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About ivanovich

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    Hero Member

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  • Location
    Washington, DC
  • Interested in Sound for Picture
  • About
    I have mostly done music studio work. I also do a lot of concert, orchestral, and chamber music recording. Recently I started doing more work for location sound and sound for picture. I've been thoroughly enjoying it because it takes me out of the control room!
  1. i wonder if it will really run for 5hrs! this one is definitely cool if it does have that run time!
  2. I've been using Dante's program called Via I believe, and it allows you to route whatever audio (say Skype) internally to a program like protools or audacity. you could setup the tracks accordingly and hit record on the DAW. there might be an easier way though. i tgink ghe program is around $30.
  3. constantin, you're probably right. i think i remember reading a couple of aes papers on the SDC's at some point in the past. definitely agree on polar pattern too. also though, the phrase low end can be kinda vague. i think LdC's along with certain SDC's that are between cardioid and fig 8 have the proximity effect which probably wont come in handy unless you get close to source. in my experience the proximity effect is also like a boost in certain frequencies. i don't know if it extends to low low end like an omni would. i guess i'm just thinking of orchestral recordings and ambience recordings where things can get pretty low.
  4. quick thought on SDC's and LDC's: i think there's a misconception that LDC's have a better low end response when its actually the SDC's (specially omnis) that have an extended low end. i think also SDC's have better transient response too. all this being said, one of my favourite drum mics is the Sony C-37a which is a larger than normal diaphram and has a 'slow' feel to it. its all about taste i guess. i would stick to SDC's since they're more compact.
  5. seems like a mix of lavs is a good idea. also, 2 booms sounds good too. one thing i would do if its a decent sounding room, is use more of a normal cardioid, say like a schoeps mk4 or mk41 if its a bit too noisy. that way if you cant catch a line you can get to it more gracefully sounding than a shotgun type mic. if you had 2 booms with this i bet you could make it sound very natural sounding?
  6. is stereo wireless boom pretty close to blasphemy? i've got a stereo coiled cable for my rigs but just got the stereo cone for the 742. havent tried wireless yet but i'm going to try it soon!
  7. +1 on Constantin's point. I do the CCM41/CCM8 combo and it is pretty sweet. But if you do the CMIT + CCM8 combo you can be even more compact in the sense that you won't need to change microphones all the time. With the CMIT (or other shotgun) you can pick up dialogue and a 'side' ambience with a CCM8. With a 41 capsule or a more hyper/super cardioid you might not get enough focus to pull dialogue from a noisy scene/environment. I'm not too sure what the other mentioned mics 'M' pattern is. I think ideally it's nice to have a softer cardioid in general when doing MS. I can be a little weird to have a hyper/shotgun card as the Mid mic. The nice thing is that you can dial it to taste. Haven't used the 191 but I'm sure it sounds nice too. Also, suspension I've found to be key too. I went from a Rycote MS system to a Cinela, and the difference is night and day. Amazing that cinela stuff!
  8. +1 on the works great front. like has been said, I use them on the longer cables. The stress on cables and connector assemblies haven't been an issue. I just use the Home Depot extension cord reels. Haven't tried the A/V kind. I'm sure they're nice too!
  9. Hi gang, Pretty easy gig in Atlanta and Houston. It's not for picture, but is sound related and helps pay the bills. Admin, if its out of place my apologies. I can (or you can?) take this down if not in the right place. The job requires recording a round table discussion. I used a bunch of figure 8's and two cardioids to record everyone(about 10-17 people). There is no picture involved so that makes it easier. Most of the stuff is going to end up transcribed so the audio will not really be used and probably be discarded. Transcription gig I suppose. Fairly short and nice pay. Below are the timing details: Atlanta-April 6 5pm Calltime - Rec finish At 8.30Houston- April 8 @12p Call time -Rec ends @3.30p If there's any interest please contact me via PM and I'll give more specific details and put you in touch with the client. Cheers! -Ivan
  10. Let us know how responsive the service centers are. I've beenthinking about picking up a sonosax recorder but have been hesitant because of servicing concerns. From what I understand any major repair has to be sent back to the mothership. Are the mentioned people providing services able to do most if not all repairs? I've heard that Sonosax doesn't provide any/minimal technical documents to even qualified technicians. Keep us posted please!
  11. lots of interest things being said here. Henchman, when you say you use Cedar do you use the plugin or the DNS2? It seems like you could also use it as a hardware insert in a post room setting. Anyone out there using it in the control room? Seems like a plush tool to have. If I had it I would definitely use it when called for. I think its great that you could take it to the control room. I end up doing some post work and use Izotope RX5. I'm sure it sounds different.
  12. Off topic, but wanted to say that those linear actuators are sweet. I've been looking for something like this for a plate reverb I built, to control the dampner system. Back on topic, I go back and fro between sitting and standing. On some gigs its nice to have the option to sit on others not so much. Anyone have experience using the A4 Cart from france? The thing looks lovely.
  13. if all this doesn't work out this is what i would do: tell them that having a 'director quality hop' is going to require a slight bit of bulk. then maybe tell them the rental price and or use a spare transmitter/receiver combo in your kit. two ideas come to mind: 1) from my kit, send him a feed from a cameralink (stereo broadcast quality hop) and put an rx200 receiver into my SD mixpre, or some other 'mixpre' box with a nice headphone amp and a stereo input. power all that stuff with a half size inspired energy or full size IE battery, pouch it and hand it over. i've noticed that some of those headphones require a really nice headphone amp to get them going. the other option, which i just learned about (late bloomer), is number 2: rent or buy a 2040 audio ltd. rx/tx kit. feed the mono mix there and hand over the receiver with a lemo plug connecting to headphones. the system sounds fantastic. expensive to buy but easy to rent....
  14. have you tried contacting schoeps? they might have something. i guess maybe you could try getting your preffered ccm mic in a side-address configuration. i personally like the cinela minix joints, they are sweet!
  15. the bubble bee solution seems perfect and makes sense, thanks Rado! still haven't gotten the slims yet. i gave dpa a call a couple of months back and they said they're working on a slim version for zax but didn't give me a specific timeframe or a release date. i'll give the high sensitivity versions a try though....