Sanken’s CS-3 Shotgun Mic

Field Test #1

Recently, I was the mixer on a film commercial and I chose the Sanken CS-3, for no particular reason other than to see how it would perform.  As it turned out, the CS-3 solved some problems we would have otherwise had to live with.  In short, the production was better because of the Sanken CS-3.

Highly regarded boom pole veteran Mark Zimbicki instantly liked the light weight of the microphone and noted the nice (almost rubbery) flat black finish.  The CS-3 was perfectly happy being suspended in the PSC Universal Shock Mount and the same foam windscreen used for the Sennheiser 416.

The first shot was in a sound stage.  It had Willard Scott walking along the finest wooden walkway that gripology could produce: apple boxes supporting 1″ plywood covered with furniture pads.  Truthfully, the walkway was well built, but apple boxes have a unique resonance that we’re all too familiar with.  I, for one, would prefer living without it.  The shot was a medium-wide.  We were able to work the CS-3 microphone at a distance of about three feet, with the typical downward angle.  During rehearsals everything seemed fine.  When the stage finally got quiet (which, of course, was not until we rolled on the first take) Mark and I were annoyed by the footsteps on the wooden structure.  As usual in this situation, we assumed we would just have to live with it.  Then I remembered this microphone’s characteristic of extreme rejection from the sides and rear, even with low frequencies.   So, I had Mark “flatten” the angle of the microphone a little.  The foot steps were more off axis, and guess what?…they all but completely disappeared.  It really was amazing.  This is especially amazing when considering its very forgiving, 50 degree, “front door” pick-up pattern.  Willard could be his animated self, turning his head at will, without us worrying so much about him getting out of “the sweet spot”.

Working the mic at a flatter angle meant that the microphone had to be a little further from the talent to remain out of frame.  Since the CS-3’s increased rejection results in “longer reach”, the added distance was not a problem.

Another strong point of the CS-3 is its complete absence of proximity effect (the accentuation of low frequencies as the microphone moves closer to the source, typically causing close-ups to sound muddy).  To test this characteristic in a real work situation we worked the CS-3 at hairline level (pretending Willard had a hairline) during the close-ups.  Sure enough, the close-up boominess that is such a problem with, for example, the Schoeps MK-41 (hypercardioid), was not a factor.

Field Test #2 (It proved itself again.)

More recently, while shooting a clothing commercial on location at a golf course, the CS-3 performed its “miracles” even more noticeably.

On this job, most of the problem sounds that concerned the boom operator and I were from the generator, the frequent nearby train and the occasional airplane.

The first thing my boom operator noticed was, as usual, the generator was parked too close for comfort.  Before going through the tooth pulling routine of getting it moved, we decided to see what it sound like with the CS-3 off axis.  I wish you could have seen the smile on the boom operator’s face as he cued the CS-3 toward the generator and then away from it.  It was almost as if the generator had been shut down.  The constant low frequency rumble that seems to always be there, no matter which direction the mic is pointed, was actually gone (the electric department instantly took a liking to the CS-3).

There was a nearby train that was, at best, 90 degrees off axis (or 90 degrees on axis, your choice), so we did stop for it.  However, we were able to roll right through the buzz of small airplanes cruising by overhead; the same ones we would have stopped for using the MKH-60 or 416.  Once again, the CS-3 was not only a good choice, for this particular production it was the best choice of any microphone available.

Sound Quality

Regarding sound quality, in my opinion the CS-3 is well within the acceptable fidelity range for most situations.  The first thing you will probably notice while listening to this mic is what appears to be a slight absence of low frequencies.  True, the CS-3 does not have quite the low end sensitivity of the Sennheiser MKH Series, and certainly not that of the Schoeps, but the most significant factor causing this apparent lack of low frequency is actually quite an achievement for Sanken: When off axis, the low frequencies are attenuated at almost exactly the same rate as the high frequencies; much more so than any other directional mics I have used.  So, when comparing the CS-3 with, say, the MKH-60, most of the additional low frequencies you hear with the MKH-60 will be from off axis ambience.

The early CS-3’s had a slight problem when used with some preamps which caused low frequencies to be further attenuated.  This problem has since been remedied.

To be fair, the CS-3’s weak point (though weak may be too strong a word) is probably in its self-noise level.  While it still has respectable specs, it is not as quiet as the familiar standard boom mics (i.e. Sennheiser, Schoeps, Neumann).  This would only become a factor using very good preamps (i.e. Cooper, Sonosax, etc) in a very quiet sound stage during those low level whisper scenes mic’d at a distance (you know the drill).  For those scenes, I have yet to find a replacement for my Schoeps MK-41 with the CUT-1.  For most film dialogue applications, and certainly for ENG production, the self noise of the Sanken CS-3 simply would not be a problem.

In Summary

In summary, one or two of the Sanken CS-3 shotgun microphones would work well in any sound mixer’s package.  It is a tool that I predict will become standard, if not mandatory, as mixers become familiar with its attributes.  While its extreme and flat off axis rejection, relatively wide pattern (for a shotgun), light weight, and lack of proximity effect can be appreciated by anyone in the business, the microphone may find its most appreciative fans in news and other ENG type production; no, second thought, probably film production; no, maybe commercials; no, probably Sit-coms; Documentaries?

Anyway, what ever type of production you are involved with, if you give this mic a fair chance, I think you will agree.  –Glen Trew

Sanken CS-3 Specifications