Gearslutz

Gearslutz (https://www.gearslutz.com/board/)
-   Post Production Forum (https://www.gearslutz.com/board/post-production-forum/)
-   -   Sanken CSS-5 mono vs CS3e (https://www.gearslutz.com/board/post-production-forum/1287561-sanken-css-5-mono-vs-cs3e.html)

cvj 15th November 2019 02:20 PM

Sanken CSS-5 mono vs CS3e
 
Can anybody with experience with both mics please tell me how the CSS-5 in mono mode compares to the CS3e? There doesn't seem to be much info out there comparing the two.

I'm considering the CS3e but also wanting a stereo option down the track, and the CSS-5 seems comparable to an MS setup and certainly appeals as an "all-in-one".

Specifically I'm wondering if the CSS-5 has the excellent rejection that the CS3e is well known for. Polar patterns look similar to me but not identical. I can see the CSS-5 lacks some low end which is backed up anecdotally. I'd also love to hear thoughts on the general sound quality - how does it stack up against newer offering such as MKH80X0 series etc?

The mic will be used for recording mono SFX outdoors (rock impacts etc) and stereo ambiences (winds, rainforest, urban environments etc)

Thanks in advance.

Farhoof 15th November 2019 02:53 PM

I've always liked the CS3 for some fast paced on set dialogue recording, due to its directivity and rejection, but I wouldn't want to record ambiences with a shotgun of any kind. For MS ambiences I'd stick with something like a (switchable?) cardio/8 combo.

cvj 16th November 2019 05:19 AM

Thanks for the reply. I'm specifically wondering if the CSS-5 in mono mode has that same directivity and rejection as the CS3? If it's essentially the same mic except for slightly less bass response?

I do figure the stereo wouldn't be ideal for dedicated ambience, but still handy for SFX that you want some stereo image for such as vehicle passbys, fire sounds etc.

Farhoof 16th November 2019 05:25 PM

But passing cars are exactly the type of sounds that don't go well with a shotgun. You can really hear the phasing of the shotgun as the car moves. Unless you track it, but that would make the MS obsolete. I had to change mics when doing some recordings at a race track once, though I can't remember which shotgun it was. I reckon the same principle still applies.