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Lavalier and Boom mic
Old 19th December 2019
  #1
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cashewcupcake's Avatar
 

Lavalier and Boom mic

Allright, it's pretty much 2020. What are the tippy top Lavalier and Boom mics out there? By that I mean which are your favorite? Will plow through your recommendations at NAMM :D
Old 20th December 2019
  #2
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celticrogues's Avatar
 

I do primarily ADR and only a little production sound so that’s where I’m coming from. That said, I feel like I get a pretty good idea of what a lot of PSM’s now are using because I’m matching into their tracks.

In the past year I’ve used (In no particular order):
Booms:
MKH416
MKH60
MKH50
Sanken CS3e
Sanken CS-M1
Sanken CS1e
Schoeps CMIT5u
Schoeps CMC641
DPA4017
Neumann KMR81

Lavs:
Sanken COS-11 (probably the most used)
DPA4060/4061
Countryman B6
Shure Twinplex TL-48

Honestly they are all fantastic tools. No one is “better” or “worse” than any of the others. They all have situations/voices/locations they are amazing at capturing and situations/voices/locations where they aren’t the best choice. Im grateful to have all of them in my toolbox.

-Mike
Old 20th December 2019
  #3
Gear Nut
 

Mike said it all. Very good choices for recording dialog in the field.
Old 22nd December 2019
  #4
Lives for gear
Relevant Lav mics that I own, use, and can highly recommend:
  • DPA 6060 - I also own the 4060, but much prefer the 6060

Relevant boom mics that I own, use, and can highly recommend:
  • Schoeps MiniCMIT - not quite as versatile as the Super CMIT; but - for me - far more convenient
  • Schoeps CCM 41 - usually prefer this CCM indoors for its size and off axis characteristics

Relevant boom mic system that I feel is missing from my kit
  • Schoeps CMIT DOUBLE MS - clearly going to be less convenient than a single CMIT5U; but wow!

Other:
  • Audio Limited A10 - bought 2 pair [4 channels] this year and totally love them. However, I would like to see SD add 32-bit float on-device recording similar to MixPre II and 192 kHz/24-bit support end-to-end. 32-bit float end-to-end would be even better. . .not that I'm greedy or anything. Not expecting to see those upgrades from anyone at NAMM this year, though.


Have fun,

Ray H.
Old 23rd December 2019
  #5
Lives for gear
 

Quote:
Originally Posted by RayHeath View Post
Audio Limited A10 - bought 2 pair [4 channels] this year and totally love them. However, I would like to see SD add 32-bit float on-device recording similar to MixPre II and 192 kHz/24-bit support end-to-end. 32-bit float end-to-end would be even better. . .not that I'm greedy or anything. Not expecting to see those upgrades from anyone at NAMM this year, though.
Like the look of these, no wireless reception issues ever.
https://www.bhphotovideo.com/c/produ...ket_audio.html
https://www.youtube.com/watch?v=zdu_7GL3fP4
Old 23rd December 2019
  #6
Lives for gear
Quote:
Originally Posted by David Spearritt View Post
Thanks, David

Great tips! These are indeed great and exciting products. I bought a couple of their 'E' generators last spring. . .and am thrilled with them. However, they don't yet suit my current workflows as well as Ambient + the A10s. [1]

For a number of reasons, I primarily rely on Ambient for timecode. Still, on more than one occasion I've also needed the Tentacle Syncs and they didn't let me down.

The A10 transmitters do record in-device [including timecode from their own generators] to microSD cards. For me, these recordings have just been backups. . .and never yet required. Still, I want what I want [as mentioned in my post above].

With respect to Track-E's advertising of 32-bit float: I don't expect it to be competitive with the SD MixPre II implementation - which [I think] uses multiple AD converters for each single ingest channel. My suspicion is that the Track-E's ingest architecture isn't sufficiently wide to leverage the bit depth in the way I would hope - but I would love to find out that I am wrong on that.

It shouldn't be a hard requirement for most engineers, but I currently expect anything I'm going to plug a mic into to support 48v. . .which Track-E doesn't. That's just me being me, I'm afraid.

All that stated, the Tentacle Sync booth is a 'must see' for the OP, I'm guessing.


Kind regards,

Ray H.

[1] I generally need to do 1st cut, live 'pre-mixing'; and wireless is the best fit for me there. Sync is easier and supported at far greater distances by Ambient, the ACN-CL does genlock/wordclock as well as timecode, I also use Ambient's timecode slate [for me, an irreplaceable jewel - though I maybe see more people using Denecke slates here?], and I use Ambient's LockitScript [production management] software. Some of the Ambient devices perform additional, sophisticated [e.g., metadata] functions that I am not yet using. . .but may well use in the future.

EDIT: I should have mentioned [for the sake of other readers] that I use Tentacle Sync Studio - to splice audio to video for the dailies. A terrific piece of software! A very few seconds of attention, and I can hand off all of the raw takes [with flawlessly synced sound] to anyone who needs them. Highly recommended!
Old 23rd December 2019
  #7
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Quote:
Originally Posted by RayHeath View Post
It shouldn't be a hard requirement for most engineers, but I currently expect anything I'm going to plug a mic into to support 48v. . .which Track-E doesn't.
Its mainly for interview mics so lavs or 4040/6060 and it appears it supports 3V/5V for powering DPA.
Old 4th January 2020
  #8
Here for the gear
 

Quote:
Originally Posted by RayHeath View Post
Relevant Lav mics that I own, use, and can highly recommend:
  • DPA 6060 - I also own the 4060, but much prefer the 6060
Any reason for preferring the 6060 over the 4060? Other than size? Or is that the big reason?
Old 5th January 2020
  #9
Lives for gear
Quote:
Originally Posted by SG_OC View Post
Any reason for preferring the 6060 over the 4060? Other than size? Or is that the big reason?
Significantly reduced size and an expectation of an acceptably similar high-quality sound were the primary drivers for my purchase.

I recall having to wait several months for the DPA 6060 CORE lavs - and was told by my supplier that my 4060 CORE would sound better because of its larger size. So I was a little concerned with how much I would be able to use them, but that prediction turned out to be totally wrong for me. . .and the improvements promised by DPA were spot on for me.

I only ever run lavs now across Audio Limited A10 [and never use MicroDot cables]. The A10 receivers are sometimes running into a MixPre 6, sometimes into a Pro Tools MTRX [Digital Audio Denmark]. I can't speak to other environments.

However, in that system, my 6060 CORE lavs sound a bit more clear to me in just about every configuration I've tried [exposed or under clothes, chest or hairline, plants, etc.] and they retain that expectedly low noise floor.

While they all sound like DPA mics, the differences struck me as significant. Some of this may be associated with the extra flexibility in placement [not quite so smashed up against their surroundings]. Still, I actually like them better even out in the open. . .but that delta is smaller and the preference is just personal taste.

We've a lot of humidity down here [Tampa Bay Area, FL] and some sound engineers have reported better luck with the 6060 CORE [compared to the 4060 CORE] in similar circumstances. I've not had humidity issues [rain, or people sweating] with either.


Best regards,

Ray H.
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