Have you used a T.Bone EM9900 or EM9600 shotgun?

minus-sounds.com · 8th July 2007

I was wondering about those cheap shotguns from Thomann.
the t.bone EM-9900 Kondensator Richtrohr-Mikrofon
the t.bone EM 9600 Richtrohr-Mikrofon

Has anyone used them?

P.S.
The gig. Possibly nest week, I would have to record a renaissance play. I have no idea how is the stage.
The problem is that the director allowed the use of music stands after a lot of pressure, let alone a forest of mic stands and big mics like the Octava ML52, 319, Baby bottle, Bluebird, MD421, MD441, etc.

So I had to rethink my strategy and if the recording is going to happen I am thinking of the following:

For the 5 piece ensemble (flutes, percussion, rebek, lute, etc) I was thinking of getting away by using a single B&O BM5 stereo ribbon. I don't know if I could hide one or two MD421 for the percussion and a M160 as a spot somewhere.

For the actors I was thinking about spreading and hiding far away those T.Bone shotguns, as I think the SDC pairs of MXL 603S and Line Audio CM2, that I already have, would not cut it. What's your opinion?

Also I will put a blumlein of a AT4050 pair, for general ambiance, somewhere in the center if that would be possible.

**Remoteness** · 9th July 2007

A lil' bumpage for this thread...

I've never heard of or used these mics.

Anyone play with these yet and care to reply?

pkautzsch · 9th July 2007

Having used some cardioid t-bone mics a few times, I can say that the one thing Schoeps and t-bone mics have in common is: they sound exactly as good as one would expect by looking at the price tags.

As to your gig: I'm not quite sure if mics like the 421 are the best choice for renaissance music. Distance is the key, not closeness.
If you have the possibility to fly that B&O ribbon from some lighting rig, for example, that would be a good place to start. Often, some cardioids or even omnis are used, taped to the front of the stage. One needs to be careful to eliminate rumble though.
And: picture first, assuming the recording is rather documentary than for commercial release (for a commercial release there would be a budget for clip-on mics and Schoeps Colette series, wouldn't it). Sound seems to be not really important to the director, so if he doesn't want to see mic stands, he'll get a recording which sounds like there are no mic stands. Simple, but he needs to understand that.

Jazznfunk · 27th January 2011

Recently bought EM9900 to get familiar and answer my questions, what's shotgun. Have no chance to compare with others, so i can't compare. Sounds good, don't hear any artifacts. I have to change my mind, if someone bring me some Schoeps or Senn in other hand

So, it isn't my last and only shotgun.

8th July 2007	#1
minus-sounds.com Lives for gear Joined: Mar 2007 Location: Athens, Greece Posts: 505 Thread Starter	Have you used a T.Bone EM9900 or EM9600 shotgun? I was wondering about those cheap shotguns from Thomann. the t.bone EM-9900 Kondensator Richtrohr-Mikrofon the t.bone EM 9600 Richtrohr-Mikrofon Has anyone used them? P.S. The gig. Possibly nest week, I would have to record a renaissance play. I have no idea how is the stage. The problem is that the director allowed the use of music stands after a lot of pressure, let alone a forest of mic stands and big mics like the Octava ML52, 319, Baby bottle, Bluebird, MD421, MD441, etc. So I had to rethink my strategy and if the recording is going to happen I am thinking of the following: For the 5 piece ensemble (flutes, percussion, rebek, lute, etc) I was thinking of getting away by using a single B&O BM5 stereo ribbon. I don't know if I could hide one or two MD421 for the percussion and a M160 as a spot somewhere. For the actors I was thinking about spreading and hiding far away those T.Bone shotguns, as I think the SDC pairs of MXL 603S and Line Audio CM2, that I already have, would not cut it. What's your opinion? Also I will put a blumlein of a AT4050 pair, for general ambiance, somewhere in the center if that would be possible. __________________ ioanni www.ambrosia.gr www.myspace.com/ambrosiagr

9th July 2007	#2
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405	A lil' bumpage for this thread... I've never heard of or used these mics. Anyone play with these yet and care to reply? __________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network What about my Facebook Profile? Remoteness on Myspace

9th July 2007	#3
pkautzsch Lives for gear Joined: Feb 2006 Location: Munich, Germany Posts: 1,521	Having used some cardioid t-bone mics a few times, I can say that the one thing Schoeps and t-bone mics have in common is: they sound exactly as good as one would expect by looking at the price tags. As to your gig: I'm not quite sure if mics like the 421 are the best choice for renaissance music. Distance is the key, not closeness. If you have the possibility to fly that B&O ribbon from some lighting rig, for example, that would be a good place to start. Often, some cardioids or even omnis are used, taped to the front of the stage. One needs to be careful to eliminate rumble though. And: picture first, assuming the recording is rather documentary than for commercial release (for a commercial release there would be a budget for clip-on mics and Schoeps Colette series, wouldn't it). Sound seems to be not really important to the director, so if he doesn't want to see mic stands, he'll get a recording which sounds like there are no mic stands. Simple, but he needs to understand that. __________________ Microphones always make me sound louder and better! -- Guitar Girl

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27th January 2011	#4
Jazznfunk Gear Head Joined: Sep 2009 Location: Riga, Latvia Posts: 42	Recently bought EM9900 to get familiar and answer my questions, what's shotgun. Have no chance to compare with others, so i can't compare. Sounds good, don't hear any artifacts. I have to change my mind, if someone bring me some Schoeps or Senn in other hand So, it isn't my last and only shotgun.