No worries, I need off axis response out of a dynamic, not rejection (I know "you need what?") so if it's got good rejection I don't need it.>>58051010
I had a bunch of access to some fantastic microphones for a while and it was a lot of fun to play with them but I had built up this "ooh all I need is that one ribbon that I can't afford, or that one tube mic that I can't afford" in my head and when I actually got to play with them? Huh... well that doesn't fix everything...
It was a harsh, but valuable lesson. I've got shitty microphones that are actually pretty shitty, and some shitty microphones that are pretty good. I've got some fancy microphones that are good when you find their spot, and crap otherwise. FUCK I can't tell you how pissed I was first time I took that Schoeps MS rig out and got a pile of crap because it was humid out. "I spent $2500 for this?!" when my shitty old ass 416 worked just great.
I posted earlier in this thread but I wired a pair of SM57s into a Zoom H2 and left them on the landing pad for a sikorsky blackhawk flyover and holy shit if that wasn't the best recording of the day. No suspension mount, no correct ORTF layout, just a pair of 57s sitting on a brick of foam wired into the shittiest little handheld I could get.
So then I take that recording in and hand it to an Oscar winning editor and sheepishly tell him how I got it, expecting him to kick my ass for not spending the time to set it up right and he says: "Sounds fucking great." When I stop him to say how "flawed" the recording is he says: "No one watching this movie gives a shit about how you recorded this thing, they care how it sounds."