Karl Lohninger

The Neumann 82i is a long shotgun and therefore almost a specialty microphone the other 2 you mentioned are 'short' shotguns. So there's a difference. The Sennheiser 416 is a classic and there's a reason why. Rode tries to copy the 416, I've never used on of theirs, but i have problem understanding your statement that you need a 'tube' preamp to make up for its poor sensitivity....? It might be easier to get an helpful answer if you'd describe what you're planning to shoot and what your technical set-up is. What mixer are you using......etc, etc good luck , Karl

Joe, you didn't mention if you're going to mount the mic onto a camera or if there's a sound person at hand. Without going into the AKG vs. Sennheiser argument, which is wrongly asked anyway, because there are Sennheisers and Sennheisers and the same with AKGs, the question would be more, which 'kind' of microphone you'd want to use. A 'shotgun' microphone will help you to pull out certain audible events from the background, more so than i.e. a hypercardiod, but then a hypercardiod tends to sound somewhat more natural, esp. when mounted onto a camera, because you get less 'strained' sound audio that comes from outside its 'pickup pattern'. Personally i find all Sennheiser mics below the mkh series rather offensive sounding and not worth the money. I'd prefer the AKG blue line or, better the ULS series. But check also the audio technica mics, the 40 series, not stuff like the 835 or so, they suck. Regarding one of the posted wisdoms of what microphone you'd need for recording voices or music or whatever....like for acoustic instruments you'll need a 'large diaphragm' mic and for voices a 'lavalier' etc....I'm sorry, but this is just total nonsense......;-( If you're trying to record any kind of musical performance, try to decouple your microphone from the camera, iow, don't move it around, find a place that covers the performance and leave it there and run a cable to the camera...and don't forget, many cameras are able to record 2 tracks, so split them with an on camera mike on one side and another one on the other. Just start doing it and learn and listen. Always be aware that the position of the mike is most of the time more important than what brand you're using.....;-) good luck, k

This is a universal mount for Lectrosonics or other wireless receivers. Standard for all Sony, Panasonic or whatever full-size video cameras. Can be adjusted depending on what batteries are used. A must have for a wireless audio link to camera. please check at: http://tinyurl.com/kz37r plus some location mics here: http://tinyurl.com/f9ypp and here: http://tinyurl.com/zwmt6 thanks for looking, k

please check an AKG C747 - a miniature shotgun microphone at http://tinyurl.com/zwmt6 and an AKG HM1000 with an omni and a cardiod condenser capsule at http://tinyurl.com/f9ypp works great as plant mics, car rigs, etc. the mini shotgun would also work great on smallish video cameras etc. Both microhones are really small and easy to rig. thanks for looking

What kind of shots are you doing? Why do you prefer a shotgun? The general problem with your situation is that the microphone mounted on top of the camera is in the wrong place and except when shooting close ups will always sound kind of bad..... A 'shot-gun' mike also tends to render audio not coming from the front but from the sides rather phasey - I would therefore suggest to use a hypercardiod microphone. The Sennheiser MKE series more or less sucks and is NOT worth the money. Decent and affordable microphones can be found in the audio-technica 40 series. Pick the hypercardiod model and you'll be happy. best, Karl

I have more audio things up on eBay, all with low buy it now prices. The windshield posted yesterday is sold already. Please check out: http://tinyurl.com/jxmjw dc-dc converter for Fostex PD2 http://tinyurl.com/hyy45 rycote Windjammer http://tinyurl.com/gjeml nagra Speed Varier thanks, kl PS: more from my shelf clean out tomorrow.....;-)

Up on eBay a practically mint windshield set for long shotguns like Sennheiser, AKGs, AT 4071 etc. http://tinyurl.com/oqjqt thanks for looking, k

f interested, check here: http://tinyurl.com/kt88v plus some other things and parts i.e. Countryman ISOMAX headset http://tinyurl.com/l965n etc. k

I don't know what you're talking about. That's all total bullshit. Any chance we can see your resume re. professional audio recording. Geez. Karl Lohninger Los Angeles PS: for those interested in voice over work, check out: http://www.transom.org/tools/recording_int...c_shootout.html (but there was a technical problem with the AGK414 used in the test)

Phil Rhodes writes: >I still lean away from radio mics, I've had a large amount of No Fun with being let down by them. I try to steer away from people who want to use them, you end up losing take after take to breakup in the audio. I've seen this happen even with the most insanely expensive units, so I hardly dare imagine what the cheap crap is like.< Wireless systems have their special uses and one certainly shouldn't push them. But to write 'you end up losing take oafter take because of breakup in the audio' is utterly silly, to say it in a friendly way;-) ...Maybe you don't know how to use them? and: >And I really can't agree with you on the 416. They always sound slightly thin and toppy to me compared to the ME-80. It's a fact that the off-axis rejection isn't as good on the older mic, but that's just a question of degree.< Maybe there is a reason (and there is a good one) that the 416 is a standard and used in more shows and features than any other microphone. And if other microphones are used that certainly not the ME-80. Please! The Neumann KR81 is a nice mic, the AKG 480/69 is a nice mic, and there might be others. The point is that one can find very affordable MKH 415/416 microphones second-hand and in excellent condition. But, to the original poster, don't take anyone words or opinions for granted, rent a number of microphones and listen for yourself. Be aware though that it takes some experience in the sound department to know what to listen for! Karl Lohninger Los Angeles

It would be helpful if you could explain a bit more what you're planning to do...... but here are a few suggestions: al always, money plays a role, but, depending on your project, one could go by with basic equipment. The Fostex FR-2 is fine as is a Nagra mono machine! The newer digital machines can make life easier in post, true, but still, don't underestimate tried and true equipment. Time-code: you don't necessarily need. Actually there is very little need in recording timecode, the simple clapperboard does perfectly well. Shotgun mic? That's the wrong question. You need, well you should have to basic microphones, one of them a 'shotgun' - just buy a used Sennheiser 415 or 416 and please stay away from ME-80 or such, IMHO, they suck. Then you need a 'hypercardiod' for mostly interiors, the Audio-technica hypercardiod from the 40 series is a very affordable as well as capable mic. Also the AKG blueline, and of course the more expensive AKG 480/63 or the Sennheiser MKH50 or the Schoeps 41s. You do not necessarily need a wireless kit. But if you think you really need one, the Sennheiser G2 is usable if the circumstances aren't too harsh. Forgot though the little lav mic that comes with it and invest in something better, like a Countryman EMV, a B6 or one of the better Sennheiser lavs. You do not need to spend thousands of $ on a wireless system if you're shooting mostly smaller shoots and don't stress the system too much - keep the distances short and be careful when mounting the lav mic. The expensive systems come in handy when you work in very daring situations, when you need diversity systems, have difficult car shots or when you just can't afford to lose a take. Studio mic for narration - cut it, you don't need. Use the mics you already have. You don't need a pre-amp because the pre-amp is built into the recorder. You will need headphones, a nice boom pole and the know how of how to get good location sound! Again, there is no need to record Timecode usually as well as there is no need for film cameras to record Timecode except in certain circumstances where it might come in handy...but they're still not necessary. Regarding recorder: I'm currently selling a Fostex timecode DAT PD2 on ebay - check it out if interested - it's very reasonable: http://tinyurl.com/bhh3l good luck, Karl

http://tinyurl.com/bhh3l 1250.00! priced to go;-) thanks, k

Time code masterclock and one clockit box FA: Ambient TC Masterclock http://tinyurl.com/8bpxl Ambient clockit box http://tinyurl.com/9g4nd must have for multicamera (video/HD) shoots! goes for way below market value! Auction ends early evening today, Oct. 27 2005