I had anticipated getting the Sennheiser MKH-50 to record interior speaking vocals (typical "living room" setting). At this point, I'm needing to save some money. I'd like some suggestions on lesser expensive mics for recording interiors. I'll be recording sit down interviews, narratives as well as short films all mounted boom style (maybe a little on camera stuff very rarely). I'd like to avoid the "hollow" sound which I believe is caused by using a long shotgun on interiors. What do you guys think about the Rode NTG-2? Is it a correct mic for interiors? Other suggestions are more than welcome!

Thanks!

I had anticipated getting the Sennheiser MKH-50 to record interior speaking vocals (typical "living room" setting). At this point, I'm needing to save some money. I'd like some suggestions on lesser expensive mics for recording interiors. I'll be recording sit down interviews, narratives as well as short films all mounted boom style (maybe a little on camera stuff very rarely). I'd like to avoid the "hollow" sound which I believe is caused by using a long shotgun on interiors. What do you guys think about the Rode NTG-2? Is it a correct mic for interiors? Other suggestions are more than welcome!

Thanks!

I had anticipated getting the Sennheiser MKH-50 to record interior speaking vocals (typical "living room" setting). At this point, I'm needing to save some money. I'd like some suggestions on lesser expensive mics for recording interiors. I'll be recording sit down interviews, narratives as well as short films all mounted boom style (maybe a little on camera stuff very rarely). I'd like to avoid the "hollow" sound which I believe is caused by using a long shotgun on interiors. What do you guys think about the Rode NTG-2? Is it a correct mic for interiors? Other suggestions are more than welcome!

Thanks!


All of the interference tube design shotgun mics, including the NTG-2, experience that hollow-sounding response pattern in a reflective interior space to a greater or lesser degreee. Hypercardioids are usually preferred over shotguns indoors for that reason. An exception is the Sanken CS3 shotgun, not an interference tube design though it looks like it is, but that doesn't help your budget woes any, costing as much as or a little more than the MKH50. You could save a couple of hundred, perhaps, by going to the MKH8050. For deeper savings versus the Senn you might consider one of the AKG ULS C480/CK63 or Blueline SE300/CK93 hypercardioids or an Audio Technica AT4053a.

it's wider than a 416. I think you'd be disappointed.

Try an Audix scx-1 HC, or Audio Technica 4053a if you can't afford a Schoeps cmc641

Regards,

Ty Ford

Anyone have a $500 option?

All of the interference tube design shotgun mics, including the NTG-2, experience that hollow-sounding response pattern in a reflective interior space to a greater or lesser degreee. Hypercardioids are usually preferred over shotguns indoors for that reason. An exception is the Sanken CS3 shotgun, not an interference tube design though it looks like it is, but that doesn't help your budget woes any, costing as much as or a little more than the MKH50. You could save a couple of hundred, perhaps, by going to the MKH8050. For deeper savings versus the Senn you might consider one of the AKG ULS C480/CK63 or Blueline SE300/CK93 hypercardioids or an Audio Technica AT4053a.

Steve, which of the options you just mention would better match the sound recorded in exteriors with a Sennheiser 416?

Anyone have a $500 option?

AKG Blueline SE300B/CK93 modular combo

Steve, which of the options you just mention would better match the sound recorded in exteriors with a Sennheiser 416?

Hard to say - I'm going to suggest one of the Sennheisers. But is that really important? In some circumstances it might - such as where you're intercutting wideshots done outdoors with closeups done indoors for some reason but then your closeups would most likely be shot on a soundstage or in-studio where you could use the 416 indoors without any issues. If you're trying to match exteriors on the 416 with interiors shot using a hyper, the viewer would expect the timbre of the sound to change along with the obvious change in location and so getting an exact match is less important.

Tyler had two threads going with the same title so I merged them together. We get the occasional hiccup with the board and have duplicates of threads when they are posted. We normally remove the duplicate before separate follow ups get started.

Just wanted to note this in case the conversation looks a bit out of continuity. The software performs the action by time stamps.

regards,

-gb-

One may also consider the Oktava 012. Not a Schoeps, but a decent mic for the money. However there are issues with this mic in terms of quality control, Chinese knock-offs and modifications.

Steve, which of the options you just mention would better match the sound recorded in exteriors with a Sennheiser 416?

Hard to say - I'm going to suggest one of the Sennheisers. But is that really important? In some circumstances it might - such as where you're intercutting wideshots done outdoors with closeups done indoors for some reason but then your closeups would most likely be shot on a soundstage or in-studio where you could use the 416 indoors without any issues. If you're trying to match exteriors on the 416 with interiors shot using a hyper, the viewer would expect the timbre of the sound to change along with the obvious change in location and so getting an exact match is less important.
Agreeing with Steve that a match is rarely important.

When it is important, consider using your hypercardoid on the exteriors as well as the interiors. There's nothing wrong with a hypercard outdoors. You just mic a little closer, as you would indoors. Use the same wind protection you use for your shotgun.

A little cheaper, not by much is - the Sennheiser 8050. It is certainly newer and offers the ability to go pure digital in the future if you're interested.

Hear the 8050 and the other family of Sennheiser's at Microphone Polar Patterns - Video Examples to learn from at DVcreators.net (http://www.dvcreators.net/microphone-polar-patterns/)

The mics used in these examples are:

Sennheiser MKH 8020 - Omni
Sennheiser MKH 8040 - Cardiod
Sennheiser MKH 8050 - Super-cardiod
Sennhieser MKH 416 - Shotgun

These were fed into a Sound Devices 302 and recorded in 48kHz mode on the Panasonic HPX500.

If you go for the 8050 - do more research, there is quite a bit of low end rumble, so you'll need a good shockmount. Google is your friend.

Agreeing with Steve that a match is rarely important.

When it is important, consider using your hypercardoid on the exteriors as well as the interiors. There's nothing wrong with a hypercard outdoors. You just mic a little closer, as you would indoors. Use the same wind protection you use for your shotgun.


Is great to know this. I recently got my first mic, a Sennheiser 416, and I've already experienced that "hollow sound" when using it indoors. I was totally convinced that having mics with matching sounds was a big issue; I was somehow worried because it will take me a while to save money to invest in something like a MKH 50, but I don't want to keep getting the effect of the interference tube in my indoor recordings. Now I will consider one of the less expensive options suggested by Steve.
But anyway, is there any situation in which you really need to have mics with a "similar" sound?

Best regards,


Andres.

For indoors and a sit down interview, can a large diagram cardioid be used and still kept out of the frame? Some people sound great with these mics, but I've never tried one in a position to keep it out of video.

For indoors and a sit down interview, can a large diagram cardioid be used and still kept out of the frame? Some people sound great with these mics, but I've never tried one in a position to keep it out of video.

Not a good idea. Large diaphragm studio condensers are engineered to sound best when used very close the talent. Close as in in frame. That's why shotguns and hypercardioids were invented.

I own the Neumann TLM-103. It's a killer mic but not on-camera.

Dan

I had anticipated getting the Sennheiser MKH-50 to record interior speaking vocals (typical "living room" setting). At this point, I'm needing to save some money. I'd like some suggestions on lesser expensive mics for recording interiors.

The MKH 50 is a pure super-cardioid mic.

So the best and nearest equivalent is the new MKH 8050 - about £400 cheaper in the UK and just as good.

John,

my experiences with the 8050 was that it had a big low end, resulting picking up a lot of LF and requiring a Rycote lyre suspension mount to prevent boom handling noise.

What have you found?

Regards,

Ty

my experiences with the 8050 was that it had a big low end, resulting picking up a lot of LF and requiring a Rycote lyre suspension mount to prevent boom handling noise.

What have you found?


True, the MKH 8050 extends about 10Hz lower than the MKH 50, down to about 30Hz turnover.

There will be a module in the new year that screws between the mic. head and XLR module to give a bass ro;;-off and 10dB pad - both switchable.

John,

Good to hear about the add-on, I don't hink the folks had any idea the mic would end up on a boom. My evaluations here with showed the low end to be problematic.

Regards,

Ty Ford

[QUOTE=Tyler Franco;986477]I had anticipated getting the Sennheiser MKH-50 to record interior speaking vocals (typical "living room" setting). What do you guys think about the Rode NTG-2? Is it a correct mic for interiors? QUOTE]

NTG2 for interiors? NO, by my experience, just tried it on an interview in a typical living room and it clearly sounds "hollow". You'll waste your shot.

This thread has become very informative. Thanks to all who are posting! So if Hypers are better for interiors, I was thinking of the Rode NT3 perhaps. Anyone have experience with this mic? I've listened to some comparisons online it sounds very good and would save a large amount of money.

Oh and Greg, something goofy did happen. I hit submit and it erred out and then I hit the back button and hit submit again. Then I reloaded the forum and saw the double posts.

Tyler,

If you hate your boom op. get an NT3. Please check its weight.

Ty Ford

I think the NT3 would be a good choice for internal shooting on more limited budgets, like mine. I think a lot can be done with lower rung mics like the NT3. A lot of great sound is independent of the mic used and has to do with getting the room acoustically set up, getting the mic in just the right position, and knowing what to do in post production.

I think the NT3 would be a good choice for internal shooting on more limited budgets, like mine. I think a lot can be done with lower rung mics like the NT3. A lot of great sound is independent of the mic used and has to do with getting the room acoustically set up, getting the mic in just the right position, and knowing what to do in post production.

The point is that while it a decent mic, the NT3 is a real heavyweight, far too big and heavy to be slung out on the end of a hand-operated boom. When it can be mounted on a mic stand it's not bad sounding, but there are other hypercardioids in a similar price range that are quite a bit more appropriate to boom mic use.

The point is that while it a decent mic, the NT3 is a real heavyweight, far too big and heavy to be slung out on the end of a hand-operated boom. When it can be mounted on a mic stand it's not bad sounding, but there are other hypercardioids in a similar price range that are quite a bit more appropriate to boom mic use.

Could you give some examples please? Thanks!

You know these online demos are helpful, but shouldn't be a sole deciding factor. They can give you a basic idea of how a mic sounds, but you really need to spend a few days with a mic to really get to know it. Off axis sound is what can really sepeate on mic from another, as does how much proximity effect a mic has. In post, a good mic with low proximity effect means different takes of the same scene will cut with little to no eq to match. I just cut some stuff recorded with a 416 and it was a real PITA to match. OTH stuff I record with my cmc64 cut without effort outside of basic level adjustments. Even when a bit off axis, it still works, and that's why it's worth the price.
For sit down work, a cheaper mic may indeed work very well because it's easy to be consistent with it. With hand booming for reality / docs a more forgiving mic will save time and money in post by needing less work to mix

Could you give some examples please? Thanks!

Audix SCX1/HC, AKG Blueline SE300b/CK93, Oktava M012

You know these online demos are helpful, but shouldn't be a sole deciding factor. They can give you a basic idea of how a mic sounds, but you really need to spend a few days with a mic to really get to know it. Off axis sound is what can really sepeate on mic from another, as does how much proximity effect a mic has. In post, a good mic with low proximity effect means different takes of the same scene will cut with little to no eq to match. I just cut some stuff recorded with a 416 and it was a real PITA to match. OTH stuff I record with my cmc64 cut without effort outside of basic level adjustments. Even when a bit off axis, it still works, and that's why it's worth the price.
For sit down work, a cheaper mic may indeed work very well because it's easy to be consistent with it. With hand booming for reality / docs a more forgiving mic will save time and money in post by needing less work to mix

Well said Steve,

CAN SOMEONE MAKE A STICLY OUT OF THIS!!

REgards,

Ty Ford

AKG Blueline SE300B/CK93 modular combo

I own this combo. Work with a lot of different soundies. They are all impressed with this setup. Easy/quick switchout to the short gun when needed.