Michael Pearce

Staff member
Thread starter #1
Hi, my name is Michael, and I have a microphone fetish.

I just acquired an AKG CK93 + SE300B hypercardioid microphone for $338 + tax, and I'm quite impressed. This is a definite buy recommendation.

As you may know, a shotgun is not the ideal type of microphone for indoor dialog from an overhead boom. Because of the way a shotgun microphone works, using an interference tube, reflections from nearby surfaces, like a ceiling, can defeat the directionality of a shotgun. Also, the off-axis rejection of a shotgun microphone tends to vary widely across the frequency spectrum, which can give moving subjects a noticeable frequency shift during their dialog. Instead, the ideal boom microphone for indoor use is a hyper- or supercardioid microphone.

I had considered buying the CK93 years ago, but I ended up getting something else. The product appears to have been discontinued and then recently revived by AKG. I stumbled across it again listening to microphone comparisons, and I was surprised how good it sounded. I was surprised again at the price AKG is selling it for on their own online store (it looks like it may be a sale price for the SE300B body). I decided to get one, partly just to try it out, but also partly to have a less precious microphone in my kit that I can loan out.

The AKG CK93 is a hypercardioid capsule for their modular "blue line" system, and it must be paired with the AKG SE300B preamplifier body.

The microphone arrived today, and I recorded a side-by-side comparison of the CK93 and my Schoeps MK 41. I can tell the difference, mainly in the low-mid frequencies, but beyond that, they perform very similarly. This includes the consistency across frequencies of the off-axis rejection. Keep in mind that the Schoeps mic costs $1655 right now. I wouldn't hesitate to shoot a film with the CK93, or even to mix audio from both mics.

These audio samples were recorded simultaneously, side by side, from a close overhead position as if they were on a boom. They were recorded on a Zoom F4, in my half-finished sound stage in my basement, and the only post-processing has been to normalize both clips to -23 LUFS.
Last edited: