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Recording Dialogues with Neumann u89
Old 3 weeks ago
  #1
Here for the gear
 

Recording Dialogues with Neumann u89

Hi Slutz!

Been following the forum since a while ago and this time decided to start my own thread.

I've been invited to record dialogues in a film later this year, some of the recordings will be indoor with a ton of variables; i have to be able to adapt and succeed.

I have some studio gear of my own and i'm totally keen on the idea of taking a Neumann u89i to almost every indoor and use it as spot mic with a nice, stable boom, then just plug it into a RME's Babyface interface and record gold audio. Also considering a hidden lavalier as a backup to whatever issue i can have.

It is my first time recording on site for a movie but i have plenty of experience in studio acoustics and engineering.

-Anybody here an expert that might advice something?
-Is the u89 the right mic for this job? Considering it because it has the most flexible patterns and I want to use it on a supercardioid.
-Should i just quit and use the standard Rodes' NTG mics?
Old 3 weeks ago
  #2
Gear Addict
Superb mic for voice overs. If you are recording all the dialogue with it then it would probably work fine, if a little clumsy to manoeuvre if the you need to follow actors around. The shock mounting might be an issue?
Old 3 weeks ago
  #3
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Matti's Avatar
https://en-de.neumann.com/km-185-series-180
https://en-de.neumann.com/kmr-81-i

Out of Neumann mics I would use these for indoors dialogue, with a good boom operator

Matti
Old 3 weeks ago
  #4
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I only do the re-recording of things and not location sound, but isn't almost all done on Lavs+Boom? If so, is there any reason not to go for that?

It just seems like there surely would be a good reason for why we see those mic types all the time and not others...
Old 3 weeks ago
  #5
Here for the gear
 

Quote:
Originally Posted by mattiasnyc View Post
I only do the re-recording of things and not location sound, but isn't almost all done on Lavs+Boom? If so, is there any reason not to go for that?

It just seems like there surely would be a good reason for why we see those mic types all the time and not others...
Well, yeah, i think they're made for all kind of situations, specially boom mounted ones. When it comes down for the recording it seems that they need to be clean and supercardioid, i've been comparing different ones and I cannot se any substancial difference.

So that's why I've thought about the u89, Multipattern and pristine. Also, all interviews will be in a similar format; a talk in a chair in front of a camera.

Can't wait to record those indoor dialogues with the pristine, deep and brutally honest-rich sound that the u89 delivers.

Thanks everyone for the advice.
Old 3 weeks ago
  #6
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I wrote a longer reply. The internet dog ate it... :-(

When I wrote "boom" I really meant boom-mounted shotgun. I just don't recall seeing many people using something like a u89 on set. My concerns would be lower sensitivity, less directivity and higher weight. If you get on location and the director wants a fairly wide shot and no mic in sight then you have to move the mic back out of the frame of course, and that's when lower sensitivity and less directionality becomes a potential issue. With less sensitivity you'll have to boost gain which brings up noise, and with less directionality you get more of the room and possibly people sitting next to each other etc.

I think you should seriously consider a shotgun instead to be honest. I'm just a lowly re-recording engineer, but the amount of times I recall having heard anything recorded on something that nice on location with the camera rolling is... well... zero. Voiceovers and narration is a different thing, but on-camera content? Almost exclusively smaller mics, lavs and shotguns.
Old 3 weeks ago
  #7
Gear Addict
FYI the u89 will have a higher sensitivity than (most?) SDCs
Old 3 weeks ago
  #8
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I’m thinking Sennhieser and Audio Technica here as possibly more field friendly and boom operation able then the U89 whilst one of my favourite microphones it’s certainly a touch more erm... previously enhanced? You’re going to want to deliver the cleanest and clearly recorded dialogue possible and I just can’t say the 89 is a standard for film work here! Rode would be better and you’ll most likely want a shotgun microphone and something with the abilities to stay well out of frame whilst capturing the dialogue and here’s where I just can’t see the U89 doing anything except offering more trouble then it’s worth. There exists a few Film Recording sites and I’d be checking those out quick smart to going up a few tiers into the Film and broadcast forum here framing the same question!

Regards
TLB
Old 3 weeks ago
  #9
Here for the gear
 

Quote:
FYI the U89 will have a higher sensitivity than (most?) SDCs
Legit

Here's a comparison between the U89 (left) and Sennheiser's (flagship?) Mkh416 (right)
https://ibb.co/t32P00M
Opinions

The only thing that makes me wonder if this will work is the hypercardioid directionality and how much noise will leak. Talking about sensitivity there's no doubt it's perfect for the job.
Old 2 weeks ago
  #10
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Ty Ford's Avatar
I have a lovely U 89 i. I would not take it to a set. Too heavy and cumbersome to boom in a suspension mount.

You want a Schoeps CMC641 SD condenser and a Rycote Invision 7 suspension mount. If you're working outside, which you can very nicely with the Schoeps, you'll need more wind protection. A Baby Ball Gag is typical. I pull a Rode Dead Kitty over the B5D.

Oh, and do get the Schoeps B5D pop protector.

Regards,

Ty Ford
Old 2 weeks ago
  #11
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matucha's Avatar
+1.

Indoor it's Schoeps CMC641 or Sennheiser MKH50/MKH8050 or MKH40/MKH8040.

Shotguns outdoors.

Apropriate wind protection is essencial. You need the pop protectors indoors because once you move the mic, there is "wind" on the capsule.


U89 - voiceovers. It would be hard to use it on boompole. Heavy, big, less visual confirmation where it points at.
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