With a new school in the mix, thoughts are turning to more exciting mic options.
My sound set-up, is I feel quite capable in most areas, but not masterful in any. I can film groups, do run-n-gun, some instrumental recitals, interviews, groups podcasts, but there is something missing.
My ambition is to be true “music” level.
True vocal recording for best quality, not just efficiency and deep, resonant frequencies. These have so far been handled by the SSH-6, which has turned out to be a bit of a fix-all option, but considering I can get specialist mics for most tasks, I feel I need to lift this a step.
Oops, forgot the MKE-400, but this is the core of the kit now. Plenty of versatility, great fine detail, but lacking a tactile element and some vocal/full grunge instrument handling.
For sound at the moment I have all the videographer options covered, like a couple of good shotguns (MKE-400, SSH-6+F1), two sensitive and accurate matched pencil condenser mics for X/Y, A/B or close instrument placement (Lewitt 040 Match to H5), a few fixed X/Y options (H5, H1n), but nothing that is purpose made for voices or deeper sounds.
This is the current fit, both Zooms on shock mounts. The pending EXH-6 will fit in the hole on the right where the H5 shock mount did go, but I will have to look at more storage options with the dynamics on the way.
What if I needed to do a singer and guitar, small group or a full drum kit recital? How about bad environments, odd voices or some instrument combinations. I need to think genuine problem solving.
How much would I need it?
Cannot say. Maybe never, maybe regularly. A bit like a Tux or little black dress in the wardrobe, if you have one, you can plan to use it, if not you need be ok to just say no sometimes.
Keep in mind, and something I tend to loose sight of so very easily when I dive into the world of sound engineering (or most things), is that all this eventually goes into is a camera via a humble 3.5 jack. Also, the H5 has the ability to interface with supplied sound, so do I even need my own mic if I have it?
The common problem with vocal and instrument mics is that not all sources are the same, so if only one is a available, a neutral, work horse all-rounder or top of the line fully transparent model are the only two sensible choices, nothing with too much attitude or colour. Otherwise a choice of several would be better?
The search started sanely enough.
A Lewitt LCT 240 medium diaphragm (sub-1”, over 1/2”) condenser. Unlike the 040’s, which get universal praise regardless of price, the 240 is more a “good value” option. Solid but not as giant killing as the little pencils. This has kit balance, is well priced and feels controlled (maybe constrained is a more accurate term).
To my ear (with sooo many limits assumed) it sounds similar to the 040’s, close enough to the mic below and is different enough to be worth bothering with. This combined with one 040 pencil could make the perfect high end-budget voice + instrument setup. Even though it is considered “entry level” by Lewitt, the reality is the end point is limited (see above).
Being a condenser, there is no way I can run all three Lewitt’s out of my Zoom H5, so the little Zoom AMS 24 or 44 popped up as an interface fix that feeds to the H5 or to run on their own. Versatile, some new features, depth, but familiar dials and interface. Basically a non-32 bit float capable F3 solution for less than half the price. May still get one, just for convenience.
Messy though. Things into things into things potentially adds little nasties and more chances of failure.
While reviewing the 240, the LCT 440 naturally rose to the surface as the next step up, reducing self noise to less than half, adding some warmth and depth (this does get class leading reviews like the 040’s), but the price is actually higher than the 240 and AMS 24 together with the same problem of sharing ports!
I then discovered the LCT 441, which is actually four or five mics in one (eight if you believe the hype), giving me a genuine problem solver of 440 quality. Another class leader adding “shapes” to my offer. Most of these shapes though can be done using the 040’s.
Still messy and now we are talking $400+. Overkill and more to the point, is this actually adding anything?
By now this may be getting out of hand and balance*.
I have to remind myself that these are reviewed by musicians, not videographers, so I have to shelve the budding sound engineer in me and stay on task, think of end uses, not pie in the sky potentials.
Looking away from Lewitts, the Rode NT1’s of various generations are owed due respect. The mic most often compared to the 440 in reviews as a good base line, this is an industry work horse, comes with great build quality and warranty, lots of accessories and the newest/dearest, 5th Generation, even has 32 bit float out (needs a DAW, via USB connection) and some software cleverness. Cheaper than the 441, some even as cheap as the 240, it seems a no brainer.
Problem is, it looks and feels like a stage mic, but does not act like one. It is side directional, does not love handling and is ugly (sorry Rode). It is also very directional, making it a great studio mic, but less versatile than I would like.
This planted a seed though.
I have never looked at dynamic mics because, based on the ones I have seen, which were wireless, I assumed they needed their own power and I have more than enough batteries to worry about (be kind, I had never looked closely).
They don’t, being noise driven they need nothing but a cable, but are generally less sensitive than condensers. They can however be handled, are far tougher, provide better all-round studio grade quality at a lower price point*. and with a $99 accessory (Zoom EXH-6), I can run a pair into either the H5 as well as the condensers or the F1, which has no XLR ports. So the F1 can be a separate recorder, or even feed into the H5 like the interface above while also recording its own backup.
What a potential problem solver.
Rather than getting the F3 as a small XLR recorder, the F1 gets an upgrade (no 32 bit float though or phantom power through this capsule) and the H5 turns into effectively an H6. I could even use four dynamic mics in a panel situation through the H5.
The Shure SM57 & 58’s are the industry standards, genuinely respected and proven with millions of users and thousands of performances and recordings made with them (apparently Bon Iver made his whole hit album with a single SM57 as just one example). It looks though, like the 50 year+ reign of this pair is under threat with a ton of options, the slightly sexier and clearer sounding sE V7/V7x and cheaper, livelier sE V3 just two.
The V3 seems most like the SM57 with a wide cardioid pattern and less noise, the V7 is slightly different, safer and more neutral like a refined SM58 (?) vocal specialist and tighter in pickup (super cardioid).
The pair make for a good problem solving duo. Voices are different so it makes sense to offer different mics. The V3 is more up front, punchier, the V7 more reserved and controlled. Neither is “right”, but both are relevant, so both makes sense.
For less than some of the above condenser solution and less complication, I can get the sE V7 ($135au) or sE V3 ($120au) and the Zoom EXH-6 ($99)** capsule. This gives me a vocal mic, but also an instrument option with the added advantages of direct handling, robustness and near bullet proof high decibel tolerance.
As proof of the benefits of a little thought with sound, I could build up an arsenal of dynamics each suited specifically to different tasks, all for the cost of a mid range lens.
A little more aggressive than the V7, but for into camera work, the extra punch is preferable and it is cheaper than the V7. I will likely end up with both to handle different voices and subjects.
Looking further, I also found the budget-not budget sounding-Prodipe TT1 Lanen for under $100au. This one has a silkier, deeper sound apparently like a Sennheisser E835, is highly efficient and also robust so it offers a third option to the two above. These were made from hand selected Chinese parts by a respected sound guru (Ludovic Lanen) for ridiculously low cost and are regularly compared favourably to multi hundred dollar mics.
For deep or soft voices needing a lift I can use the V3, for neutral voices the V7 and for high pitched or thin voices the TT1. The NEAT Worker Bee II or Prodipe MC-1 are also on the radar for plosive prone subjects and the sE V2 may need looking at. There is room for a fourth or more, but I will sit on this one until I have the three ordered ones in hand. The ideal would probably be a set of one type for consistency and a few problem solvers.
This would also add student interviews (student to student even), high sound pressure instruments like straight down the mouth of a horn, kick drum, amp etc, as well as take some serious physical abuse (all things condensers are less well suited for). With the F1, it would even be possible to wear the kit interview style and sync later if needed.
Still coming in (with adapter), under the cost of just the LCT 441, I now have several ways of recording anything from a rock band, a full orchestra, stage play, interview, a panel to a solo instrumentalist, all with backup options.
The EXH-6 can also take inputs from sound boards etc, so I could potentially feed into both Zooms.
Zoom recorders are known for their relatively noisy pre-amps, especially in their H series (and the AMS interfaces apparently). This is less of an issue with condensers, but with less sensitive dynamic mics it is something to watch. The F series field recorders though seem to be better, so the F1 and EXH-6 capsule may well be better than an AMS anyway.
Where am I right now?
Tool kit;
Robustness (physical and audible) > dynamics (Se V3/V7, TT1).
Sensitivity > condensers (040 Match).
Convenience > on camera mics and capsules (MKE-400, F1/SSH-6 or X/Y caps).
Versatility > external feed into H5/F1 or one to the other.
Discreetness > LAV’s (not strong here, but something useable).
Safety > a Zoom not used with a capsule (H1n, F1 with SSH-6 or X/Y).
The future?
If I do need to add wireless to the kit, something I want to avoid for a variety of reasons (added complication, sound quality and technical inconsistency), I may look at the Hollyland Lark M1 or Max, Smallrig W60 kit or make my dynamic mics wireless with adapters.
Versatility, my favourite strength.
Something else I have learned is the baseline for some microphone types seems to be the Rode NT1 and Shure SM58’s. Look past these though, because the market is evolving in exciting ways.
*Podcastage podcast, which is good fun and very informed, has a great episode about the threshold of money spent to benefits gained. The Dynamic mics in particular tend to flatten out at the sE V7 level, with little to be gained after that for reasonable value. Condensers on the other hand tend to keep improving to the $400+ range, so my research was on point and my path went the right way it seems.
**Just ordered the sE V3 and EXH-6 from a local supplier, then I got an sE 7V for less than the price of the V3 on special ($135au) through that rain forrest crowd, ex Japan. Pays to keep poking. Total cost $370 for 2 mics and adapter (or the cost of the Lewitt 440 alone). Then I grabbed the TT1 for $70 ex UK (the big river guys again). I may grab another TT1 to make 4 all up if it is good or the V3 or NEAT worker bee.