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Freeheel

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About Freeheel

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  • Birthday 01/01/1
  1. Soundbag as Hand Luggage

    To answer your battery question. ALL your loose lithium rechargeables need to be carried into the cabin. Some airlines let lithiums that are installed in your gear go into the cargo hold, but I don't generally trust that and remove as many as I can. Especially since your flight can start with one set of rules and change as you go. Japan was the most stringent I have found, with their security wanting ALL batteries carried on, even AA in alkaline and NiMh chemistries...\ Cheers, Brent Calkin
  2. Sound Devices Mix Pre-3 and Mix Pre-6

    I've had the same experience on my Mixpre 10, and to answer the comment above, it's good to have the option of having EITHER "undecoded M/S" or "decoded XY from M/S" on the ISO's. There are times when both ways are useful. If just doing stereo recordings, its nice to have the ST outs as decoded regular stereo, and have the ISOs undecoded for later processing if required. I find the Mix Pre series has other strange Mid Side issues. Like having the gain trims linked, which would cause problems if you were to use mics with different gain structures and needed to balance them with the trims. I've also talked to SD, so your report should not have been the first. I think the M/S implementation on all the Mixpres needs further work! Cheers, Brent Calkin
  3. Underwater Mics

    I did not have the opportunity to test the more expensive Ambient mic, (the ASF-1 MKII) and would love to hear some real world opinions on it. The Aquarian I was using was the "plug and play" H2A-XLR. I had it plugged straight into a Sound Devices 744T, so it should have been a pretty ideal signal chain. Their manual notes that high frequency response is reduced by cable length, but I only had a 30ft cable on it, so I doubt if that was the issue. The manual claims a frequency response of 20hz to 100khz, but my experience would indicate, even if that was true, that the response graph would be anything but flat, and I find it irritating that they would leave that detail out of the specifications. Cheers, Brent Calkin
  4. Underwater Mics

    I used the Aquarian Audio Hydrophones this fall on a shoot and found they sounded pretty good for the price. The main issue I had with them is that their high frequencies are drastically rolled off, so that although the humpback whales sounded OK, the sound of water lapping on the boat was really midrangy and boxy sounding. Unfortunately, we all know what water is supposed to sound like, so I wasn't completely happy with the results. The nice thing about having the high end rolled off though... is that the Aquarian audio mics noise floor is pretty good, and, as well,they have good sensitivity for quieter sounds. I also used the Ambient ASF2 hydrophone. This is the more budget of the two that Ambient sells, and costs about twice what the aquarian audio mic sells for. It has a really distinct hiss, which kind of ruins it's flatter frequency response. It's also quite quite an insensitive mic and really needed a lot of gain, which didn't really help its noise floor either... I also had the opportunity to work with some really expensive ($10,000) hydrophones, which sounded great, but are really just ridiculously priced for casual or occasional use. So I'm still looking for a decently sensitive, low noise floor, flat response hydrophone that doesn't break the bank... I like all these stories of using countryman lavs, and they work in a pinch, but they aren't so great for a job where you want to be slinging your mics into 40 feet of salt water at a moments notice, several times a day... Cheers, Brent Calkin
  5. 633 loose object inside machine

    Yep, that sound would worry me a bit. The machine comes apart pretty easily and also goes back together without issue. I'd dig into it if I were you. Cheers, Brent Calkin
  6. MKH40 high pitch noise

    I seem to recall that some earlier MKH 50s had some RF issues - maybe your 40 as well? Cheers, Brent Calkin
  7. MKH50, Sennheiser vs Rycote mount?

    I used the supplied MKH suspension for a few years and found it worked pretty well. (in conjunction with the low end rolloff switch) My main issue with it was having to plug the boom cable straight into the mic and then wind it through the little cable holders. Works fine for recording music or stationary interviews. When chasing action though, the cable would invariably get pulled out of the friction fittings, leaving the mic cable hanging directly off the back of the mic and unprotected from the noise of the cable hitting the boom pole. The Cinela Osix may be more expensive, but you never wear out your Mic's XLR connector by plugging into it all the time, and its totally plug and play for quick boom mic changes. Not to mention, the quietest suspension I've come across.. Cheers, Brent Calkin
  8. Sound Devices Approved Media for 633 - SanDisk question

    + 1 on Sandisk Extreme Plus for Sound Devices. I'll borrow AFMY's wood to knock on... er I mean I'd better knock on wood too, but I never had any issue with them. Cheers, Brent Calkin
  9. Yep, that's a nice point about the buffer. Quite important for me! Cheers, Brent Calkin
  10. Thanks Urs, that's very helpful. What have you figured out for wind and handling noise with the D100? Cheers, Brent Calkin
  11. Which Schoeps mics for documentaries?

    Your main issue is the extreme distance you are away from your subjects. (as you note) Your 416 has a pretty mighty reach, but those distances are pretty extreme. Getting a schoeps will not extend your reach, just make your distant sounding audio sound prettier. But is still going to sound far away, and if you have competing farm machinery noises, the schoeps will also make them sound nicer, but they are still going to obscure your dialogue. I'm not quite sure why your distances have to be so great... is every single shot a wide? To get decent dialogue, you need to be closer, or get a Lav on your subject... do you have a radio to attach to that lav? Cheers, Brent Calkin
  12. Problem with Lectrosonic HMA

    What are you using for batteries in the transmitter? Maybe your rechargeable NiMh batteries are getting a little old? Next time it happens throw in some Everready lithiums. I've heard motor boating when the mic wasn't getting enough power. Aso make sure your mic XLR pins are clean, for the same reason. This may be a superstitious suggestion, but you've replaced pretty much everything else in the chain.. Also try replacing the cable between the mic and the transmitter...you may have a break in its shielding, or have one bad leg in the balanced pair. Cheers, Brent Calkin
  13. Thanks for the input! I was also PM'd a nice comprehensive review that I somehow missed. http://www.creativefieldrecording.com/2017/01/18/sony-pcm-d100-review-one-year-later/ I'm not too concerned about the lack of XLR's, more interested to know how well it works in it's native state using it's onboard mics - If I'm using an outboard mic array, the 744 is plenty small enough to keep using, although those tiny mixpres are very attractive as well. The review reference above has answered all my questions pretty well, but if anyone has one of these rigs, feel free to add your experiences! Cheers, Brent Calkin
  14. ? I'm not sure what you are referring to. Cheers, Brent Calkin
  15. Best mic for specific location

    Hey Grant, I think you may like the Sanken quite a bit- The Sennheiser 416 is a classic mic, and sounds good outside or in well damped spaces, but it fares really quite badly with excessive off axis reverberant sound. It also lets in low frequency sound from all sides- it's not very directional at low frequencies. The Sanken uses 3 capsules and some electronic magic to create off axis rejection at all frequencies. For live work, I'd generally prefer the boom, as the lav is always at risk from inadvertent subject movement, although I agree with Mike that a lav will usually provide more isolation from the reverberation, and also greatly cuts down noise coming from the hallway BEHIND your interview subject. Cheers, Brent Calkin
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