MICROPHONE SURVEY
HUGH ROBJOHNS MIBS reports
on a recent survey amongst the
IBS fraternity of who uses
which mics, and for what.
ather a number of ‘soundies’
together in one place and the
conversation often turns to the
selection and use of microphones. With
that in mind, I recently carried out a quick
survey via the IBSnet to discover the
current microphone trends amongst IBS
members.
G
Location Sound
The fundamental techniques for gathering
TV sound on location are well established
and the range of microphones used is
relatively small.
For fishpole work the most popular
contender remains the Sennheiser MKH416
– almost exclusively in T-powered form –
and it is impressive to note that many
recordists are still using mics up to 25 years
old. Its low output impedance means it can
drive very long cables, and the RF
modulation system ensures it works even in
damp conditions.
However, an increasing number of
recordists have moved over to the newer
MKH60 which, as Tom Curry (sound
recordist) pointed out, has a fuller bottom
end than the 416. Its slightly wider polar
pattern also makes it more forgiving during
a hectic situation, with contributors
sounding less off mic if the boom arrives
late. The MKH60 is also a little quieter than
its forebear – indeed many contributors
commented on the excellent sound quality
of the entire MKH series.
Many still use the longer MKH816,
typically when it is too windy for radio mics
and the shot is too wide for an
MKH416/60. It was interesting that several
recordists’ volunteered that if they had to
venture into the unknown with just one
mic, it would be the Sennheiser MKH60
(with the MKH416 running a close second).
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Indoor Working
The Schoeps CCM range is a popular choice
for indoor work due to its compact size and
natural sound quality. Roger Long
commented that the CCMs are “How all
mics should be: small and perfectly formed”
– although others pointed out that some
bottom end usually has
to be rolled off, and it’s
susceptible to handling
noise. The CCM41
(hypercardioid) and
CCM4 (cardioid)
capsules appeared
equally popular, while
David Hall (sound
recordist) referred to
the CCM4A low output
cardioid capsule as the
‘shouty Schoeps’ as it
has a lower sensitivity better suited to loud
on-set action! The slight drawback is that as
this capsule is intended for close miking it
has a significant bass roll off to counteract
the anticipated proximity effect, although
David says that this is rarely a problem in
practice.
Several people recommended MKH40s
and 50s as overhead mics for seated
interviews, not least because of the family
sound shared with the MKH60. The
modular Sennheiser K6 system is another
popular alternative, specifically the
K6/ME66 combination.
A less expensive option offered by
many is the AKG Blue Line range. Several
recordists suggested the CK93
hypercardioid capsules as spot mics on set
and in cars – the optional knuckles and
remote cables enabling them to be hidden
fairly easily. Another plus point is that the
SE300B Blueline preamp body can be
powered directly from the low voltage
phantom power supplied by radio
transmitters.
Covert Coverage
A number of recordists mentioned covert
shooting, and inexpensive industrial
boundary layer mics that can be painted to
blend into the set are popular options here.
The Audio Technica AT851 boundary layer
mic is another popular solution, while Bill
Whiston (BBC TV OBs) recommended the
Crown PCC160. He says this sounds
surprisingly good for unobtrusive voice
pickup and has used it for; “Choirs, guitars,
brass and on dramas (sometimes disguised
as a penholder) – in fact, almost anywhere a
cameraman isn’t likely to tread on it.”
The AKG C747 was often mentioned
for fixed out-of-shot miking as well as for
use on lecterns, although several
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commented that it is prone to buzzing, and
in the ‘odds and sods’ category, the
Soundman OKM 11K Binaural kit was
suggested for discreet wildtrack gathering
and ambience recordings.
Stereo Poles
The Pearl MS-8 appears to be a favourite MS
stereo source. According to Richard
Merrick (sound recordist), “This mic boasts
a smoothness on its mid capsule that just
begs to be used for dialogue, and it will
usually cope with high humidity and it’s
lighter than most of its rivals.” However,
Dave Brabants (sound recordist) warned
that it can be susceptible to RF interference.
The Schoeps CCM4/CCM8 combination
is used by many for MS work, along with
the CCM41/CCM8 combo where a
narrower sound field is more appropriate.
The Sennheiser MHK30/40 and 30/50
combinations were also frequently
recommended.
Only a few people mentioned dedicated
stereo gun mics. Bill Whiston said of the
Neumann RSM191, “Great studio quality
mic used much on OBs, both indoors and
outside. It gives a very natural sound field
but is sensitive to handling – even with the
modifications to its output as advised by
Neumann – so it needs a good mounting or
operator. It doesn’t like damp very much
either and the control box is a bit fragile.” A
more cost-effective alternative is the Audio
Technica AT835ST, and Robert Edwards
(independent Sound Director) pointed out
that one of these mics has been mounted
under the roof of Chelsea’s Stamford Bridge
football ground for over a year now and is
still working.
Personal Mics
The most common personal mics seem to
be the Sanken Cos 11 and the Tram TR50 –
both being described as reliable, easy to
hide, and good at isolating the subject from
background noise. Some users commented
that the Trams accentuate sibilance,
although this characteristic also helps the
voice to cut through when the mic is
hidden under clothing. Many also praised
the Tram for its viper clip which is very fast
and easy to fit. The Sanken Cos 11 was
often reported to sound slightly better than
the Tram, but it is apparently more prone to
wind noise.
The Sony ECM88 is a relative newcomer
but is becoming popular, especially when
water is involved! However, many users
complained that the stiff cable can cause
rigging problems, and some also cast doubt
over its robustness. Honourable mentions
go to the Sennheiser MKE-2 and Sony
ECM77 models, although both were
criticised for their cables and the Sony
particularly for its susceptibility to wind
noise.
The Countryman EMW and B6 mics
were also highly rated, particularly the
former for its nice cable and minimal
clothing rustle. The DPA 4060 received very
positive comments about its sound quality
too. Julian Gough (BBC TV OBs) said, “It’s a
wonderful sounding omni that can also take
a fair amount of punishment. High levels are
no problem, and if you stick it over a
musical instrument you’ll realise why you
have to pay so much to get one!”
Although not really falling into the
‘personal mic’ category, for those that work
in newsgathering the Electrovoice RE50 and
Beyerdynamic M58 omni stick mics were
reported as standard items in most
recordists’ kit bags for the reporter to use.
Robert Edwards described the STC/Coles
4104 lip ribbon mic as, “The undisputed
king of commentators’ microphones in
football stadia. Fantastic reliability but a
tendency to lose its HF response when full
of spit at the end of an exciting match!”
Music Recording
The range of mics used in music
applications is far greater than those
typically used on location, although a
popular collection did emerge from the
survey.
For live stage work the Shure SM58 and
SM57 (and their Beta versions) are deemed
standard equipment, and the Shure Beta 87
was suggested as offering better voice
quality than the SM58 with good rejection of
foldback and PA. The Sennheiser MD421
(cardioid) and MD441
(hypercardioid) were also highly
recommended as good all-rounders.
Pete Freshney (As The Crow Flies OB
truck) says of the MD441, “The
studio version of the ubiquitous 421
which sounds like a small condenser
with an excellent LF response.
Particularly good on saxophones and
snare drums.” The Electrovoice RE20
also received a lot of praise as a great
vocal, sax and woodwind mic, and
some use it in kick drums.
The single most popular
recommendation for studio
condenser microphones was the
AKG C414B ULS. Paul G Smith
(Senior Audio Supervisor, BBC
Manchester) described it as, “An
excellent all-round mic for music.
Most things sound nice and the
variable pattern and bass cut makes it
easy to use in most situations –
although it’s not a favourite of TV
directors because of its size.”
The Neumann line up also
featured prominently. Robert
Edwards described the U87 as “The
studio Holy Grail of microphones”
but Pete Freshney sang the praises of
Neumann’s TLM193 which he thinks
sounds better than the U87. The
TLM103 was favoured by those
involved in voice recording because
of its very low self noise, and the
small diaphragm KM84 received
great praise as a good all-rounder.
Paul G Smith uses the Sennheiser
MKH40 for brass bands and as spots
in orchestral balances, commenting
on the lack of off-axis coloration. The
MKH30 figure-of-eight was
recommended by Mike Skeet as
‘back row’ spot mics on percussion
and choirs where the null between
the two lobes can be angled to avoid
pickup from instruments in front of
the ones intended.
The DPA 4006 omni is a popular choice
on choirs, strings, and for orchestral miking.
Mike Skeet recommended using this mic
with the optional nose cone to negate the
HF directionality of the grille version. The LF
extension also makes it a favourite for organ
recordings.
Robert Edwards (Sound Director) said
that the Soundfield mics (MkV, SPS422B and
ST250) made good stereo FX mics and were
increasingly being used for 5.1 surround
applications. “I used it as the master FX mic
for FIFA World Cup 2002, and the heated
capsule keeps the moisture at bay on OBs.”
For the more budget conscious, Pete
Freshney recommended the Rode NT5
saying, “It looks and sounds like a KM84, but
you can buy a matched pair for about £250!”
The AKG C3000 was praised as another
excellent general purpose mic, and Brian
Gray said of the Studio Electronics SE1A
small diaphragm condenser, “No mic
costing £50 has any right to sound this
good!”
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