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Best boom mic for noisy environments.


chrisyking

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1 hour ago, Glen Trew said:

As mentioned earlier, more care needs to be taken with the 8060 with regards to low freq rumble from handling and wind. I normally use the screw-in filter to help with this. The computer interface allows the digital module to shaped about any way you like, but that can't really be compared to the 60, which already sounds pretty much exactly like the 8060. All of the recorders with 48V phantom will handle these mics the same.

GT

Thanks Glen.

I realise I should have been more precise with my last question:

Are their significant differences in how typical aes42 compliant recorders (Eg. Zaxcom/SD/Nagra/Sonosax) handle the remote control of a digital mic's dsp?

Very interesting to read that an aes42 mode2 microphone like the 8060 + mzd8000 can be set-up from a computer - have you developed any ingenious dsp settings into a location sound workflow?

I believe Rado has an all digital workflow(?) so I guess there are others who perceive a distinct cost-benefit (?).

dr.

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I own a Schoeps SuperCMIT 2U and this is a great microphone in interior and outdoor. It is a little difficult to position using the 2-position in dsp, especially when fast moving the pole, while 1 in that there are no particular problems. Unfortunately for this application must use the wire or plug on Zazxcom, bearing in mind, though, that you can only use the output from the dsp and not also the analog output. In connection with the wire instead you have two output channels: one from the dsp and another bypassing the DSP, as a simple CMIT 5U.
I got good results even from the DPA 4017B, compact and lightweight, very incisive from a distance.

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1 hour ago, sergiofucchi said:

Unfortunately for this application must use the wire or plug on Zazxcom, bearing in mind, though, that you can only use the output from the dsp and not also the analog output. In connection with the wire instead you have two output channels: one from the dsp and another bypassing the DSP, as a simple CMIT 5U.

are you sure that one can not transmit and receive both the DSP and the standard CMIT signal at the same time using a 742?

I thought if you choose stereo mode as the transmitter signal it will send both signals.

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thats how I understand Glenn´s reply too.

 

I was wondering if you guys using a SuperCMIT record always both signals prefade in addition to the one signal that you use in the mix?

Not me. I only record the dsp'd signal, but only ever use pos. 1. But in my world, I don't think there would be time to listen to the other track anyway, if they don't like the boom they'll go to the lavs. The differences between the two would probably be too subtle, anyway.

A few years ago, when both the SuperCMIT and the 788T didn't have limiters in their digital paths, I used the second output as safety net, recorded a few db's lower. But now there are limiters everywhere, so I don't think I need this anymore

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On March 15, 2016 at 10:18 AM, Matthias Richter said:

thats how I understand Glenn´s reply too.

 

I was wondering if you guys using a SuperCMIT record always both signals prefade in addition to the one signal that you use in the mix?

in the past, if I ran out of tracks, I would only iso the track I was using in the mix.  I have 24 tracks to play with now,  track count is no longer an issue,  and I always iso both supercmit tracks  

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If you are choosing a microphone specifically to deal with noisy environments, you have three options for handling it:

Option 1 is using a microphone with a rather unbalanced off-axis frequency response when compared to on-axis, so that the frequencies most attenuated lie in the same range that you wish to capture. The CS3e or many long-guns are good for this. However for everyday use they will require more precise placement.

Option 2 is to use something that has the diaphragm physically closer to the business end of the microphone. The 4017 for example has a very short interference tube, meaning that placing it just out of frame allows the diaphragm to be a few inches closer than a Super CMIT, 8060, or CS3e. Alternatively, a super or hyper-cardioid will place the diaphragm even a few inches closer to the subject.
Edit: Lav mic falls into this category

Option 3 is something with active or passive noise cancelation, in which I can really just think of either the Super CMIT or Sanken CSR-2.

Depending on whether or not you are looking for a replacement vs supplement, or a specialized vs general-purpose, these are the main options to consider. Once you choose one of three, you're individual mic list become much simpler.

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On March 22, 2016 at 10:09 AM, sergiofucchi said:

Schoeps says no: only one of the two output channels can be transmitted. Only pre dsp or only post dsp.

Untitled 1.jpg

with the trx742 and the digital cone,  you can send and receive both the processed and unprocessed signal.  I have done this on many occasions.  make sure you are running a current version of the firmware.  an earlier version reversed the channels,  leading to some confusion. (well,  I was confused by it...)

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I got two 742s only because i could use it with the two SuperCMITs i have. you CAN get two isolated outputs from the 742 to a QRX200. Of course the issue here is the power consumption of both units together which is about 900 mA. SO i have been working on a 'battery pack' to plug into the 742. 6Amp Li-Ion battery pack. This way I get about 5 hours plus of working time with the 742 + SuperCMIT combo. 

IMG_2628.JPG

IMG_2564.JPG

IMG_2562.JPG

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15 hours ago, soundtrane said:

I got two 742s only because i could use it with the two SuperCMITs i have. you CAN get two isolated outputs from the 742 to a QRX200. Of course the issue here is the power consumption of both units together which is about 900 mA. SO i have been working on a 'battery pack' to plug into the 742. 6Amp Li-Ion battery pack. This way I get about 5 hours plus of working time with the 742 + SuperCMIT combo. 

IMG_2628.JPG

IMG_2564.JPG

IMG_2562.JPGVery cool. Can you take a picture of the antenna side of the trx742?  

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On 14/03/2016 at 1:40 PM, sergiofucchi said:

I do not think. Plug on has a connector XLR with three holes for mono and for stereo it has five holes. But two channels out of SuperCMIT use a single XLR mono connector where on pin 1 it comes from dsp and on pin 2 not.

Hi Sergio,

Because the Super CMIT mic OPs a digital signal, as in AES, the 3 pin cable is a balanced, digital, AES, STEREO (ie two channel) signal. This digital AES signal contains two channels (ie stereo). The Schoeps Super CMIT sends unprocessed on one channel, and processed on the other.

 

Kindest, sb

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  • 10 months later...

Im clearly a luddite and cheapskate. Ive done a few noisy festivals and I've just boomed with an RE50/good dynamic hand mic tied in. Sure you've got to get close but its out of sight and you can have Motorhead playing in the background and still get good signal. Make sure you are monitoring with your ears!

 

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I've found what helps me the most.  If it isn't to windy.  Use a fluffy slip on.  Work with ur camera guy. Have him frame as tightly as possible.  Those two combinations get me right in there.   A zeppelin u obviously lose 4 or 5 inches off the batt.    Ur camera guy can def be ur best bet for proximity in noisy situations.  

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