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Sanken CS3e


Steve Grider

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I have never liked the 416 for it frequency change when moving off axis from the "sweet spot" Am glad to see so many respect the mic but unless it is in the hands of a skilled Boom op the changes in response always seemed noticeable and undesirable.

Just my opinion. The new series of Senn (MKH 60 etc.) corrected that problem.

Jim Mansen

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I was looking around for a used CS3e for over a year probably, one eventually came up on ebay in new condition.. I got lucky.. but its a great mic and worth whatever it costs new. However, with the MKH416 price drop it makes it a tougher decision.. always loved my 416 and you never have to worry about humidity, RFI or even using it in the rain. Thats why I have both:)

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I have never liked the 416 for it frequency change when moving off axis from the "sweet spot" Am glad to see so many respect the mic but unless it is in the hands of a skilled Boom op the changes in response always seemed noticeable and undesirable.

Just my opinion. The new series of Senn (MKH 60 etc.) corrected that problem.

Jim Mansen

Your mics should always be in the hands of a skilled boom person....

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CS-3E is great.  It actually solves a lot of problem when booming in less then ideal situation ( loud environment, too many talking at the same time etc... ).  Of course i am saying this from the POV of a bag mixer doing documentary and reality.  One problem is the low max SPL figure.  If not careful, one can make it distort at the capsule  fairly easilly.  But since it has so much "reach" you simply need to move it away and you solve the problem with better result then a MKH60 for example.

I am currently working on a show that as very loud transcients ( hammer, nail gun, demolition etc... ) and i can still capture usable dialog during these.  Just have to be careful not to point at a person and be in line with a loud source.

Pascal

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CS-3E is great.  It actually solves a lot of problem when booming in less then ideal situation ( loud environment, too many talking at the same time etc... ).  Of course i am saying this from the POV of a bag mixer doing documentary and reality.  One problem is the low max SPL figure.  If not careful, one can make it distort at the capsule  fairly easilly.  But since it has so much "reach" you simply need to move it away and you solve the problem with better result then a MKH60 for example.

I am currently working on a show that as very loud transcients ( hammer, nail gun, demolition etc... ) and i can still capture usable dialog during these.  Just have to be careful not to point at a person and be in line with a loud source.

Pascal

The reach of the Cs3e was illustrated for me again yesterday--interviews in very noisy science labs etc.  I was able to get away with it better than I would have with my other mics because of the great rejection (esp rear) of the Sanken.  I actually listened to a 416 in this environment and had much more BG noise with it.  The CS3e has a narrowish sweet spot too, but that's part of what makes it work for me in these noisy situations.  (And then...there is also its light weight out on the end of a boom....)

Philip Perkins

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BTW talking about Sanken shotguns,

Anyone see a place for the new CS2??

I havnt heard one, but looks like a regular shotgun polar pattern (single capsule) I imagine with more reach than the CS-1 but without the great rejection of the CS3e?

I see its quite a lot more sensitive than the CS3e at 63mV/Pa and the max SPL is 130dB as opposes to 120db on the CS3e.

Anyone try one yet?

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