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[Sticky] Microphone Archive Notes

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The Cinema Sound Microphone Archive is an ever-growing reference for independent media creators. This archive is designed to help creators hear what the various manufacturers' microphones sound like in several conditions to better assist creatives in making informed decisions about what to purchase, and to know how each microphone in this archive can enhance their productions. While inexpensive microphones may not be up to the task of rigorous duties, even the most expensive and well-respected microphones may not be the right fit for a particular use. We believe "hearing is believing."

The manufacturers of these microphones have been very generous in allowing us to use their products here, and their appearance here has no bearing on the value of our sponsors' products. Additionally, these listings receive no judgement by Cinema Sound and are placed here in as neutral a capacity as possible. Pains have been taken to insure that the volumes of each entry is similar. Some manufacturers have requested Cinema Sound reviews of their microphones, and those will be found on the blog.

This forum DOES encourage users to speak about their experiences with the mics, suggest other microphones to review, and interact with other members to help bring value and ease of use to all.

There will be absolutely NO FLAMING of mics or manufacturers. If you've had a problem or dislike a product listed here, you are welcome to say so, but one man's hatred for a product is another man's unique way of using it. Please respect the manufacturers who have helped make this archive great.

The Process:

All microphones were recorded in as "real world" a situation as possible. This means no hi-end otherwise-scale-tippingly-high-priced preamps ore software or gear was used. We didn't even record them in a studio. We wanted to give you as "real world" a judgement as possible. So, you'll hear the odd car going by, bird or two, and room noise - which you would get in spades on set.

All mics were recorded on a Zoom F8 @ 192 Khz/24bit, and processed natively at 192 kHz in Adobe Audition. Finally, all files were exported in Adobe Audition to 48 Khz/24 bit aif files where they were uploaded to SoundCloud...and then who knows what happens.

VOs were done at 6" from the mic with a pop filter in place.

Sideways VOs were done at 6" from the mic at 90º off-axis from the diaphragm without a pop filter.

Drills/SFX were recorded at 3" from the mic

Piano was recorded at 2' from the instrument

Ambiences were recorded in a 30X25' carpeted room.

VOs, Drills and Piano were exported at -15 LUFS Average

Ambiences were exported at -23 LUFS Average

Sideways VOs were exported at -20 LUFS Average

The Blue Yeti was recorded at its maximum resolution: 96kHz.

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