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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. more questions, is it possible to configure the front panel pots to toggle between input gain adj and mix fader? so you could do quick gain adjustments and immediately switch back to fader mixing? i wonder if an automixer is in the works for this little beast
  2. StefB, Thanks for the heads up. I think I might have found an sr4+ that's local. I'll definitely keep you in mind though. So you haven't used it much? Any thoughts on experiences and stability and what not?
  3. I'm seriously considering picking one of these up. How is firmware version 2.5 holding up? I'm in the US and hope that the service is good. Any thoughts would be much appreciated!
  4. Cinela Piano with the Kelly you dont get any raindrop sounds. You could always get a second one to keep swapping them out each day if you need to.....Simple, elegant, efficient...ha!
  5. I'll second the Cinela Piano with the Kelly. I was out a couple of weekends ago in the middle of a rain storm, and generally rain all day heavy at times. I had the CMIT (I know! it actually does fine in rain and humidity!) inside the Cinela rig without any issues. Listening back later in the control room it sounded really really good! Ofcourse the camera department had to stop shooting because the Red got a bit too wet/moist but sound was fine!
  6. i dont normally. since i know the system delay for my zaxcom and i always use them in line inputs of ghe x3 i just let them live like that. i figure what the hey! its easy to do and like has been said before they can really tweak that in post. the beauty of the x3 is that i dont have to do the math! its like having a protools hd system where once you set it you can just forget about it(for the most part) i mostly use the double solo for stereo recordings, for example the main mics of an orchestral recording or something like that. i dont usually do phase correlation for dry dialogue. i'm not too sure if the delays are tweakable while on record position. right now the x3 is with my friends over at Vark Audio getting some work done but when I get it back I'll see if I can access the delay compensation engine while on record.....
  7. one of the many things i like about the x3 is that once you know your delay, you just apply that delay to that input/track and it automatically adjust the rest of the tracks. so in other words if you have 7ms delay, you only apply that delay to the specific channel and the x3 takes care of the rest. i think it has what is called automatic delay compensation. i agree with what has been said above. its negligeble, but i can still hear it so i usually pick one mic over the other. you get this even with wired connections because of physical distance....
  8. yep the mic been around for a while. they also made the c800 which a lot of people prefer and is harder to find-its the one without the heatsink. both the c800 and c800g are based on one of my favourite mics the sony c-37a. cathode follower tube stage. reminds me of the sound of an old la-2a....
  9. i wonder if it will really run for 5hrs! this one is definitely cool if it does have that run time!
  10. 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.
  11. 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.
  12. 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.
  13. 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?
  14. 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!
  15. +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!