Please help with acoustically matching whole new setup

[Ashley Cooper]

I’m looking to get a whole new mic setup for indie film work and figure a couple wireless lavs, a hyper, and a decent short shotgun would be a good start. One thing I thought would be an important buying decision is getting mics that acoustically match one another. This way I could switch b/t say a lav and a hyper track. I generally have to do post on my own audio, so I thought this would save me a lot of trouble.
Here are the mics I was thinking about:

Indoor Hypers:
I briefly tested out an AKG Blue line hyper at Trew a little ago and liked it. Seemed very similar to the Schoeps hyper, but with a little less reach.
Outdoor Short Shotgun:
A used Sennheiser 416, the short shotgun capsule for the Blue line, or possibly an AT 4073.
Wireless mics:
I have a couple friends with Sennheiser ew100 G2 mics. I’ve heard good things about the Sanken COS-11 mics. The Blue line also offers an omni wired lav, but I haven’t heard anything about it.

So, would any of these mics match acoustically enough to be able to cut between them? I’m always open to suggestions for different mics and combinations. Or, am I really making too much of this whole acoustically matching thing?
Thanks ahead of time for any help!

[David Ennis]

In a studio setting I'm sure this is a concern. But I've never seen it discussed in the context of field work, and have never consisdered it a problem myself. I think that the reason is that a cut between mics would usually accompany a cut between camera angles, where our perception forgives a change in audio character as long as it is still good audio.

[Jacques Mersereau]

In general terms, it is not super common to cut between a wireless
and a shotgun. I do use both kinds of mics on the same talent
(in case a lav mic gets bumped) and have, with a bit of EQ,
made the switch pretty seemless when required, but there is also
the other work flow of using the 'on set' mics/audio as guides for
complete audio dialog replacement using a studio quality-large
capsule microphone.

[Ashley Cooper]

Thank you both for the help! So, maybe I am making too much of this. I should explain, I wasn't looking to cut freely b/t wireless and boom mics. Rather, as Jacques says, just to have it as an option for the odd time when a lav gets bumped or a boom can't get close enough.
My goal with these new mics was to avoid as much post work as possible. I can just see myself spending countless hours playing with EQ trying to match the mics. ADR would be nice, but I don't have a suitable room to record it in and playing around with convolution reverb seems very daunting (especially if I was trying to replace only 1 actor's dialog in a scene and would need to have it fit it with the other actors).
Would I just be better advised to get the best mics I can and not worry so much about matching them? I'm surmising now that expecting wireless lavs to match boom mics is too much to expect, correct? Also, should I be as afraid to match the EQ? Apple's Logic Pro and Sound Track Pro both have a filter that's supposed to do this.
Thanks again for the help!

[Matthew de Jongh]

i would go with the oktava mk-012 mics with the hypercardioid capsule and for a short shotgun either the sennheiser 416 or the sanken cs-3e

the sanken cos-11 lavalier sounds more natural than many other lavaliers (my personal opinion)

my kit consists of two oktava mk-012's, two sanken cos-11's, one sennheiser 416 and one of the sanken cub-01's

your lucky in that you are close enough to a great audio shop to demo mic's in person. i wish i lived close enough to either trew audio or gothamsound.

matthew

[Ashley Cooper]

Thanks, Matthew. Heard a lot about the oktava around here, but shied away from the reports that the reach wasn't that great. Have you been able to test out a Blue Line hyper by any chance? Actually, I'm about 3 hours away from Trew, but have to drive half way there each week. Still, it's not exactly around the corner. Think from here on out I'll be renting to demo.

[Steve House]

Originally Posted by Ashley Cooper

Thanks, Matthew. Heard a lot about the oktava around here, but shied away from the reports that the reach wasn't that great. Have you been able to test out a Blue Line hyper by any chance? Actually, I'm about 3 hours away from Trew, but have to drive half way there each week. Still, it's not exactly around the corner. Think from here on out I'll be renting to demo.

I haven't used them but I read that the Oktava is a decent enough mic for a budget mic but it still is a budget mic with all that entails and it doesn't hold up in comparison to either AKG or Audio Technica. Of course the Blueline or AT hypers are also double the price of the Oktava. Me, I considered the Oktavas but have decided on Blueline for my boom mic purchase after I get a proper voiceover mic for the "studio."

[Ralph Keyser]

I like the COS-11s as well because of their sound. They take the least amount of work to intercut with a boom mic of any of the lavs that I've worked with. I've also had experience with the AKG "blueline" hyper and cardiod capsules. I use them as my backup mics in places where I don't want to risk the Schoeps capsules, and while they clearly don't sound like the Schoeps, I think they are a pretty good value in terms of sound for the buck.

[Matthew de Jongh]

the sound from the oktava's is far better than any other mic in its price range.

it is the only mic in that price range that i would ever consider using.

i have a sennheiser 416 for my external scenes boom mic.

if i were to replace the oktava i would go with a schoeps. i wish sanken would make something similar to the oktava's with the hypercardioid pickup pattern.

the only trick with the oktava's is to make sure your getting the ones made in russia and not the knock off copies.

www.soundroom.com imports them directly from russia and that is where i have gotten my oktava's from.

matthew