but at 3 times the price).

The MKH-50 is very nice too, with a bulletproof construction but a slightly mid-scooped sound, not such a stellar price/quality ratio (even at U.S. price) as the Audix, but probably will last more.

[Matt]

I have the Sennheiser 8050 with the low cut and really like it for interiors. Wish Sennheiser made a swivel like Schoeps. I use a Sanken CS3 outdoors. I'm always amazed at the reach it has. I second what Glen says. Brands are used because they have a good reputation, but nothing says a new kid on the block might not be the next classic. Use the pickup pattern you need and a good, clean, quiet, pro mike and you'll get good results. Microphones are like paintbrushes. All are a little different and what you use is a matter of taste, cost, and what is needed for the job.

[studiomprd]

" Wish Sennheiser made a swivel "

they do