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About jhharvest

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    Hero Member

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  • Location
    Seoul, Korea
  • Interested in Sound for Picture
  • About
    Location mixer & post. From Finland but currently in SE Asia.
  1. Do a blind ABX test. Report back if you can tell the difference... (:
  2. The more I think of these two boxes the more I wonder why they have the MixPre name attached to them. I'm not saying they're bad boxes but without even balanced outputs or AES how can they be MixPre? Why wrangle them into that product line?
  3. Just came across this video: https://www.youtube.com/watch?v=KnpsMG0PWRY And relevant article on Bernie: http://www.emusician.com/artists/1333/going-wild-with-bernie-krause/37582 Might be interesting to the thread starter.
  4. Maybe a good business idea would be to sell a cable with a small scratch mic built into it...
  5. In my experience better jobs come with better credits and contacts, not with better gear. But I'm working in niche markets so it might be different where you're at. That said. Out of your kit I'd first pick better lav mics (while the G3 radios aren't great, I feel the biggest constraint is the stock mics, replacing those with DPA or something will see an improvement), smart slate + sync box(es) and a good indoor mic. Do you have a rental source for comteks and other situational gubbins? How's your situation with sound blankets and stands and miscellaneous?
  6. As I said, I haven't done nature recordings which is why I hoped someone with more experience would chip in. I've used the Sennheiser 30/40 MS setup (but for music recordings), and Earthworks omnis on choirs in AB. I wouldn't hesitate to recommend either, when paired with good pre-amps. I've also used AKG 414 pairs for MS (music, again) but I don't think it's useful for this application. The other thought I had is, if you want to compare F4 and some Sound Devices recorder, why not just hire both for a day and a matched pair of some mics? That way you should have the opportunity to compare apples to apples, identical recordings et al. It sounds like you've got a fairly good grasp on what you want anyway, might give you that final confirmation to your ideas? What, so he gets mugged even before he sets foot outside UK?
  7. For this kind of a project I would 100% bring some kind of a MS setup. It will give you the option of stereo but also gives you a very clean mono track. Easier setup than AB omnis. But how distant is "distant sounds"? As far as I know, at some point your only options are a parabolic (with the associated phase and frequency issues) or a binaural recording like Jecklin disk and some Earthworks omnis. Maybe someone else has more experience with pure nature recordings and would care to chip in on the topic.
  8. They do use lavs on the James Corden gag, at least occasionally.
  9. Cheers!
  10. In your mixer route your talkback mic to your boom op, not to the recorder channels. Should be possible on most integrated mixer/recorders as well.
  11. Anyone based on Java? Easy-ish 3 day shoot in Surakarta towards end of April.
  12. If you are running TC and smart slates, be aware that the Tascam DR70 doesn't have a TC option at all. The DR701 does, and it works okay but you'll need to feed it sync constantly or it'll drift horribly. The DR701 has a few ease of use features which make it overall nicer to work with though, but of course it does cost like twice as much. This is where you may have trouble: your location will have a lot more reflections / reverb or background noise than you anticipated the reason why cardioids are usually preferred to interference tube designs (shotguns) indoors is because reflections can sound pretty harsh since you are not used to booming, you'll either be too conservative with the frame line (and get too little presence), or too close and dip into the frame this comes with experience, work with camera crew (or focus puller especially on smaller shoots), buy them beers, make friends. related to that: ceilings and hanging light fixtures having the right shock mounting options helps here, express your concerns if you can't make the moves you need to capture the scene, maybe you can nudge it a few feet also know when to scoop (boom from below) and when not to you'll be late tracking between actors delivering their lines lavs can save you here in post, wider pickup pattern mics can also help since you aren't running lavs for backup, wide shots may be an issue if the director doesn't do half your work for you you need to make sure that either there is no visual sync cues and you can ADR, or dialogue doesn't get used from those shots where you can't record it; ADR with talent who aren't used to it can be challenging not enough room tone / forgotten room tone, or not taking location sfx or capturing the sfx so it doesn't work in the post I'm not an expert like some of the guys here though, so take it with a pinch of salt. These are just some issues I've seen. I hope someone else can give you a better idea.
  13. As a followup on this: Sennheiser replaced my unit for a newer one (with the black band) free of charge.
  14. +1 to keeping a 416 as a backup. My 8060 is with Sennheiser techs as we speak.