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Vincent R.

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Everything posted by Vincent R.

  1. Vincent R.

    In ear monitors for production sound

    Aren't these meant to be used for IFB (not critical) monitoring, and only one ear?
  2. Vincent R.

    Deity Microphones going Wireless

    Some interesting Quotes on the new Wireless, why they choose 2.4 ghz and why current 2.4 offerings are not working properly: https://wavreport.com/2018/06/17/this-week-in-sound-8/
  3. They are asking us for input, what we wanna see in an upcoming new wireless RX/TX kit. It's a tough market with fairly reasonable options from Sony and Sennheiser in the low budget segment, so interesting to see what they will come with to compete with these industry giants. https://wavreport.com/2018/06/04/deity-microphones-going-wireless/
  4. Vincent R.

    Zoom F8n.

    Funny how much the deal is cheaper than if you buy just the F8 by itself
  5. Vincent R.

    Sony UWP-D11 kit mic creates noise when used with G3?

    The socket is PCB mounted and a very tight fit sandwiched between the casing and the PCB. I wouldn't say an impossible job, but save yourself the hassle and make a jumper cable instead, if you want to interchange the microphones between the two systems.
  6. Vincent R.

    Zoom F8n.

    Yup, that is what I said/wrote.
  7. Vincent R.

    Zoom F8n.

    I have yet to find one who is challenging me on that. I think it's more a "we don't want a zoom H4 guy" kinda thing. Nobody ever asked me what microphone is in my Zeppelin or what recorder I'm using. They give me a requirement-list (Boom, 2 lavs, Timecode, IFB, that sort of list) and they 'trust' me how and with what I will how up. Most of my days I am a tracker/recordist, rather than a mixer, so for a lot of gigs the F8(n) does it perfectly fine. If you need to mix, it can be done (without the optional fader panel) but it is a bit clunky. Think of it as a bit better than a SD 788t without the rotary faders.
  8. Vincent R.

    Zoom F8n.

    Something is in the work for that already;
  9. Vincent R.

    Zoom F8n.

    Because better is not always better in every occasion, and usually something is not better across the whole board. Subjectively.
  10. Vincent R.

    Zoom F8n.

    That's a key sentence, because there is a lot to say about what that actually means. If there was actually a recorder out there with the 'best' preamp, a shotgun with the 'best' rejection, a tx/Rx set with the 'best' features, we would all use the same gear wouldn't we?
  11. Vincent R.

    Zoom F8n.

    Read my other posts, I think I made it clear by now
  12. Vincent R.

    Zoom F8n.

    Yeah not arguing too, just like the debate 😉. You are absolutely right that the F8 or even the f8n isn't perfect, if that is even possible. Like i wrote in the post above you, that's why i am changing setups according what is needed for the job. To give a black and white answer, I use the F8 mostly on documentary shoots, usually one man sound crew, boom in one hand, you catch the trill. So essentially I need a tracking device, lightweight, still some bells and whistles, but generally that's about it. If I do a feature length or a more demanding job, I switch to the other brands. But honestly for the doc shoots I rather have the Zoom f8 than any of the other options out there. So for me it sure has it place on a serious job. I am a bit of an odd-ball in this (or general) sound group, and that is that I for the most part rent my gear, that's why I can easily switch from device to device, for any different job a different recorder, set of TXRX, other accessories. So besides some basic things like microphones, tx boxes, ifb, and a couple of wireless, I don't rely on gear rental that much. So more flexible in that regard. Basically i do have a completely functioning setup, but thats from the old days going direct into a Betacam (mixer, snake, wireless, boom). Though, the F8 or now the F8n makes me think about getting one, because it is so cheap and doesn't matter that much if it's not used that much for the same reason.
  13. Vincent R.

    Zoom F8n.

    Yeah it's getting a bit out of context i reckon. The reason of bringing up (maybe not so accurate and maybe irrelevant) Adele story was more to illustrate how we use gear. We try to get the best stuff out there possible, both actual quality wise, as well as what our wallet can afford. We choose shotgun X over Y, a wireless system X over Z, all for obvious reasons. We shoot with sanken lavs, DPA is the new popular kid on the block, but still "blockbusters" have been shot with good ol tram mics even when the general opinion was that there are "better" options out there (Kings Speech). I use about all recorders out there, From the Deva, to the 788t, the 688, to the Zoom F8. My real world experience is that the difference in preamp sound is neglectable, (and to bring it a bit back to my Adele reference) as much neglectable as when adale sings trough a Rode mic, a 5x more expensive telefunken or a 300 euro Chinese knock off. Not because musical performances are a different deal in general, but more because the quality and sound differences are subjective, and all in a general to be considered "good' league' (Well, maybe not the 300 euro chinese one, but amongst those are some gems). I do wonder and I hope to get some honest comments, if one bought let us say a 788t over a Cantar mini, or a Deva, because they found the real world test showed they really needed the specific preamp characteristics over another, or that a preamp let them down. Let us say from recorders made after 2010. I think none of us did that, and other factors of a recorder are considered way more important. Also, I do wonder how many of the commenters here used the Zoom F8 on a real world set, to post production, to the cinema screen. Me too, but i think i am not far off if 90% of the 'blockbusters' are shot with wireless boom.
  14. Vincent R.

    Zoom F8n.

    Yeah that is the one i think. Don't know where I got the Focusrite from, but yeah you get the point gladly. 😏
  15. Vincent R.

    Zoom F8n.

    Sure, even more arguments can be made for the grand piano. So back to topic, In our world, we will test a device in a controlled situation, and obviously we will hear tonal differences between preamp a vs b. the next day we will shoot for the heck of it two scenes in a real world situation, one with recorder a, on with b. Will there all of the sudden be a huge degradation or improvement occur in the final mix? don't think so. We will make ourself belief it is like that, but in the end it's the senator's saying, about the arch and the archer...
  16. Vincent R.

    Zoom F8n.

    Yeah, the moment I wrote that i felt somebody would say that. But thats not the point. Read what @Philip Perkins says: And again, WHO is using all the pre amps these days, I made the remark a couple of times now, but we are using the relatively sub par preamps of our wireless systems all the time, some even with a wireless boom are 100% NOT using the preamp characteristics of the recording device anyways.
  17. Vincent R.

    Zoom F8n.

    Yeah i might romanticised it a bit, but my point was that eventually it doesn't really matter any more after a certain point of quality, don't focus to much on the tech details of a certain brand vs an other, Therefore I always bring up Adele singing in a cheap ass Rode tube microphone 😉.
  18. Vincent R.

    Zoom F8n.

    Sound on sound (paper magazine) interview with the producer. They recorded the song (Rolling in the deep I believe?) as a demo at the home of the producer, just everything everywhere, guitar in living room, drums in kitchen etc. Even Adele made stamping noises on a wooden box or something. After that they tried to re-record it about everywhere in the world in top studios, but eventually they used the original recordings.
  19. Vincent R.

    Something is up with the HTTPS version of the site…

    Yup, it seems that the HTTPS is 'hacked' and redirecting. tech mode: this can be done if someone hacked a .htaccess file in the root folder of your site.
  20. Vincent R.

    Zoom F8n.

    Yeah I agree a discussion about differences in preamps is not interesting at all, as long as they are low noise (which they all are) and provide enough gain and quality (which they all do). Then indeed the EFFECTIVE differences are negligible and definitely not something to worry about or giving post production headaches.
  21. Vincent R.

    Zoom F8n.

    Yeah there are differences. But not as much that post production all of the sudden has to book another day to alter the sound or whatever, if at all. Like I said before, we are on a daily basis working with sound influencing factors, put them over airwaves and companders and tiny microphones under t shirts and worse wardrobe, and all of the sudden people are getting all boutique about differences in preamps.... You know the music forum gearslutz? Loads of people are concerned with their fancy best preamps but the fact of the matter is that the latest Adele record was put down with a cheap focusrite usb box and a Rode microphone.
  22. Vincent R.

    Zoom F8n.

    So you are saying your clients informed you that the F8 didn't hold up in post production regarding " de-noise, equalize and compress"?
  23. Vincent R.

    Zoom F8n.

    Share your testing files here, especially interested in tour extended testing with " de-noise, equalize and compress" situations. Eric Toline, on a previous page did testing, He has quite the track record doesn't he? I didn't hear yet about Winter 😉
  24. Vincent R.

    Zoom F8n.

    I like to make the argument that location situations and other circumstances are of a way higher influence on our 'sound quality' than the preamp. I;m about 99% wireless these days so the preamp and the tiny mic buried under clothes are messing up the sound quality too much to be concerned about a subtle difference in a preamp design, for our line of work.
  25. Vincent R.

    Zoom F8

    Yes and to get the topic back to the Zoom's, the F4 and I believe F8 too, are known for that, in protected XLR outputs. I believe there is an official warning for that on Zoom's website.
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