So, the H5 Is on the way and log with it, the SSH-6 shotgun mic.
After a brief moment of panic, thinking on the H6’s value (effectively the same price with the SMH-6 in the kit), I have quickly adopted a feeling of quiet confidence and contentment with this pending kit expansion. The reality is, the H6 is too big, in balance with the benefits it offers for my needs and the MSH-6 is not as useful as the SSH-6. Getting the H5 instead, pays for the second capsule.
Happy, just with a LAV.
This was the only real solution*, all things considered.
From here I can;
Add 2 XLR condenser mics, while still using the onboard mics (or not).
Pre-amp my various 3.5 mics including matched shotguns or the H1n, increasing their quality.
Add one of several capsules (the SSH-6 side-middle shotgun and XYH-5 stereo), all of which cost less than specialist mics that they match in quality.
Add 2 more dynamic XLR mics with an optional module.
Record indoor interviews, concerts and drama performances at pro level.
Interface with a computer, mixer or instrument.
Record loud (140db max pressure) or quiet subjects (-120db noise floor).
Record into, or separate from, my camera or a computer.
Support all of this with the H1n, which can run to or operate separately from it. Maybe a good overhead or soloists mic.
So, up to 6 speakers, in two sets of X/Y’s and 2 singles, enough to do a decent band rehearsal.
Sound is important, possibly even more urgent to get right than good picture quality, but I needed to find a point of balance that felt just right. Anything less than the H5 (H2n, Saramonic + pencil mics, Roland P-07, a bigger shotgun etc) felt precariously short sighted and limiting. Much more (H6) was likely over complicating things.
The SSH-6 mid-side shotgun mic kills a flock of birds with one stone, when combined with the XYH-5.
It provides a high gain shotgun mic of the same calibre as the D3 Pro or Rode NTG’s, but at the cost of a basic Diety D3 (sub$200au).
It has left/right ambience which can be turned off completely or used for full “sound staging”. This allows the mic to be set (or processed in later) with the right amount of side volume, rather than the usual full rejection of a standard shotgun mic.
It is louder than the older SGH-6 or indeed any other capsule in their range, so it provides better reach with the best tonal depth. For single vocal recordings at 3 mtrs or so, it sounds rich and natural and I am anticipating excellent results from concerts etc.
It can be used with other inputs through the H5 unit giving me a directional shotgun with/without ambient and overhead pencil condensers or mixing board interface.
The X/Y capsule provides the lower noise floor, best wide stereo coverage, smaller form factor and different sound generally. Between the two modules I feel I have covered the most bases possible.
It does have more measurable noise when compared to the others at the same level settings, but that’s because it is (a) considerably louder and (b) effectively two mics in one. If turned down to match the SGH-6 and focussed the same way, it is quieter and superior sounding and can be used further away than the MSH-6 with similar results.
Finally, I will add (maybe), a pair of Rode M5 or Lewitt 040 pencil condenser mics for overheads, pick outs or better area coverage, but I will wait and see, there is plenty of time and plenty still to learn.
The beauty of the H5 is its versatility.
You may never use the XLR inputs, or conversely may only use them and never attach a mic capsule, but either way, it is going to be well utilised. I expect to use it mostly as a free standing mic or with my 3.5 pin shotgun or LAV options, but it is reassuring to know, that the XLR ports are waiting patiently.
*The H2n was a close contender for this spot having 3-4 mic configurations built in, but for the price (3/4 as much as the H5), it lacked so many interface options, as well as the H5’s build quality. It is much closer to the H1n, that I already have.
**Wide area, wide area with focussed main, focussed main, main and sides.