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Ilari Sivil

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Everything posted by Ilari Sivil

  1. Now that the Slims have been out in the world for a bit longer, how do people feel about them compared to the regular 4060s? Do they match with the "fat" ones well? I'm considering getting a couple of mics soon-ish, and I'm thinking about the option of getting 1 slim and 1 regular, could be good especially since the price is the same.
  2. I'd like something that would work well as a camera hop or an IFB. Small, light and with a headphone amp on the receiver in addition to the actually line level output. Also, two actual SMA-antennae on the receiver, preferrably with a hinge so the receiver can be used horizontally or vertically without reception suffering for it.
  3. I agree with rcoronado and John Blankenship, wild lines recorded outside are likely to match better. I have post experience with a scene taking place next to what amounts to a waterfall which sounds like constant, heavy white noise. Having the wild lines recorded close to the waterfall, but farther away than the actual location in picture was sounded great. In my limited experience, a car can work for voiceover-type content, but I would hate to try matching stuff recorded in a car to stuff that's recorded outside. Even when you can't hear the boxy acoustics of the car, there's a clearly different quality to the sound that's frustratingly hard to pin down for the right kind of processing to make a car match outdoor recordings, but there might be something I don't know. You could also try having a fig.8 on hand for closeups and point the null towards the surf.
  4. I'm currently using the higher capacity NP-1s from Hawk-Woods. They don't weigh much more than the smart ones, but don't cost as much and have the same capacity. Might be worth looking into if you're already invested into NP-1s and don't feel the need for the smart capabilities.
  5. This could actually be helpful, if it went out to others as well. This is really basic stuff, but it indicates that production wants sound to be good and that steps towards it should be taken and that they're thinking about it and at least somewhat informed.
  6. This could actually be helpful, if it went out to others as well. This is really basic stuff, but it indicates that production wants sound to be good and that steps towards it should be taken and that they're thinking about it and at least somewhat informed.
  7. This is precisely what I do. I have a couple of battery cases with lids, I've marked the other end of them with a strip of tape and use them similarly. For NP1s, I tend to just check their own level indicator LEDs.
  8. I've had infrasound from handling noise compromise the dynamics of a recording. Probably everyone has. Engaging the HPF helps, as you mentioned. I'm not sure if using an LPF to get rid of ultrasound would be a good idea, though, since it might bite into the hearable top end around 16-20kHz if if the level of the unwanted signal is high enough, unless the filter slope is steeper. Doesn't having a steeper filter slope increase the risk of self-oscillation, though? That's my experience with synthesizers at least, and on cheaper recorders I've seen some pretty obvious lines on the spectrogram at the Nyquist-frequency from the steep antialiasing filter. With modern tech, an automatically setting notch could be possible, perhaps? It would probably be a lot simpler to just skip the compander and have digital transmission.
  9. https://www.wired.com/story/ultrasonic-signals-wild-west-of-wireless-tech/ I've been thinking about ultrasound a lot lately. Thanks to information on the forum, I've found out that some companders on analog wireless devices may choke out the signal you actually want when dealing with ultrasound due to HF boosts in the system. The noise from an induction stove or an ultrasound motion detector are known examples. Apparently ultrasound is becoming more commonly used in IoT-devices for wake-up signals and inter-device communication in household stuff, so I'm quite curious about the future as well as the present state of things. How many ultrasound related problems actually come up these days? What types of common sources are there, and how could they be dealt with?
  10. What change happened with the 2014 Mac Mini that made it unsuitable? They switched from a quad-core processor to a dualcore processor and the performance dropped, understandably. Check out the GeekBench scores if you want verification: https://browser.geekbench.com/v4/cpu/search?q=mac+mini The innards should still be OK for RAM and HD upgrades, but the 2014 performs significantly worse in multicore tasks and insignificantly better in single-core tasks.
  11. Since we're talking about hospitals, a thing to consider is nursing schools as locations for narrative work. At least in Finland, they have a lot of the necessary equipment and the right look to be believable, but since they are training environments without actual patient care taking place, they can be much more flexible and controllable. As for RF in an actual hospital environment, an SMWB or an Audio Ltd A10 could be super useful as well as Zaxcom gear. A DR10 could be nice as a backup solution, especially if one already has lavs wired for G3s.
  12. It's probably because things were mixed to one track. I've understood that there was generally only one mic on at any given time or the other ones were low enough not to cause phasing, just like the good mix tracks today. I mean, you had to get it right without phasing or it wasn't useable back then, so I guess people just got really good at it because they had to. I've been thinking about using the delay function on my recorder to add latency to cabled sources to match wireless. I'm not sure how much it would help, but I guess it could be useful to have the boom always "dragging" and never "rushing" in relation to the wires. 1ms = about 32cm in the real world, so I suspect it might help significantly.
  13. I did an ad-hoc solution with a superclamp on a shoot I was on recently. I used the spigot on the superclamp to attach it to a griphead on a C-stand and clamped the boom on. Grips happened to have the stuff I needed and they were not using them at the moment, so it cost me nothing. Got the job done, but I would have preferred having a fishing pole holder or Remote Audio's product. Personally, I'd prefer not to use any boom holder with a very long pole or a heavy mic. If something breaks, an operator can at least attempt to minimize the damage.
  14. For a lot of people, this could be a non-issue if they're using a wireless hop to the camera(s). The MixPres are definitely not mixers, though.
  15. The FabFilter stuff is really, really good. Pro-Q 2 is my go-to EQ, and I've been totally blown away by how powerful Pro-R is at matching production reverb.
  16. I don't usually photograph bottles of beer, but for some reason I needed to take a snap of this one. Normal Duvel is pretty good as well, but the Citra version is divine. Citra is one of my favorite hops in any case. Word of warning though, it's a strong one and since it's so tasty, you'll get pretty drunk pretty fast if you don't take your time with it and savour the taste.
  17. Happy birthday! Thanks for all you've shared with the community, especially the site!
  18. It's great for tight spots in a narrative, but for me, it would be too short to be the only pole for a job. Might be because I like to have a bit of leverage in addition to reach. I might go for the 585, I had to use the 560 as my only pole on a narrative and it was a bit on the short side as well. Can't go wrong with Ambient in any case, they're great poles! I got to try a 6-section pole that I think was a VDB, it had a soft red stopper on the operating end, really nice for documentary work with a light mic. Wouldn't have trusted the knuckles with something heavier, though. They felt like they would not hold a 416, for example.
  19. If they're the kind of people who don't care enough to pay for the work, they'll most certainly use low-res .mp3s in the final product.
  20. In my morning grogginess, I accidentally went for the wrong number. I meant the 4061s. Editing now. That should work, if the cable diameter is the same. Sennheiser's part catalog has two versions for their different lavs, probably due to the cable diameter. ( http://spares.sennheiser.co.uk/wireless-3000-5000-series/lemo-connectors ) I don't have Sennheiser lavs or DPA 4061s readily available, so it would be really nice if someone could check if they match.
  21. I'm looking at what could be a good deal on some 4061s that are hardwired to Sennheiser TRS, and I'd like to redo them in Senn/AudioLtd/Wisy/Lectro SSM-compatible 3-pin Lemo. From what I've researched a bit, one would need the right connector to get the right cable diameter for the strain relief to work properly. Any clues on the right connector and a European source?
  22. Then again, since we're getting more tiny and light options in the market, the pressure to develop working solutions increases significantly. It's likely that there will be more people using these tiny and light mics, and some of them may come up with something that works. Someone might even start a new business.
  23. The online behaviour I've seen from the people at Viviana makes me not want to spend my money on their product, even though the product seems totally viable.
  24. I've got one of these: http://en.tasmaniantiger.info/shop/tactical-equipment/tt-tac-pouch-2-radio/ I've used it to fit an MM1 and I've also used it for water bottles. Very adjustable, but since it's only on one channel of MOLLE it needs to ride close to whatever it's attached on for balance. I might get another one, I've liked it.
  25. Great to hear! So now there's another use for coban in my kit, I usually keep it around for ad-hoc transmitter belt type use, in case I don't have the size I need or if I don't have enough of them. Thanks for reporting back!
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