Okay, I'll just ask the question here...I have about $600 I can spend on mics, and I'm going from the ground up. I do mostly documentary/event videography (currently working on a documentary about a community string orchestra). Shooting with a DVX-100A.

What's the best use of my money for microphones?

Sennheiser ME66/K6 (period). I am sure there are varying opinions, and it's fair to say that your equipment list is driven not only by your budget but also your purpose, but: Unless you're right up in someones face (and even then quality may be in question), the built in mics on our cam don't cut the mustard. This mic has been around for a good long while and if you only take reasonable care or it you'll probably get about 10 years out of it. Camera mount, mic stand, or put it on a stick, you won't regret it (check eBay for occasional buys--that's where I got mine). Here it is at B&H: http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=73100&is=REG

at897?

Ty Ford

I'm pretty much dead-set on the AT-897. I'm wondering if I should look into any other microphones, however, such as an omni.

for what use?

Ty Ford

Like I said in my first post, documentary/event videography. I'm currently working on a documentary for a community string orchestra, which will include recording a concert in three weeks.

Tom,

Like I said, exactly what sort of setups do you have in mind? The spectrum covered by "documentary/event videography" is rather massive. Work with us here, Tom. Think about it and tell us what shots you're likely to go after.

How many people on camera at a time?
Inside, outside?
Need to hide the mic? Don't care?
Recording that concert will be REAL challenging with only $600 of audio gear.

Regards,

Ty Ford

I gotta' agree with Ty on this one... I'd say an 897 would be a good start. With a DVX the super-hot output of an me66 is a burden rather then a positive. With almost ALL of the other prosumer cams that's not so much the case, but the DVX doesn't want a hot mic.

$600 won't get you far unfortunately... I'd get a K-Tek aluminum avalon for $220, add a K-SSM shockmount for $110, and a Softie on the 897... bam, $600 gone.

Otherwise forgo the support gear and rig stuff for now... in that case I'd get a cheap hyper like an Oktava mc012 to go with that 897...

Then there's always lavs... but maybe later.

I agree with Matt and Ty. With the DVX and general doc/event work, especially camera-mounted (arrrrrgggg....) the AT897 is a great choice.
As Matt said, an 897 and the minimal correct accessories will easily be $600, but is well worth the investment.
If you're strictly a one-man-band, you could substitute a less expensive mic stand for the nice boom pole. Put that money toward either the Oktava that was mentioned or some other double-duty choices like the AT873r, ATM31a, AT899 lav, AT3031, Senn e835, or EV N/D367s.
Back to what Ty said, it all depends on how you want to specifically work. Investing in good audio and the right mic for the job will pay big benefits in your final product.

What do you guys think of an AT835ST in terms of single-mic versatility for $600? I can't think of any deployment of the AT897 that would measure up to a good stereo mic placed in front of the ochestra. And mounted on the camera in narrow mode for other situations, the pick up pattern looks reasonably directional. Higher sensitivity than the AT897 and less off axis coloration, I would imagine. There's probably a down side, or experienced hands would already be recommending that approach, but what would that be?

A review of the 835ST is on my site.

Regards,

Ty Ford

My experience with AT mics is that they are usually not very good. The Senn of course are good. But you can try the Beyerdynamic condenser mics. I have used a shotgun and some hypercardioids and they are really good for the money and less expensive than equivalent Sennheiser or AKG models.

Which AT mics have you used and what were the circumstances?

For the string orchestra: I suggest you rent any non-shotgun condensor microphone... like the Audio Technica 822 (I haven't used that microphone, but folks here recommend it). Shotguns sound really bad for recording music, especially in reverberant spaces. I recording some music recitals with the AT835s (non-stereo) and cheaper Apex shotguns. Even a Shure SM58 will sound better (that's a vocal dynamic microphone... not very appropriate for recording a string orchestra; it's only $100 or so, although it's really good value so don't just judge microphones by their price tag).

Jay, I don't have the model numbers at hand, but I have used AT medium length shotguns (mono), short shotguns (stereo), wired omni lavs and I own a wireless lav headset kit. In all these categories, they are easily the worst microphones I have ever used. The only AT mic I have ever liked was a discontinued vocal model hard to get by these days.

On the other hand, I have never used and AKG, Sennheiser, Shure or Beyerdynamic that I didn't like.

Specificially, I am very fond of the Senn ME66 and Beyerdynamic MCE 86 for shotgun applications, the Beyerdynamic M 201 TG for percussion and stereo live audio, the AKG C 480 B with ULS/61 capsule for almost anything, and the C1000 and C3000 for several applications when you can't get the 480 combo.

For the string orchestra you are mentioning, I would try a pair of Beyerdynamic M 201 TG mics or a pair of C1000 mics. This Beyerdynamic is a very awesome-sounding dynamic mic, which approaches the quality of af a good small-diaphragm condenser. The C1000 has the versatility of the included hypercardioid adapters which you can take out, but the bass response is somewhat defficient.

A pair of AKG C 480 B with ULS/61 capsules would be better, but I don't think you can afford them, at least not brand new.

You will also need something else for interviews, like a good shotgun and perhaps a wireless lav. So perhaps the best you can do for this project is plan ahead and rent the mics you need for the string orchestra and interviews.

Ignacio... you should check out the 897. In my experience AT mics (starting at this price range and up... $280) have a superior price/performance ratio to any other mic. The cheap shotguns from EVERY manufacturer suck, but as you raise your budget AT gets you into a better mic quicker. (Meaning that a $500 AT mic outperforms everybody else's offerings in that price range.) It isn't until you clear the $1K price point that AT is left behind again.

I do like the AKG C480b and cardioid CK61 capsule, but that combo is nearly $800. So far I haven't been pleased with my CK63 capsule, but I haven't used it enough to judge it fully.
I definitely think the AT3031 kills the C1000 in every possible way, except battery power of course. If I have to run on battery, then the ATM33a, or Rode NT3 or stereo NT4 kills the C1000.
I agree with Matt, you should try some of AT's new mid-priced models like the AT897, 898, 899, 3031 and 3035. They are excellent performers.
AT's more expensive mics like the 835ST, 4073a, 4052a, 4053a and 4050 are also excellent.
Older models that I think work well for their specific tasks are the AT804, ATM10a, ATM31a, AT825, AT873r, AT803b, and AT851a.
Certainly the Pro, ATR, and Midnight Blues lines from AT are well below pro standards and I'd avoid them if you have more money available.
The older shotguns AT835b and AT815b (and the "a" models before them) weren't very good if you needed high output or were using them in reverberent spaces.
The only benefit of the Senn K6/ME66 is the ability to give high gain in quiet environments when you must run on internal battery. Otherwise the AT4073a is a far superior mic when phantom power is available. I do like the ME64 capsule that I recently got. I think it will be a helpful addition for dialogue but not music and I keep my ME66 for those occasions when it is the right tool for the job.

> I agree with Matt, you should try some of AT's new mid-priced
> models like the AT897, 898, 899, 3031 and 3035. They are
> excellent performers.

Thank You. I will when I can. For some reason I have only tried the cheapest ones. AT is not seen much in this market expept for those.

It may also be that I am a bit spoiled by the Senn. ME66. I kept hearing this strange but subtle distortion in the high-mids with the AT... very subtle but distracting. I get far better results with my Sony wireless lav! Weird.

What I like about the C1000 is that it's so inexpensive... but then again I have not compared it to those ATs.

I've heard that it's hard to get AT in alot of places, which is a shame.
Many of the German mics are more expensive here in the States than they are elsewhere. The C1000 can be found for equal price to the AT3031 here, but you really have to dig for a bargain or buy a two-pack. Even then the AKG is usually a few dollars more unless you have to add a phantom supply for the 3031.
Are the Rode mics easily available there? They are great performers for the price too.

Hmm I tried a Rode... a mono large diaphragm one for LF percussion, and I ended up liking the C3000 more, but it was quite good especially considering the price. Then I tried a stereo Rode with small diaphragms for cymbals, and I preferred a pair of 460/UL61, but the Rode was also less expensive and simpler to mount... I would also say it was in the "good performer" category.

My latest favorite novelty is the Blue Baby.

The problem is I'm so spoiled by the pair of U47 and the Brauner...