boom mic recs?

[Jim McKinney]

A client wants to do the typical interview/b-roll routine. (but nicely, on a red!)

Any recs out there on a decent mic that could ride as an on-board and work nicely as a boom mic for interviews? (I usually avoid this sort of thing and hire a sound mixer, but . . .)

 

[Jim Hoffman]

Senn MKH416 - shotgun mic.

 

[Alexis Hanawalt]

Sennheiser ME66/K6 is my rec - the 416 is useful if a pro boom operator (who knows what he's doing) is using it, but the ME66/K6 will get you better "semi-pro" sound... it's more forgiving.

I use an audiotechnica stereo shotgun for mounting to camera which gives you the opportunity to set 2 different input levels - and it's a great mic for about $300.

 

[Neil Uchitel]

Like all things, you want the best you can afford to use. Bad audio is hard to fix. I wouldn't personally use the ME66. You want a nice hypercardioid microphone, and the 416 is a mic in standard use for such situations. It's a little bit thin to my ears, however. Also, I'd put a Denecke phantom power supply in between the camera and the mic. If you really want great sound, the Schoeps MK41 with CMC6 mount. It's the best sounding mic you've ever heard, super directional, and won't change the sound quality even if you're a little off mic. Believe me, it's worth the expense. If you've spent 5 figures on a RED, it's worth the $1500 for a beautiful mic to go with it.

I'm a new RED user, but I'm a professional sound designer by trade.

 

[Jim McKinney]

Guys, thanks a lot for the response.

 

[Neil Uchitel]

I forgot to add: The Schoeps is what most pro location guys use for recording dialog, so you'd be in good company. Also, an alternative to the 416 is the Neumann KMR 81i. To me it sounds a little better than a 416, and is the same configuration.

 

[Mark Phelan]

Sent you a pm.

 

[Jeremy Wiles]

An ideal setup is the Sanken cs3-e shotgun and Lectrosonic wireless. The cs3-e is one of the most versatile shotguns on the market. It's great for indoors and outdoors.

 

[Stephen Pruitt]

I heartily recommend the Schoeps CMC641, as well. It is THE Hollywood standard. We have two CMC6s with various capsules and we use one or both of them all the time. For a more shotgun reach, there is the quite new Schoeps CMIT5-U. I find that the Schoeps cut amazingly well using the Lectrosonics with Sonotrim lavs. But, again, you are talking quite a bit more money for this set-up.

Stephen

 

[farroutpro]

Sennheiser ME66/K6 is my rec - the 416 is useful if a pro boom operator (who knows what he's doing) is using it, but the ME66/K6 will get you better "semi-pro" sound... it's more forgiving.

I use an audiotechnica stereo shotgun for mounting to camera which gives you the opportunity to set 2 different input levels - and it's a great mic for about $300.

So you spend all that money on the picture then cheap out on the sound?

 

[farroutpro]

A client wants to do the typical interview/b-roll routine. (but nicely, on a red!)

Any recs out there on a decent mic that could ride as an on-board and work nicely as a boom mic for interviews? (I usually avoid this sort of thing and hire a sound mixer, but . . .)

Depending on your price point...

RODE NTG-3 (List is $600 USD a great sounding mic that reminds most of the 416)
Sennheiser MKH 416 (both new $1200 or used $800 always a good value)
Neumann, Schoeps, Sanken are in the high end $1500+ USD of the market and each have their own pros and cons.

The best advice anyone can give is a hands on demo with each of the microphones and let your ears decide.

 

[Roger Morris]

If you're like most who take the time to demo different shotguns both short and long, I think your ears will most always decide on Schoeps (the CMIT-5U and the MK-41), it's just whether your pocket book will go along with your ears decision

The Schoeps certainly represents the pinnacle of condenser microphone technology for film sound. I don't find other German or Japanese product that can compete on every level that the Schoeps excels at........just a personal opinion of course, not a statement of absolute fact.