Working the kinks out/what do i really need?

Mike Rehmus · August 9th, 2003, 02:19 PM

There are a couple of very good newsgroups that seem to have quite a few good pro's lurking and contributing.

rec.arts.movies.production.sound

and

alt.audio.pro.live-sound

are two that come to mind.

Here's an example of a post on Alt.audio:

"I'm not a fan of mic modelers. Regardless, on-air V/O mics for radio range from EV RE20, Shure SM7 to AT4050 to Neumann U 87 in the US.

Documentaries here in the US are usually PBS rather than commercial radio. Some use Sennheiser 416 worked up close, Neumann U 87 or U 89. And I'll bet there are some RE20 and SM7s and ATs as well. I often use a Schoeps CMC641.

Um, having the right voice is of immeasurable help.

Regards,

Ty Ford"

Just another source.

Ken Tanaka · August 22nd, 2003, 02:30 PM

I have just finished shooting 4 days of dramatic dialog with my new Sennheiser MKH416 / Rycote mount / VDB boom combination. All I can say is, "Wow". Even in the hands of an inexperienced, but very dedicated, boom operator this is one hell of a mic. There is a tremendous, noticeable difference between this mic and my ME-66 and ME-67, even for someone not as tuned-in to sound as me. On one day in particular we were forced to shoot quiet dialog in a relatively noisy room (heavy construction equipment noise next door). On the takes where the MKH416 could be aimed 180 deg. away from the noise it took out all but the loudest sounds, and nicely attenuated the latter. On takes where it had to be slanted slightly towards the noise it still did a far better job at attenuating the noise than my other mic would have.

I'm sold. This is one expensive shotgun mic but it's worth every penny if you need to to critical work. The 66 and 67 are good mics, but this is a great mic.

The VDB boom was also an excellent, albeit $$, purchase but its internal cabling makes it rather easier to work with than my CF Gitzo, particularly where a long reach is needed. As light as can be and very manageable.

Thank you for the tip, Jacques.

Jacques Mersereau · August 22nd, 2003, 02:44 PM

Hey Ken,

I am SO glad you are pleased! I was wondering when the report would
come back and if you'd notice what to me was a jaw dropping increase
in all aspects of sound quality and the MKH-416's "tractor beam" abilities.

Yes, those Van den Berg poles are pricey, but if you are the guy
who's job it is to quietly hold that mic for hours on end, the extra
money is well worth it.

Buy great stuff the first time . . . happy forever :)

August 9th, 2003, 02:19 PM	#16
Mike Rehmus Wrangler Join Date: May 2002 Location: Vallejo, California Posts: 4,049	There are a couple of very good newsgroups that seem to have quite a few good pro's lurking and contributing. rec.arts.movies.production.sound and alt.audio.pro.live-sound are two that come to mind. Here's an example of a post on Alt.audio: "I'm not a fan of mic modelers. Regardless, on-air V/O mics for radio range from EV RE20, Shure SM7 to AT4050 to Neumann U 87 in the US. Documentaries here in the US are usually PBS rather than commercial radio. Some use Sennheiser 416 worked up close, Neumann U 87 or U 89. And I'll bet there are some RE20 and SM7s and ATs as well. I often use a Schoeps CMC641. Um, having the right voice is of immeasurable help. Regards, Ty Ford" Just another source. __________________ Mike Rehmus Hey, I can see the carrot at the end of the tunnel!

August 22nd, 2003, 02:30 PM	#17
Ken Tanaka Retired DV Info Net Almunus Join Date: Dec 2001 Location: Chicago, IL Posts: 6,943	Follow-Up I have just finished shooting 4 days of dramatic dialog with my new Sennheiser MKH416 / Rycote mount / VDB boom combination. All I can say is, "Wow". Even in the hands of an inexperienced, but very dedicated, boom operator this is one hell of a mic. There is a tremendous, noticeable difference between this mic and my ME-66 and ME-67, even for someone not as tuned-in to sound as me. On one day in particular we were forced to shoot quiet dialog in a relatively noisy room (heavy construction equipment noise next door). On the takes where the MKH416 could be aimed 180 deg. away from the noise it took out all but the loudest sounds, and nicely attenuated the latter. On takes where it had to be slanted slightly towards the noise it still did a far better job at attenuating the noise than my other mic would have. I'm sold. This is one expensive shotgun mic but it's worth every penny if you need to to critical work. The 66 and 67 are good mics, but this is a great mic. The VDB boom was also an excellent, albeit $$, purchase but its internal cabling makes it rather easier to work with than my CF Gitzo, particularly where a long reach is needed. As light as can be and very manageable. Thank you for the tip, Jacques. __________________ Lady X Films: A lady with a boring wardrobe...and a global mission. Hey, you don't have enough stuff! Buy with confidence from our sponsors. Hand-picked as the best in the business...Really! See some of my work one frame at a time: www.KenTanaka.com

August 22nd, 2003, 02:44 PM	#18
Jacques Mersereau Trustee Join Date: Mar 2002 Location: Ann Arbor, MI Posts: 1,334	Hey Ken, I am SO glad you are pleased! I was wondering when the report would come back and if you'd notice what to me was a jaw dropping increase in all aspects of sound quality and the MKH-416's "tractor beam" abilities. Yes, those Van den Berg poles are pricey, but if you are the guy who's job it is to quietly hold that mic for hours on end, the extra money is well worth it. Buy great stuff the first time . . . happy forever :) __________________ Jacques Mersereau University of Michigan-Video Studio Manager