Sennheiser SK5012 and SK5212

[Bennstir]

Hello there,

 

Has anyone had chance to use the Sennheiser SK5012 or SK5212 radio mic body packs and if so what are your views? I have used SK50's and I believe these to be the best radio mics available so how do the SK5012 and SK5212 compare?

 

Also has anybody ever used radio mics in contemporary dance/movement? I would love to know how you went about mic placement of both pack and cap.

 

Thanks

 

Ben.

[Bobbsy]

I've been lucky enough to work a couple of shows that had enough budget for the SK5212s and was very impressed.

 

Sound quality, to my ears at least, was on a par with the SK50 (used with MKE 2 capsules) but in a far smaller box...they really are tiny when you see them. Frankly, to get the best out of them, you need to bribe the costume department to make you some very small pouches (or suitable pockets somewhere in the costume) as they almost get lost in any conventional mount I had.

 

Sennheiser make big play of the ability to stretch battery life by turning down the wick on transmission power. This seemed to work but I never really played with the reduced power settings on a real show. I was getting plenty of time for a show on full power and, frankly, I doubt that many shows in the league to use the 5212 will worry enough about battery cost to risk using reduced power for real.

 

I've never had to mic contemporary dance but have encountered skimpy leotards etc. Hiding places for those have varied from up in wigs to special rigs in bras. Certainly, if you have to resort to weird hiding places, the size of the 5212 makes it an attractive option.

 

Bob

[Bennstir]

Dear Bob,

 

Thanks for your advice. I'm glad the 5212's are as good as they look, they seem to be the ideal solution to my problem.

 

Do you know of a company who make ear hangers for mics to sit behind the ear. I usually make them up from bits of 1.25mm wire and elasterplast I was wondering if there was a purpose made product?

 

Thanks again

 

Ben.

[Bobbsy]

Not exactly a complete ear hanger, but Canford have a product they call "ear loop wire" which is basically just florist's wire with a vaguely flesh-toned cover and small plastic blobs on either end to avoid "jabs". They're dirt cheap and come in a variety of lengths...I use them pretty often.

 

I'd dig out the part number for you, but my Canford catalogue is presently on a container ship somewhere between the UK and Brisbane!

 

Bob

[Lamplighter]

Ben

If you are looking for budget units try the CPC website or if you want to dabble try a Blue Room search for headworn mics.

Brian

[TeeJay]

Also has anybody ever used radio mics in contemporary dance/movement? I would love to know how you went about mic placement of both pack and cap.

 

The dancers need to get either the pack or a similar sized and weighted copy as soon as possible. This includes whatever attachment is necessary.

 

It helps for a mic to attached as well to check for snagging, sweat-offs and so on so both you and the performer knows what works for them in that piece. Sweat is a problem - as is heavy breathing.

 

The SK5012 small size is a big plus for this kind of work - I've used it in the small of the back and the dancer has been able to position it where they can 'roll' over it with only a little practice. Thigh pouches, bra mounts and wigs have also been used, as have an inside pocket in a dressing gown.

 

You (and the dancer) need to be confident that the moves aren't going to trash the pack, the aerial or any part of the mic and that the dancer is not going to cause damage to themselves or partners.

 

Is this for voice or for body sounds?

 

Good luck and let us know what happens

[Bennstir]

Thanks Teejay,

 

Luckily we can work with the dancers during rehearsals and iron out the pack placement issues. We have also started to tape mics to the heads of the dancers so we can monitor the sweat situation.

 

Now a friend of mine told me about a little trick with MKE capsules in that if you remove the grill and stretch a piece of cling film (food wrap) over the cap and re attach the grill, this can stop the cap from sweating out. Has anyone ever used this technique?

 

Cheers

 

Ben.

[Bobbsy]

I've not heard the cling film trick before and don't know whether or not it would work without changing the audio characteristics of the mics. It's certainly worth a try.

 

An alternative that I HAVE tried with good results is as follows:

 

Beg/borrow or steal some flesh coloured tights or stockings from whatever source you can find. (This part of the technique can be fun!) Treat the tights with Scotchguard fabric protector (which effectively waterproofs them) and allow to dry. Cut the tights into small (roughly 2cm diameter) circles and stretch around the mic capsule, securing the loose end around the cable with a twist of wire or an elastic band.

 

The treated tights keep all but the worst sweat out of the capsule and have little or no audible effect on the sound of the mic.

 

Bob

[Bennstir]

Dear Bob

 

Thanks a lot I'll certainly give that a go.

 

Cheers

 

Ben.

[Matt Riley]

Also, regarding 'off the shelf' easily hireable, high quality headworn solutions, the most common options are the countryman e6 and the dpa 4088. In this case, since your application may well involve lots of movement, then it might be worth looking at the dpa.

 

M.