Schoeps CMC 641

[Martin Taidy]

After reading various posts in this forum, I've decided to get a Schoeps CMC 641. I'll be doing mostly interior shoots so I'm wondering what kind of boom should I get? I'm really new to this sound business and I'm not sure what else I would need. Any help would be greatly appreciated. :-)

[Marco Leavitt]

K-Tek avalon series for the boom. How are you powering that Schoeps? You'll need to have some way to roll off the bass or the handling noise will kill you.

[Martin Taidy]

The Avalon series? What about the Graphite? Or are they the same thing? Can someone clarify this? I can't seem to find any info about differences between the two.

[Marco Leavitt]

Those are their high-end poles. If you have the money, yeah, it's definitely a step up.

[Martin Taidy]

Hey Marco, thx for the reply. Haha, that was about six months ago. How would you recommend me to power the Schoeps? I haven't get it after all this time but finally could secure enough budget so it's happening soon. I will also be getting a CMIT5U. Thanks a lot.

[Steve House]

Originally Posted by Martin Taidy

Hey Marco, thx for the reply. Haha, that was about six months ago. How would you recommend me to power the Schoeps? I haven't get it after all this time but finally could secure enough budget so it's happening soon. I will also be getting a CMIT5U. Thanks a lot.

Are you planning on sending sound to record in the camera ("single system") or are you planning on recording sound separately and mating it to picture in post ("double system")? What camera are you using? What other audio gear - preamps, mixers, recorders, etc - do you presently have or plan on acquiring?

Both of the Schoeps mics you mention require full 48v phantom power and they're not happy with the lower voltages that you sometimes encounter in consumer gear that claims to provide phantom. But professional quality mixers or preamps such as the Sound Devices 302, 442, MixPre and others from PSC, Wendt, Shure, etc or the XLR mic inputs on professional and some prosumer cameras that supply phantom power for mics should do the job for you. And of course almost all decent studio mixers like the Mackie compact series also provide proper phantom power.

[Martin Taidy]

Hey Steve, I'm currently using a HVR-Z1U. The problem is I'm getting started with this whole sound business so I'm not too sure on what to get myself. But I do know that I will be getting those 2 mics. I hope this doesn't sound too stupid but I am hoping that I could get some input here. What kind of audio gear do you think I should get to complement these Schoeps?

[Steve House]

Originally Posted by Martin Taidy

Hey Steve, I'm currently using a HVR-Z1U. The problem is I'm getting started with this whole sound business so I'm not too sure on what to get myself. But I do know that I will be getting those 2 mics. I hope this doesn't sound too stupid but I am hoping that I could get some input here. What kind of audio gear do you think I should get to complement these Schoeps?

Why those two mics as the first items in your kit? Don't get me wrong, both of those Schoeps are top-of-the-line outstanding microphones but it sort of seems like you've chosen the tools before defining the job. What are you going to be shooting? (The considerations for scripted dialog on a soundstage would be different from music videos would be different from weddings and events would be different from run-and-gun ENG, get me?) Are you a one-man-band or will you have a crew with someone to assist with audio?

Your Z1U has XLR mic connectors with phantom power so your earlier question of how to power the mics is covered. What else you do or might need is a pretty tall order without knowing a lot more of where you're headed with this. Other items you MIGHT include, depending on your style of shooting and subject matter ...

Handheld interview mic;
Wireless mics;
Lavalier mics;
Field Mixer such as Sound Devices MixPre, 302, or 442 and others;
for double system sound (expecially concerts), recording wild sound, or for collecting Foley & FX perhaps an Audio Recorder;
Headphone/Monitor amp and mic line preamp for boom operator;
Headphones or IEM for Camera Op, Sound Op, Boom Op;
You might need IFB so camera and sound ops can talk to each other;
Boom Pole;
Shockmount;
Pistol Grip;
Wind Protection - Zepplin? Dead Cat?;
Conventional XLR cables;
Mixer or Boom Op to Camera breakway audio snake;
don't forget a "Speed! - Marker! - Scene 3 Take 14 Whap!" old-fashioned clapperboard slate;
and the most important of all, wearable bags to carry it all in!

[Martin Taidy]

We are mostly planning to make fiction shorts. I used to be a one-man band but recently found someone who has experience with using Protools before and know a little bit about how sound works. So she agreed to help with audio, which is why I'm getting all these stuff now.

The next thing I'm going to get is a boom pole and I've settled with K-tek, just haven't decide the specific model yet. I'm still looking for a shockmount too and of course a mixer (what would you recommend for this?). Lavs is another item that I'm looking around for too. What kind of wind protection would you suggest? I've been told that Rycote is the way to go. Uh... what else is there? Regarding headphones, I think I can refer to one of the other ongoing threads, seems like they have a good discussion going. I guess I'm gonna need some earbuds too. Forgive this stupid question but what's a pistol grip and what do you use it for?

[Steve House]

Originally Posted by Martin Taidy

We are mostly planning to make fiction shorts. I used to be a one-man band but recently found someone who has experience with using Protools before and know a little bit about how sound works. So she agreed to help with audio, which is why I'm getting all these stuff now.

The next thing I'm going to get is a boom pole and I've settled with K-tek, just haven't decide the specific model yet. I'm still looking for a shockmount too and of course a mixer (what would you recommend for this?). Lavs is another item that I'm looking around for too. What kind of wind protection would you suggest? I've been told that Rycote is the way to go. Uh... what else is there? Regarding headphones, I think I can refer to one of the other ongoing threads, seems like they have a good discussion going. I guess I'm gonna need some earbuds too. Forgive this stupid question but what's a pistol grip and what do you use it for?

Depending on the number of input channels you require, the Sound Devices MixPre (2 channels), 302 (3 channels), or 442 (4 channels) are all solid performers. There are a number of other other brands, of course, but Sound Devices has a very strong reputation among network and film industry mixers who need outstanding audio performance along with battery operation and portability.

A pistol grip would fit on the shockmount in place of the boom so your boom op could hold it in their hand like a pistol and aim it at the talent. Your camera angle might be such that a boom positioned close to the talent would intrude into the frame. Someone kneeling on the ground in front of the talent could aim a mic at them while being hidden below the bottom edge. Luckily we're not talking about something that costs a fortune here.

[Marco Leavitt]

"Why those two mics as the first items in your kit?"

I hear you Steve, but I don't think he can go wrong with those two mics so long as money isn't an issue. I wouldn't make a pitsol grip a big priority right now. As far as the shockmount goes, there's lots of options, but I've noticed lately every time I see photo of a major studio shoot they always seem to have PSC shockmount. I think it's this one:

http://www.bhphotovideo.com/bnh/cont...ughType=search

There's a six inch version as well.

http://www.bhphotovideo.com/bnh/cont...ughType=search

We have the hotshoe mount version, and its noise dampening ability is impressive. I've been meaning to pick up a boom pole version, but haven't really had a compelling reason. We use the old standby AT8415. We've got one with K-Tek bands and one with regular bands. I haven't seen much difference, except the mic tends to want to slip out of the K-Tek bands.

[Steve House]

Originally Posted by Marco Leavitt

"Why those two mics as the first items in your kit?"

I hear you Steve, but I don't think he can go wrong with those two mics so long as money isn't an issue. I wouldn't make a pitsol grip a big priority right now. As far as the shockmount goes, there's lots of options, but I've noticed lately every time I see photo of a major studio shoot they always seem to have PSC shockmount. I think it's this one:

http://www.bhphotovideo.com/bnh/cont...ughType=search

There's a six inch version as well.

http://www.bhphotovideo.com/bnh/cont...ughType=search

We have the hotshoe mount version, and its noise dampening ability is impressive. I've been meaning to pick up a boom pole version, but haven't really had a compelling reason. We use the old standby AT8415. We've got one with K-Tek bands and one with regular bands. I haven't seen much difference, except the mic tends to want to slip out of the K-Tek bands.

Oh I agree - they are great mics and I envy his ability to make them his first mics. Just that as good as they are, if I was gearing up to mainly shoot sit down interviews I'd probably buy lavs before getting a shotgun, for example. Three kilobucks worth of mics deserves a bit of forethought as to what you plan to do with them <grin>. I was just curious how he'd come to select them when he didn't know what other things he might need in the kit. I was just listing other things that he might, or might not, eventually want or need need.

[Martin Taidy]

Ok, I guess I'll put off the pistol grip for now since none of the scripts that we have now seem to require it. Thanks for the recommendation on Sound Devices, Steve, I'm looking into it now.

Regarding headphones, I read in the other thread that Remote Audio 7506 seems to be the best choice. What do you guys think? I also want to ask about the IFB. This is so that the person operating the camera can communicate with the boom right? It doesn't seem necessary to me since if there's any problem then the director can just yell "Cut!" and they could discuss it. I'm confused as to how the IFB will figure into this.

Marco, thanks for the link to the shockmounts. Just to clarify, those shockmounts are to be mounted on the boom pole right? Can they be fitted onto the camera too? And then about the XLR cables, is this the kind that I should get?

http://www.bhphotovideo.com/bnh/cont...lue=292985_REG

[Pasty Jackson]

You're not planning on recording directly into the Z1U, are you?

-Pasty

[Martin Taidy]

That's what I'm planning to do. Is it not recommended? I'm sorry for what I'm sure are dumb questions but I'm a newbie with this whole sound stuff.