mic choice for indoors recording

petsematary · 5th November 2005

Is a shotgun mic always the best choice for voice pickup on movie shoots? Seems like that's all everyone will ever use but I was thinking, if it's indoors - say, in an apartment, aren't there any other alternatives to a good shotgun for voice pickup?

**Remoteness** · 5th November 2005

Yes, wired and wireless lavs are important tools.
Boundry mics also play a role in mic'ing the talent and such.

Jim vanBergen · 6th November 2005

The Schoeps microphone (usually CMC6 with MK4 capsule) is every bit as important to the film industry as the Sennheisser 416 and the Tram lav element. These three mics are the heart of film and television production audio.

Jim van Bergen

boomed · 8th November 2005

I disagree.

Schoeps with a MK41 (hyper-cardiod) is the most used and my fav. Schoeps just released their first ever shotgun this month, which I have on order. Sennheiser MKH50s are also popular, but I don't care for the low frequency bump they have.

Hyper-cardiods are normally the best choice for interiors. Reflective surfaces play hell with shotguns because reflective sound will arrive at the back of the mic where the interferance tube allows sound to enter behind the capsule to be cancelled out. Highly reflective areas such as bathrooms and small spaces turn a shotgun into a terrible sounding omni.

I use Neumann KMR81 and KMR82 as well as a Sanken CS-3e shotgun for most exterior work.

Wireless mics are a neccessary tool but are always a last choice. TRAMS were popular elements 10 years ago but the current line up is Sanken, DPA, Countryman, and Sonotrim. Each offer different ways of mounting under clothing that are helpful for different situations.

Boundry Layer mics (PZM) are normally used in car shots or as plant mics. I have four Sanken CUB-1 mics that although boundry layer by design are also slightly cardioid. You can attach one with vecro to the headliner in most cars above the head of each person. I also have a Schoeps BLM-03c that is a wounderful sounding mic for a car shot. On my last movie I placed it on top of a desk in the background. The actors (Michael Madsen and Edward Furlong) had a conversation at the desk before walking into a close up. My boom op. picked them up during the walk on a Schoeps. The sound was seemless as I faded from one to the other and I didn't have to put body mics on anyone.

Sennheiser MKH416s are still popular with the video crowd. I had one years ago and never cared for the sound. They are shrill and terribly colored off axis. The beauty of a Schoeps MK41 is the perfect of axis pattern. They sound the same off axis just softer.

5th November 2005	#1
petsematary Lives for gear Joined: Apr 2005 Location: East Coast, Sweden Posts: 1,491 Thread Starter	mic choice for indoors recording Is a shotgun mic always the best choice for voice pickup on movie shoots? Seems like that's all everyone will ever use but I was thinking, if it's indoors - say, in an apartment, aren't there any other alternatives to a good shotgun for voice pickup?

5th November 2005	#2
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405	Yes, wired and wireless lavs are important tools. Boundry mics also play a role in mic'ing the talent and such. __________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network What about my Facebook Profile? Remoteness on Myspace

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6th November 2005	#3
Jim vanBergen Lives for gear Joined: Apr 2005 Location: New York Friggin' City Posts: 2,562	The Schoeps microphone (usually CMC6 with MK4 capsule) is every bit as important to the film industry as the Sennheisser 416 and the Tram lav element. These three mics are the heart of film and television production audio. Jim van Bergen

8th November 2005	#4
boomed Gear nut Joined: Jun 2005 Location: Texas Posts: 76	I disagree. Schoeps with a MK41 (hyper-cardiod) is the most used and my fav. Schoeps just released their first ever shotgun this month, which I have on order. Sennheiser MKH50s are also popular, but I don't care for the low frequency bump they have. Hyper-cardiods are normally the best choice for interiors. Reflective surfaces play hell with shotguns because reflective sound will arrive at the back of the mic where the interferance tube allows sound to enter behind the capsule to be cancelled out. Highly reflective areas such as bathrooms and small spaces turn a shotgun into a terrible sounding omni. I use Neumann KMR81 and KMR82 as well as a Sanken CS-3e shotgun for most exterior work. Wireless mics are a neccessary tool but are always a last choice. TRAMS were popular elements 10 years ago but the current line up is Sanken, DPA, Countryman, and Sonotrim. Each offer different ways of mounting under clothing that are helpful for different situations. Boundry Layer mics (PZM) are normally used in car shots or as plant mics. I have four Sanken CUB-1 mics that although boundry layer by design are also slightly cardioid. You can attach one with vecro to the headliner in most cars above the head of each person. I also have a Schoeps BLM-03c that is a wounderful sounding mic for a car shot. On my last movie I placed it on top of a desk in the background. The actors (Michael Madsen and Edward Furlong) had a conversation at the desk before walking into a close up. My boom op. picked them up during the walk on a Schoeps. The sound was seemless as I faded from one to the other and I didn't have to put body mics on anyone. Sennheiser MKH416s are still popular with the video crowd. I had one years ago and never cared for the sound. They are shrill and terribly colored off axis. The beauty of a Schoeps MK41 is the perfect of axis pattern. They sound the same off axis just softer.