"Shhhhhhh, don't let the indie film sound guys hear about these mics..."

Feature:
Accessories included foam windscreens, shock mounts, mic stand adaptors and a hard carrying case. The windscreen is essential for motion picture sound, the shock mounts are a true value added when used on the boom pole. The stereo barr has standard threads, so we don't use the adaptors, and the hardshell case makes storage, transport and set up a breeze. The microphones are high quality small diaphraghm condensors and are made from top notch materials. I think Samson went all out with this combo, and it shows.

Quality:
High quality. Nice shiny finish on the microphones. The shockmounts actually work and the hard case is sturdy. Although not designed for motion picture sound, that's what we're using them for and the results rival any of the "dedicated" "video mics" out there now. While they only have to last until the end of this motion picture project (April to October 2006), they aren't showing any signs of wear and sound as good as the day we bought them. Will probably last through at least the next two movies we shoot.

Value:
The price for this pair of small diaphragm condensor mics is somewhat less that half of a single dedicated "video microphone" For less than half the price of the lowest priced (mono) shotguns, we get a pair of condensors. The added production value we get from the stereo sound is a multiplier when looking at value. I hope these mics stay a secret from the rest of the "industry" folks for a while. It's out secret weapon.

Desirability:
For independent film professionals who need good sound, this is not a set up to miss. Good sound is sexy, but good sound at prices like this is, well, erotic.

Sound:
The sound is ouststanding. Clear and crisp. I use it in an X/Y stereo pattern to input into camera for motion picture audio. Paired with a phantom powered field mixer, the sound is great. These microphones give a great stero field and the stereo room ambience it picks up gives a live feel to the sound that minimizes the amount of post-production processing we have to do. Dialogue sounds is extremely clear and using the X/Y pattern on a stereo microphone bar lets us get both sides of the dialogue, without having to move the boom.

Ease of Use:
Plug in and go. Can't be much simpler than this. We're using a Rolls phantom powered field mixer. Even though the mixer is rated at 18V and the CO2 manual states it need 48V, we have not had a problem using the 18V (2 9volt batteries) set up with the Rolls mixer. Check the Rolls site for their take on how much voltage a phantom powered micrphone really needs. Like i said, we have not had any problems and all of the recordings from the shoots have been pristine.

Support:
haven't had to use the support. A testament to how ell they are built.

Overall:
Probably will not search fo another product unless these are stolen. And even then, we'll probably stick with the CO2's. If it wears out, we'll buy the same. Our real hope is to parlay the production value we gain into deal that let's us sit back, direct the operation, and not have to worry about equipment. That's the dream...