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OnTheSoundSideOfLife

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About OnTheSoundSideOfLife

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  • Location
    Germany
  • Interested in Sound for Picture
    Yes
  • About
    Sounddesigner, Location Sound Mixer/ Boom Op, Field Recordist

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  1. OnTheSoundSideOfLife

    DIY Boom Holder/Cradle (Fishing Pole Holder) Link?

    Kortwich has an adapter for the Boom Boy, have not tested it yet, but looks solid https://www.shop-ftt.de/de/boomboy1
  2. OnTheSoundSideOfLife

    Audio waveform search and match in ProTools?

    I was deperately looking for that waveform sync function and found SynchroArts "VocALign Project" being limited to 120 sec clips (no Ilok dongle required) and "VocALign Pro" limited to 300 sec clips (Ilok dongle required). "Revoice Pro" seems to be unlimited, but its intended to align waveforms and tune/stretch them (for vocals or ADR from different takes). Even though I took the same recordings from different mics, Revoice stretched certain parts and I couldn't figured out how to fix this yet. Vocalign seems to be perfect, it's really just a window where you analyze the source track and the dub track and they get synced within Protools with a mouse click. But unfortunately it gets re-rendered. When you trim your dub track to 120/300 sec, you won't be able to stretch it out again.
  3. I recently did the post production for a short movie where the actors tried to lipsync a pre recorded song on set, which later on was replaced with the studio recording and had to sound like it was recorded on set. Tried a few stock IRs in Altiverb, but nothing matched quite well, so we drove to the location and recorded some IRs. Used the Mkh 8040/30 MS combo, and a balloon (which worked the best). If the studio version of the song would have been recorded with the same location mic (mkh60), the results probably would have been better, but nevertheless I got a lot closer than with any other IR, like 85-90% with eqing. You can probably match it up to 95% if everything is recorded with the same mics, eq'd properly etc. It's true that you will never have the same acoustics without lights, people and other stuff in the room, but honestly you don't want anything noisey while recording IRs and if the room is too reflective you can try molton to damp it. The last time I was the production sound mixer, I recorded IRs after the shoot, because I new I would be doing the post production aswell. Never had a request from other re-recording mixers or sounddesigners tho, sometimes they don't even know what an IR is..
  4. OnTheSoundSideOfLife

    Timecode question

    Hi Brian, I just got a Tentacle myself and tested it with my 744T. So far the plan sounds good, but as Derek stated you have to be careful with the cables. I don't think that you can accidentally jam your 744T to the Tentacle by just using the wrong cable. You would need to be in the wrong TC mode on the 744T ("Jam once and Freerun" instead of "Freerun") and you would need to be in green mode on the Tentacle instead of red mode. Also you have to press "Jam" manually on the 744T, so there is no way that could happen. But the way you described it you cannot use the same cable (5Pin Lemo to 3,5mm) for both 744T and Mini, because you would send TC from the 744T (Freerun) to the Tentacle and then theoretically send TC from the Mini to the Tentacle. You would need the 3,5mm to 5Pin Lemo and Tentacle in green mode for the mini instead. If you'll only have the 5Pin Lemo to 3,5mm, the Tentacle is basically useless. The other way would be using just the 3,5mm to 5Pin Lemo by jamming the 744T ("Jam once and Freerun"-Mode) to the Tentacles TC and let the 744Ts internal generator hold it and then connect your Tentacle to the Alexa Mini and keep feeding TC. I don't see any difference between both methods, as both Tentacle and 744T have stable TC generators. The only difference is that the 744T switches to a less accurate clock after being turned off for 2 hours and the Tentacle doesn't have to be turned off at all due to long battery life. So with the first method lets say you turn your 744T off for 2 hours (maybe driving to a different location) and lose the TC, you have to send TC from 744T to Tentacle again, switch cables and switch Tentacle mode and then connect to the mini. While with the second method the Tentacle keeps running all the time, you do a quick re-jam on your 744T to the Tentacles TC, keep the green mode and keep the cable and just plug into the mini. Saves you one cable switch and one mode switch (yey). I hope that helps. Also correct me if I'm wrong as I got my unit just today and I have no "real world" TC experience either. Edit: I just realized that I mixed up your sentences (the one with the slate and the one with the mini), I think your plan seems solid then. SoundSide
  5. OnTheSoundSideOfLife

    Suspension for MK41 with KC5

    Do you want to use this as a plant mic or do you want to make a ccm out of your capsule?
  6. OnTheSoundSideOfLife

    Advice on Mid Mic in MS Configuration

    I use 8040 and 8050 with an mkh30 and prefer 8040 in terms of image. It feels more like a panorama, with the 8050 you can hear holes in the image (depending on the source). But it's more focused and great if you have a specific sound right infront of you. Also the 8040 sounds very neutral, the 8050 has a little bit more mid warmth. Overall if I had to choose, I would go for 8040. In terms of 8000 series vs old mkh: I have not tried the 40/50 myself, but listened to some recordings and there is some nice warmth, that the 8000 series is missing (it sounds super clinical and almost boring). On the other side the 8000 series picks up more details and in combination with an mkh 30 you have the best of both worlds. If you want to hear the difference between M/S and ORTF you can go on soundcloud and type "8040 ortf" or "8040 30", there is a couple of recordings. Also I can send you a comparison of 8040 and 8050 with some simple rain I recorded out of my window, it helps to understand the different imaging.
  7. OnTheSoundSideOfLife

    DPA Slim or 4060/61?

    I want to use them primarily as lav mics on talent. I know the noise floor is not ideal for ambiences and stuff. That for I have the Sennheiser 8000 series. But it's great to mount them to whatever object you're recording, to get a super close perspective, without a lot of room/ambience. Like attaching them to a gun for gun recordings. It could be a studio situation aswell. So I'm wondering which one would cover everything as good as possible. I would go for the 4060, because of the slightly lower noisefloor, but if it's not capable of recording loud actors or sounds, I would go for the 4061. The 4061 stereo kit is also a bit cheaper than the 4060 one.
  8. OnTheSoundSideOfLife

    DPA Slim or 4060/61?

    I would like to record ambiences and sounds via xlr aswell, would you guys still recommend the 4061 as an all allrounder?
  9. OnTheSoundSideOfLife

    Lightweight portable bag for 744T

    Thanks for the suggestions, I'll take a look at those!
  10. OnTheSoundSideOfLife

    Lightweight portable bag for 744T

    Hi, I'm am a little bit annoyed by the weight and size of my big K-Tek bag and am looking for something more portable. Something like the K-Tek Tascam DR-70D Stingray Bag would be ideal. Has anyone tried to fit in a 744T? The main purpose would be field recording and/or simple stuff where I only need a recorder + NP-1 battery. Thanks already!
  11. OnTheSoundSideOfLife

    Baby Ball Gag for CMC RIg

    How does the baseball compare to your leo in terms of transparency daniel?
  12. OnTheSoundSideOfLife

    Rycote vs Cinela

    Anywhere I can try out cinela stuff in Germany besides Ambient and Kortwich? (too far away)
  13. OnTheSoundSideOfLife

    Rycote vs Cinela

    Hey, I just signed up and am happy to be part of this community. I'm looking for a windshield, mainly for field recording with my Mkh 8050/30 combo. The problem is that I'm really picky with sound quality.. The windscreen I'm looking for should be as transparent as possible. Meaning as little sound or pickup pattern coloration as possible. I actually care less about the wind protection itself as I'll never be recording in heavy conditions (for now). I've done some recordings with a regular Rycote Windshield (WS2 or WS4 can't remember) and also with a probably less known Sennheiser MZW 60-1 in the same location. Just between those two I felt the Sennheiser one was way more natural. The Rycote screen sounded as if someone has put an eq or multibandcompressor on it. I've read some good things about Cinela and am almost sold to them (the Pianissimo), but unfortunately I had no chance to do some test recordings. The first time I went out with my M/S rig, I only used foam on each mic and the results were great, but even very light wind started to interrupt my recordings and I had to sort out a lot of stuff in post. I wish I could achieve that same quality and clarity with a windshield. As I'm doing location sound aswell, it would be great if I could modify the windshield for my Mkh 8060, but it's not a must. (Rycote is definitley more flexible) Here are a few Cinela solutions I've found or that could probably be custom made: Cinela Pianissimo (8050/30, 8060 and probably also 8050/8040/30 Double M/S mounts available) Cinela Zephyx (8050/30, 8050 and maybe even 8060 (MZL) mounts, not ideal size, but should be possible. I've seen an Mkh 50/30 prototype on their website. But honestly the Piani size is fine and I don't need anything smaller) Cinela Leonard (I'm curios if the 8050/30 combo would fit into the Leonard Ball, similiar to the Schoeps M/S version. Is this the same 3D fabric used with the Piani? Has anyone compared the sound between Pianissimo and the Leonard Ball or used both outside? I feel this could be a small, light and cheap solution for mild wind conditions) Here are a few Rycote solutions I've found: Rycote Stereo Windshield WS AF MS Kit (very versatile, I could use this for 8050/30, 8060/30, 8050 single, 8060 single, 8050/8040/30 double ms, maybe the sound is better with this one vs the WS2?) Rycote Stereo Windshield WS AE MS Kit (same thing, but could transform this into the ORTF Version, 8060 only with MZL Connbox) Rycote Cyclone Windshield Kit - Medium (I think you can fit everything into this windshield aswell, I already have the back to back clips from Rycote. How does it sound compared to old Rycote Windshields and Cinela?) Any other brands you guys can recommend? I don't really care about the price. My approach is "buy good gear slow" and I would rather save up money for a year than buy a windshield that I hate. If any of you have some private recordings comparing Rycote and Cinela Windshields, I would love to hear them. I've already listened to every file and watched every video that is available to the public. Also what about foames and softies? Anything out there that fits my M/S rig and is wind protecting enough? Tl;dr: The most transparent windshield for my 8050/30 rig, I don't care about the windprotection that much, it should be better than some simple foam and keep the clarity of my mics.
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