Issue link: http://digital.copcomm.com/i/856624
36 S U M M E R 2 0 1 7 C A S Q U A R T E R L Y super judgy and a curmudgeon about this but, honestly, this craft is serious business. Why are you doing a gig that you have no business doing? Did you get this gig because you were the cheaper person? Do you want to be known as that person? These debates can often ignite people who are very experienced in our craft but maybe don't work as often as they used to and thus feel like they are experiencing the direct effects of this newbie- undercutting conundrum. I do empathize with those who hold that point of view, though I'm not fully on board with chastising the newbie either. I'm honestly still infuriated by sound forum posts that are clearly started by people who have no business doing a gig they are doing and then asking for help from people who maybe should be doing the gig. However, we have an amazing sound community here in Los Angeles. So many polite, enthusiastic and like-minded sound professionals come together in the workplace and at social gatherings and would totally come through for that 5-pin Lemo to RED Epic timecode cable. They are just all-around nice, genuine people who are supportive of one another's success! Similarly, I have called fellow mixers on the same studio lot as me for emergency earwigs (thanks, Stephen Tibbo CAS). So I know how this can feel. This is where I don't always let myself get sucked down the rabbit hole of being bitter about newbies asking questions that paint them as unprepared and unqualified. I am more likely to get on the bandwagon of communal support and social understanding. I don't want to condemn the novice, but I also don't want to let him completely off the hook. True professionals spend years perfecting their craft and refining their workflow and business model and it can be frustrating to see people who are unqualified and unprepared but are reaping the continuous benefits of communal support as well as intellectual and equipment generosity. CONCLUSION [SHOTGUNS I REALLY USE] Okay, if I baited you with this title because you have a genuine interest in shotgun mics and navigating their tricky buying options, I apologize. To make amends, let's talk a little about shotgun mics. The first shotgun mic I purchased during my sophomore year of college was a Sennheiser 416 P48 with a full Rycote zeppelin, high- wind cover and Windjammer. This is the mic that every sound mixer should have in their inventory. You could Sennheiser MKH60 hammer nails into wood with it. They can also withstand almost any weather conditions. I have had mine doused with water and, after being dried out, work perfectly. I felt such audio bliss when recording with this mic back in the day and still enjoy its sound quality. Currently, my favorite go-to shotgun is the Schoeps CMIT. It's more delicate than other mics, but I love the natural sound and substantial reach it has as it scoops up close-up sounding dialogue pushed several feet up. And wow! How about that Schoeps MiniCMIT!? Gorgeous piece of art, not to mention an amazing sounding mic in an updated, power-efficient and tiny package. What about all of the other mics? Some sound mixers have an absolute affinity with the Sanken CS-3e. It has an incredibly narrow reach with an off-axis rejection not maintained by many other shotgun mics. The elephant in the room—the Sennheiser 816. I have watched and listened to masterful boom operators operate this microphone—which is not for the average practitioner. This mic can pinpoint soft dialogue from a distance like no other. It can also be the victim of harsh reverberation—which should go without saying— but can also have a harsh bounce outside with inconsistent beach surf and traffic. And let's not forget the Sennheiser MKH60 and MKH70. Let's see what else? DPA 4017B! I have not personally used these but have heard amazing things. Old-school choices include Neumann KMR81 and KMR82. Inexpensive brand choices include Rode and Audio-Technica. Even with contemporary choices, many of these listed have existed for the last three decades! There are so many choices! I can see why this question has been asked. But I can also see why it has been condemned as an unanswerable question. To problem-solve and make this question answerable, here we go: It depends on the application. It depends on what your budget is. It depends on what your ears are pleased with. Also—all of them are fantastic. Choose one you like and buy two of them. Then you'll be off to a good start.•