Boom mic

[Kathy Smith]

I need to get a boom mic. I know nothing about them. I would like to get something decent for under $1000 any recommendations? I also need boompole and maybe a stand. This is mainly for interviews.

Thank you
Kathy

[Bruce Watson]

Originally Posted by Kathy Smith

I need to get a boom mic. I know nothing about them. I would like to get something decent for under $1000 any recommendations?

Interiors or exteriors? People typically (there are exceptions) use shotguns for exterior work because of the way interference tube mics handle quick reflections (which are largely absent outside). For interiors, where there are close walls/ceilings, people typically use hypercardioids.

Since you are talking about a boompole and stand, and interviews, I'm assuming the subject is seated and interior. Two mics come to mind that are under $1000 USD. The AT4053b, and the Audix SCX1/HC. I have and use the AT4053B in exactly this duty, and it does a fine job.

[Kathy Smith]

Originally Posted by Bruce Watson

Interiors or exteriors? People typically (there are exceptions) use shotguns for exterior work because of the way interference tube mics handle quick reflections (which are largely absent outside). For interiors, where there are close walls/ceilings, people typically use hypercardioids.

Since you are talking about a boompole and stand, and interviews, I'm assuming the subject is seated and interior. Two mics come to mind that are under $1000 USD. The AT4053b, and the Audix SCX1/HC. I have and use the AT4053B in exactly this duty, and it does a fine job.

Bruce, I was hoping to use it for both interiors and exteriors.

[Paul R Johnson]

Broadcasters here tend to use 416's, in hairy covers over zeppelins with at the low cost end, the Rode boom pole. AT make some nice alternatives that are cheaper.

Don't forget to budget for decent headphones - most mistakes with booming come from the person with the boom not being able to hear what the mic hears - and it's essential.

If I wave a boom indoors, then I'll probably still use the 416, although loads of members here would consider that a huge mistake, and scream that a hypercardioid is the correct tool. Maybe it is without headphones, aiming by eye only?

However, for interviews - particularly seated interviews - a couple of clip on omni labs makes for better sound in most cases.

[Bruce Watson]

Originally Posted by Kathy Smith

Bruce, I was hoping to use it for both interiors and exteriors.

Well, you can of course. If I were only going to have one for both inside and outside sit-down interviews it would still be a hyper.

The problem is keeping the talent inside the mic's pattern. If you have them in a chair (hopefully no reclining, swiveling, rolling around, or rocking, so just a dumb old upholstered club chair or the equivalent) then a hyper on a c-stand usually has sufficient size pattern that they can't get out of it without making an effort. And most people on camera won't wiggle around quite that much.

If you use a shotgun however, the pattern is smaller. So even outside, I would still want to use a hyper for a sit-down interview without an active boom op.

If the talent can get up and roam about, all bets are off. In that case, lacking a boom op you'll want to wire talent with a lav, inside or outside. If you have a boom op, a shotgun mic becomes much more desirable, especially outside.

Exteriors are going to require wind protection for c-stand mounted or actively boomed mics. So don't forget to include at least a slip on furry in your plans.

[Kathy Smith]

Originally Posted by Paul R Johnson

Broadcasters here tend to use 416's, in hairy covers over zeppelins with at the low cost end, the Rode boom pole. AT make some nice alternatives that are cheaper.

Don't forget to budget for decent headphones - most mistakes with booming come from the person with the boom not being able to hear what the mic hears - and it's essential.

If I wave a boom indoors, then I'll probably still use the 416, although loads of members here would consider that a huge mistake, and scream that a hypercardioid is the correct tool. Maybe it is without headphones, aiming by eye only?

However, for interviews - particularly seated interviews - a couple of clip on omni labs makes for better sound in most cases.

Would Sennheiser HD 280 Pro be considered decent?

[Kathy Smith]

Originally Posted by Bruce Watson

Well, you can of course. If I were only going to have one for both inside and outside sit-down interviews it would still be a hyper.

The problem is keeping the talent inside the mic's pattern. If you have them in a chair (hopefully no reclining, swiveling, rolling around, or rocking, so just a dumb old upholstered club chair or the equivalent) then a hyper on a c-stand usually has sufficient size pattern that they can't get out of it without making an effort. And most people on camera won't wiggle around quite that much.

If you use a shotgun however, the pattern is smaller. So even outside, I would still want to use a hyper for a sit-down interview without an active boom op.

If the talent can get up and roam about, all bets are off. In that case, lacking a boom op you'll want to wire talent with a lav, inside or outside. If you have a boom op, a shotgun mic becomes much more desirable, especially outside.

Exteriors are going to require wind protection for c-stand mounted or actively boomed mics. So don't forget to include at least a slip on furry in your plans.

I already have a lav for the situations where the talent needs to roam around. OK so hypercordioid mic should work for indoors and outdoors. I will take a look at AT4053b and Audix SCX1/HC. Thanks

[Jon Fairhurst]

For headphones the Sennheiser HD 280 Pro or Sony MDR-7506 are the main, $100 choices. The Sennheiser is a bit more accurate to my ears. The Sony cuts through the noise a bit better. For pure monitoring, I would choose the Sony cans. If you sometimes do midnight mixing, I'd go for the Senheiser pair.

For mics in the $1,000 budget range (sort of) indoors or out, there are two options that I prefer:

* The Sanken CS3e is a unique shotgun that rolls off highs, mids, and lows at about the same rate as you go off axis and has a very small rear lobe. That makes it good indoors or out. The acceptance angle is fairly narrow, so it requires good technique. It's a bit over budget at $1,450 or so, but would be a no-regrets keeper.

* The Rode NTG-3 has very similar performance (though not identical) to a 416 at a lower price. Couple this with an Audio-Technica AT4053b and you will have outdoor and indoor solutions. This costs about $1,300, so it's a bit closer to your budget, but still over.

And then there's wind protection, the boom, the shock mount, headphones...

The main difference between the above choices is that the Sanken is a top-tier choice. The Rode and AT are very good, 2nd tier mics. This might come down to personality and future plans. Are you the type of person who isn't satisfied with 2nd best? Do you plan to hire out audio services? If so, get top equipment. Do you just need to get the job done? Then go for the second tier. It will still sound very good (assuming good technique.)

An alternate shotgun would be the NTG-1. At $250, you can couple it with the AT4053b for about $850. I don't know of a good, cheaper indoor mic than the AT4053b (the AKG alternative has low gain, I tried a cheaper off-brand mic with great paper specs for kicks, but it's way, way too noisy.)

[John Willett]

Originally Posted by Kathy Smith

I need to get a boom mic. I know nothing about them. I would like to get something decent for under $1000 any recommendations? I also need boompole and maybe a stand. This is mainly for interviews.

What do you mean by a "boom mic."?

Almost any mic. can be used on a boom.

Also - what do you mean by a "boom pole"?

A "boom arm" is normally fitted to a microphone stand a hand-held boom is normally called a "fishpole".

Sorry, seem to be wearing my pedant's hat today.

[Greg Miller]

Mr. Willett,

Forgive me, but I'm going to come to the defense of the OP.

It's pretty clear to me that the OP is looking for a mic that will be appropriate to use on a boom, mostly for recording interviews. She is trying to narrow down her search and eliminate "almost any mic." (your words) that would not be appropriate in this situation. Further clarification appears as the thread evolves.

If I enter "boompole" in the B & H search engine, I get 173 results. I looked at the first 24 results, and every one of them used either the term "Boom Pole" or "Boompole." Only one of the 24 also used the term "fishpole" so it seems that B & H, at least, think "boom pole" is acceptable terminology.

Of course the OP does say the stand is optional, so she may indeed want a boom arm to go with the [optional] stand. She'll have to decide where she stands (sorry, pun intended) on that decision.

With all due respect, I'm a bit surprised to see you wearing that hat. You are usually quite cordial and helpful. (Moreso than I am, truth be told.) I hope your day gets better as it evolves. ;-)

Cheers!

[Jay Massengill]

Is your $1000 budget for just the mic, or the whole setup with shockmount, boompole and wind protection?

[Jerry Porter]

I'm a pretty big fan of the AKG Blue mics also for about 500 for the mic it leaves you some money for the rest of your set up. I know they are used on the TV show Ax Men.

http://www.bhphotovideo.com/c/product/349107-REG/AKG_Blue_Line_Series_Microphone.html

[Don Bloom]

I've been using the AKG Blueline CE300/CK93 Hyper for many years now as my general use goto mic. It lives on my primary camera and for indoor run N' gun it's great. For outdoor work it's more than passable. I've had it on a stationary boom stand and an operator boom (fishpole). It has never let me down. Plus there are other capsules available for it so one CE300 becomes very versatile plus it's not a bank breaker.

Small Diaphragm Condenser | B&H Photo Video

IMO great value for dollar spent.

[Jon Fairhurst]

One consideration with the AKG CK93 vs. the AT4093b is that the AKG Blue Line is roughly half as sensitive (10 mV) as the Audio Technica hypercardioid (19.9 mV). Put another way, the AT has 34 dB sensitivity (pretty good), while the AKG has about -40 dB sensitivity (on the low side). The bottom line is that a less sensitive microphone puts a premium on the quality of your preamp/recorder.

That's the main reason I'd lean toward the AT4093b - it's more sensitive. I'd love to see/hear a proper shootout between the mics though. The specs only tell you so much.

Case in point: For kicks, I bought an Avantone Pro CK-1 on sale for $99. It comes with multiple capsules, a suspension mount, a wooden case, and it has a nice red finish. Based on the specs, it competes head to head with the AT4093b. But in the real world, it's noisy as heck. Normally, in a reflective environment, one would choose a hypercardioid over any shotgun or cardioid mic. In this case, I'd choose any decent mid-range mic over the Avantone even inside a big glass ball. Yes, it's that noisy. I guess I can use it as a door stop or something. :) (On the other hand, I might try replacing the internal op amp with a high quality part. For all I know, it might become the killer budget hyper!)

[Don Bloom]

Jon,
It would be great if there were a real test of the various mics available (at least the typically bought and used mics) be it shotgun, hyper, or lav. Sort of like the tests that Ty Ford had done a few years ago.
That would save a lot of people a lot of "hair pulling out" and at least give people a starting point.