Sound & quality

The frequency response is actually flat, as according to specs but this is only true when two very specific conditions are met, which is being positioned directly on axis and at 12-inch distance from the source. Since it is designed for dialogues however, don’t expect to get a neutral response, because everyone would be off-axis, and then highs start to roll off way too soon leaving nothing but midrange and a bit of overblown lows, depending on the distance. For what it is used it becomes rather dark sounding and could certainly use some high shelf equalization. I can’t say it’s particularly bad or anything – it would be a good sound for a budget mic, not for something sold for six hundred dollars!

– I mean you could buy NTG-3 for this money, a professional shotgun that can work rather well for indoors too.

AT4053b definitely sounds rich but not necessarily very clean compared to expensive shotguns. This is especially true when up-close. The mic does have a roll-off switch that helps very much but doesn’t eliminate the muddy feeling completely. It thus sort of limits its usage to where you can allow more distance with positioning. On the other hand, its side rejection isn’t that strong so you may be capturing a bit too much of the background in a noisy setting. Yet, this also makes it sound a bit more natural in comparison to cheaper shotguns and still helps to negate the comb-filter effects considerably. So the mic isn’t necessarily bad at all, and actually has some benefits of its own… it just doesn’t justify the price for me.

Application

One of the advantages of the Audio Technica AT4053b is that it preserves the lows rather well with distance, which gives it a bit more reach than the other mics around there. In that respect, it comes pretty close to the MKH 50 (even though it may lose quite a bit of highs along the way), and it still sounds quite natural, especially if you aren’t being picky like me. This is where it even beats the Audix SCX1-HC, which thins out with distance much sooner. Of course, in a normal setting for 1-2 persons, this is not the problem for the SCX1-HC, but with bigger groups of people and larger distance, AT4053b can actually shine better, especially in a quiet setting with not too much of background.

Now the only caveat is this mic is very sensitive to vibrations, even to a higher degree than the MKH 50. Therefore, it’s very difficult if not impossible to use with a boom, unless high-end shock mounts are used. This makes little sense however, buying a $200-300 shock mount for a $600 mic… Low cut switch does help greatly with reducing the rumble, so I advise using it when applicable. Still, I can’t particularly advise it for booming, which only leaves one viable option and that is using it with mounted booms. In terms of noise it is rated 16 dB-A, surpassed by both Sennheiser and Audix mics. Usually this is fine but the noise certainly adds up with distance because you have to multiply the signal, so this could be potentially audible in a very quiet setting when the source of the sound is not loud enough.

Overall

Audio Technica does offer fairly good budget shotguns but this AT4053b hypercardioid just seems a little bit overpriced. Hell, for a 15-year old model they should consider some price reduction. It’s not like it’s some kind of high-end, irreplaceable mic with unbeatable specs. It may have a relatively flat on-axis response when it comes to the specs, but that’s about it. The off-axis response is considerably darker and the self-noise is rather high, not to mention the side rejection is a bit too weak for a hypercardioid. And yet, if you can’t afford the better MKH 50 and looking for an indoor mic with a bit more reach than the SCX1-HC and don’t mind using stationary booms, while trying to capitalize on that rich low end and natural tone…

- Then Audio Technica AT4053b is certainly a viable option!

- Reviewed at $599

Best Price on Audio-Technica AT4053B

---

Sound & quality

This is not an exaggeration when I say the sound of MKH416 is fantastic. The frequency pattern of this mic has been tailor-made with precision. The midrange is totally flat hence it has a very natural sound that compares to and even beats non-shotgun mics as long as you remain in the sweet spot and don’t go too much off-axis because that’s what we are trying to reject. The sound is very clean throughout the specter; especially the rich low end that it offers is simply fantastic. On the other hand, the highs are noticeably brightened, there is a lot of air and openness to it and virtually zero distortion and I mean it.

Technical specs are as follows:

• Equivalent noise (A-weighted) = 13 dB
• Sensitivity = 25 mV/PA

Sennheiser MKH416 is quite sensitive and doesn’t need much gain. The equivalent noise figure is within expectations from the mics of this price range. If you can read it – great, if not all I can say is you won’t hear any static or noise unless in a completely soundproof room, and even there it could be considered negligible for video production purposes. Sennheiser also offers mics with lower noise figures but this directly reflects on their price and it’s simply not needed in most cases. There is a misconception that the MKH416 has a tube preamp, but it’s actually solid state. Tube interference – is a fancy way of saying boom mic.

Directionality

The amount of rejection on the MKH416 is not too tight. It is still a shotgun, and it works like shotgun and perfectly rejects a reasonable amount of extraneous sounds but do not be deluded into thinking that it actually offers a tighter pattern – it is not. In fact, its pattern is more comparable to hypercardioid mics, which are commonly used for miking indoors. It’s also one of the reasons it actually perfectly suits the voice over job unlike any other shotgun. Hence, it has a double purpose; it is used for both voice-overs indoors, and outdoor recording, such as in filmmaking, documentaries and of course, TV shows.

Voiceovers

You may wonder why MKH416 for voiceovers aside from everyone using it and it’s good that you don’t blindly follow the herd and are trying to understand yourself. Indeed, spending a grand on a shotgun… (?) when you are not even a filmmaker may sound counterintuitive. My answer is this – first forget that it is a shotgun, it’s just a mic. Other shotguns may have tighter patterns and sound unnatural, especially indoors, but this one is not the case. When you try it for voiceovers, you will fall in love with its tone. The sound is beautiful out of the box and requires little to no postproduction, once again, unlike other shotguns.

Second, it actually rivals studio mics with cardioid patterns and large diaphragm condensers such as Neumann TLM103 (similarly priced by the way). Why? Because most voiceover work is never done in a soundproof studio where those usually shine. If you get the Neumann with that huge ass shock mount and pop-filter in your home, you will be disappointed by the amount of room reverb and noise it would pick. And there is nothing you can do about it other than treating and soundproofing your room. MKH416 actually saves you money because you don’t have to do it; simply a quiet room is all you need.

Build and durability

The mic is relatively compact only 250 mm in length and 19mm in diameter, though a bit on a heavier side, weighting 175 grams. Obviously phantom powered, there are no batteries but it’s quite energy efficient and can work off a portable recorder for a good while. If you don’t have a portable recorder yet, be sure to check out available discounted offers. My go-to recorders are usually Zoom, they are rugged and provide top-notch recording quality, and the hottest model at the time of writing is Zoom H4n. It is compact and relatively inexpensive, and while there are more advanced versions, the H4 is perfect to get you started, so I’ll include the link to the offer below.

Regarding the build quality and durability, we give it the highest possible mark. This review may be a bit late but the Sennheiser MKH416 and its forerunner MKH415 have been known for decades. Sennheiser definitely know what they are doing because despite the time it has retained the go-to professional shotgun status and an industry standard for not only video making and everything that comes with that but also voice-overs, which I cannot stress enough. And the mic has never had any reported issues with faulty units or dying prematurely. It’s a solid tool that’s worth every dollar and will last for a decade.

- Reviewed at $998

Advantages:

• Double purpose: video making and voiceovers
• Fantastic, very clean quality of sound
• Natural tone and robust richness
• Well deserves the price tag
• Very solid and durable
• Industry standard

Best Price on Sennheiser MKH416

---

Best Price on Zoom H4n digital recorder

---

Features

Not so long ago, AKG C1000s has been robbed of omni mode and continuous variable pattern. Now, you can only switch between cardioid and hypercardioid – but the good news, it became a lot cheaper. It’s important to note that switching requires unscrewing the mic’s head and inserting a polar pattern converter that looks like a perforated plastic cap. Aside from this polar converter, the package also includes another cheap looking cap that is promised to ‘boost’ the high range. This makes it sound even brighter but technically it’s not a booster. It is a simple hi-pass filter so it actually reduces the lows, also resulting in lower sensitivity.

This mic has two powering options – phantom power and two AA batteries. It draws quite a bit of phantom power, so don’t even think of powering it from digital recorders. However, it is much more efficient when running off internal batteries, which are claimed to last for 120 hours. A handy on-off switch is there to converse the energy. Finally, there is a low cut switch (that will further help males sound like castratus, though it can be safely used on cymbals) and 10 dB attenuation pad.

Sound & quality

Most of the small diaphragm mics available on the market have a flat frequency response, so they sound more or less similar. There are of course many differences, but essentially they share the same character. However, AKG C1000s does not sound like the rest. It’s quite a bit brighter and creates an impression of a more expensive sound. I personally enjoy it, and find it very useful for live performance. This mic clears the things up and helps musicians to cut through where flatter mics don’t.

On the other hand, I can achieve a similar sound by applying EQ on some flat mic, so for me it isn’t a great deal. But, if you want to have this brighter sound out of the box, then getting C1000s is fully justifiable. Nevertheless, this pleasant sound character and versatile multifunctionality may work together to divert your attention from something that is lacking, and that something is quality. Self-noise figure of 21 dB-A coupled with unusually low sensitivity of 6 mV/Pa could be considered only average at best. It would be ok back in 2000s but for today’s standards it’s fairly noisy!

Placement

AKG C1000s is no doubt a versatile mic, but it’s also sensitive to placement. You should never get too up close and directly on axis, otherwise you will likely get that brittle, harsh and distorted sound. Small diaphragm mics usually need some space to breathe. Moving slightly off axis will also help to reduce popping and control the brightness. It may actually take a while to find the best sweet spot for your application, considering there are many things to play with… However, once you nail it down, you’ll find it quite rewarding. When set correctly, it should sound as good as expensive pencil mics only not as quiet.

Build

This mic is obscenely huge and massive compared to other pencil mics. It may be solid and even durable but it feels cheap. The glittery paint may look attractive at first but over time, it will get ugly with dents and scratches. The grille is not only the ugliest I’ve seen, but it’s also not very functional and the wide frontal openings actually expose the internal foam. The cheaply looking plastic polar & frequency converters are the final blow for me. Aesthetically I hate this microphone; nevertheless, the internal electronic parts and the connector appear to be quality and deserve a credit.

Best Price on Audix S1000s

---

Sound & quality

Audix SCX1-HC sounds slightly bright – it’s got some nice unobtrusive clarity and plenty of air. As you would expect from a quality SDC, it is very transparent and easily extends to 20 kHz without producing any noticeable distortions. The midrange is markedly clean and naturally represents the timbre of my voice. The acoustic guitar also sounds beautiful when you find the right sweet spot, which is not at all difficult. The bottom end is represented fully, without leaving anything out. And, it also exhibits a good sense of balance so the sound is neither thin nor too bassy.

The polar pattern of SCX1-HC is relatively narrow, which can be both a good and a bad thing, depending on the situation. The good thing is that having an excellent side rejection, it will minimize the echoes and other extraneous sounds coming from the environment. Especially when booming, noises coming from the camera crew or even the audience will be greatly reduced. The bad thing is that you will have to deal with a slightly more colored off axis response. When booming correctly, you will not hear any difference, but if boom operator is slacking, this could become a little bit more noticeable.

In terms of rejection, it feels similar to short shotguns, except it just gives better indoor performance. I find it works best for miking just one or two persons. For larger groups of people you will need to use something with a wider range in order to achieve better results. You can still get away with SCX1-HC as you raise it higher, but this is not something that I would advise doing on a daily basis. In terms of noise, this mic shows an excellent performance. Self-noise figure is only 14 dB-A, which is good for this type of mic, especially for the price – better are only expensive Sennheisers.

Comparison

Many people compare this mic to Audio-Technica AT4053b, because the two are in the same price range. If SCX1-HC has a narrow pattern, AT4053b is the exact opposite – it is widest of all. Audio Technica can work for larger groups of people, but it has issues with handling noise, so I do not particularly recommend it. Unless you are planning to use it exclusively with mounted booms. Despite having a wider pickup, the sound quality is inferior to Audix. Self-noise figure is only average – 16 dB-A. Considering the price of Audio Technica mic, the performance is rather sub-par.

Sennheiser MKH 50 is another mic widely used by videographers. It has better specs and sounds richer and more natural than Audix SCX1-HC. The self-noise of this mic is very low – only 12 dB-A; plus it has a significantly higher sensitivity (25mV/Pa vs 17mV/Pa), which converts into 3 dB more signal. This effectively makes it less noisy by 5 dB, which is amazing. The pickup is not as narrow but still offers a good rejection. I find it somewhat easier to work with – it has a good range and it’s a bit more versatile for different situations. Some people even use it outdoors and achieve great results. However, MKH 50 is about twice more expensive than SCX1-HC.

Poor Man’s Schoeps

Audix SCX1-HC happens to be one of the most affordable hypercardioids designed specifically for indoor miking. Considering the price, it has a fantastic performance and closely matches the specs of Schoeps Colette MK41. Accordingly, it is dubbed as a poor man’s Schoeps. Colette’s performance is only slightly better, yet it is three times more expensive. Among the available models, Audix SCX1-HC is the only one built in the USA. This allows to cut down on customs and other charges associated with import, so it will cost you less than imported brands. Unless you can afford Sennheiser, it should be a no brainer.

- Reviewed at $499

Best Price on Audix SCX1-HC

---

Sound & quality

As we discuss the advantages of Audix Om-7, I would like to go through some of the most common problems that musicians face during live performances. The stage and studio microphones are completely different. In studio recording, the goal is to capture precise and neutral sound, which is easier to work with and can be post processed if needed. However on stage, the conditions are much more aggressive, and if something didn’t sound outright good you’ll never have a chance to retry. The more aggressive the stage is, the more difficult it is for a singer to sound right.

Cutting through

Many singers can’t even hear their own voices. Some mics simply cannot cut through, especially if it’s modern music or rock. As a result, the vocalist will have to raise his or her voice to find himself (herself) performing out of comfort range. Not only will it sound terrible and amateurish, but may also result in vocal cords injury. Other singers will attempt shoving microphone into the mouth or even cup it with their hands (please don’t do this) to gain every bit of gain possible. Even though some mics are designed for abuse, this will result in overblown lows and intolerable mud. Om-7 has a decent amount of brightness and a very balanced low end, so there won’t be such problem.

Bleeding

Back vocalists might be facing another issue called ‘bleeding’. For instance, a typical drum set is quite loud by itself, so when you stand near your microphone also captures it. The point is, some musicians will always stand close to something else. In a mix, this results in muddy confusion, which you want to avoid. The more back vocals are there with their mics on, the more destructive can bleeding become. Then again, if you happen to have noisy crowds, some of their shouting and whistles may get both recorded and translated through PA system.

Pickup pattern

To combat those issues, performers use mics with tighter pick-up patterns, I.e. cardioids, supercardoids or hypercardioids. However, the tighter the pick-up pattern is, the more it has to deal with proximity effect. A mic with a tighter pick-up naturally gives an exaggerated low response that often gets quite out of place. To combat this, manufacturers tailor the mics’ frequency patterns accordingly; however, it is very difficult to achieve that perfect balance and most of the mics especially in a budget price range fail in doing so.

OM-7 has a tighter hypercardioid pattern, which helps to minimize the amount of bleed and improve the gain before feedback tremendously. We’ve reviewed a number of hypercardioid mics before but in this aspect OM-7 is clearly the leader. This means, even singers with weaker voices won’t have any struggles as you can simply add more gain, without worrying about the consequences. The mic also cuts through beautifully and works great for both female and deeper male voices.

Other use

Can this mic be used for something like karaoke? Well, yes – just make sure you can add enough gain, because its signal output is quite low and it requires a bit of amplification. Some cheaper karaoke systems won’t have that option, so be careful. Audix OM-7 offers an exceptional clarity and despite being hypercardioid it produces a very natural tone, so it shouldn’t hurt, although if feedback and bleeding is not an issue it is of course more logical to stick with some common cardiods instead.

Design and build

The design of Audix OM-7 is simple and neat. It has a full metal body with a matte black paint, and it feels quite solid. On the inside, it relies on an advanced capsule with a very low mass diaphragm, which is responsible for its clean and punchy sound. The mic also boasts to have an exceptional transient response, usually present only in quality condenser microphones. As it has a more delicate capsule, I would advise not to be careless about its exploitation. Audix OM-7 can be less durable than SM58 but for sure, it won’t break for no apparent reason and I bet it can survive a couple of good blows. (The secret of SM58’s durability actually lies in a thicker diaphragm, which unfortunately makes it sound rather muffled). The manufacturer also covers OM-7 with a 5-year warranty, so you’ve got an assurance.

Overall

Audix OM-7 is certainly among the best live mics in its category. Such superior clarity, the ability to cut through while being totally free from feedback and bleeding issues are in my opinion priceless. For a stage performer that is… so if you perform on loud stages and want tightest pickup, it’s a no-brainer to grab it. Many singers rightfully find this mic an eye-opener, as it’s quite unique and I’d say, it’s certainly worth adding to your collection.

Best Price on Audix OM-7 Microphone

---