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About Freeheel

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  • Birthday 01/01/1
  1. Yep, that's a nice point about the buffer. Quite important for me! Cheers, Brent Calkin
  2. Thanks Urs, that's very helpful. What have you figured out for wind and handling noise with the D100? Cheers, Brent Calkin
  3. 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
  4. 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
  5. 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
  6. ? I'm not sure what you are referring to. Cheers, Brent Calkin
  7. 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
  8. Lectrosonics SMWB coming soon?

    Hi Glenn My standards are a little more stringent than a waterproofed, well padded and careful placement on a football player. My Lectro MM400's have been put on surfers, kayakers, sky divers, and fallen 90 feet out of trees onto rocks. They are 10 years old and have never failed. They are like little armoured tanks. If I dropped one into a bucket of sea water and threw it at a concrete wall, it would likely survive just fine. My TRX LA2's, I keep in a cloth protective bag so their plastic won't get scratched. And I know exactly how long they would last if dropped in salt water. So, I'd rather not argue with you about how durable Zax transmitters are. I would make a polite request for you to design one that can compete physically with a Lectro Tx- after all, the recording function is most useful when the subject is out of radio range- like those surfers, kayakers, and sky divers often were. If Zaxcom is going to be the only company with a recording wireless, it would be great if you guys made one that's up to the challenge of the conditions where it's recording functions are most needed. Cheers, Brent Calkin
  9. Best mic for specific location

    I've worked in that area as well and feel your pain. A lav will generally give you better signal to noise, but I was working a show where we didn't want to see the mic, so lav'ing for short clips was not always possible. I generally used a Sanken CS3e which has pretty darn good rejection, and it worked pretty well. I will say that nothing really makes the clips with the cleaning cart usable. The sound of those things bouncing off miles of marble is brutal, and all you can do is wait until they painfully and slowly move away... Or have an alternate corridor or room nearby that you can duck into. As for the second mic phase reverse idea- It's a bit of a myth- It only works in theory, in the real world there is too much difference between the mic signals and it will just create a variably comb filtered mess. Cheers, Brent Calkin
  10. Hi All, I love the detailed clarity and incredibly low noise floor of a pair of Sennheisers feeding a 744t, especially for quiet nature ambiences and ocean sounds. Sometimes the rig can be a little bulky though. I've looked over a bunch of older threads on small, 2 channel, all in one recorders and most of them dated to when the PCM D100 was still very new, so it would be nice to get some updated opinions. How does the Sony PCM D100 hold up to the level of sonic quality of a Schoeps or Sennheiser stereo rig going into a nice recorder like a SD 744t? 90%? 80%? And where does the Sony break down? Noise floor, mic quality? Curious to know whether I should just keep hauling the big rig around, or whether I can save my back and some baggage costs by picking up a D100? (or a Nagra SD with stereo mic- feel free to include that in the discussion...) Cheers, Brent Calkin
  11. Lectrosonics SMWB coming soon?

    If Zaxcom made a transmitter with the potato gun-proof build quality of a Lectro transmitter, I would agree with that.. (google "lectrosonics potato gun" if this is a cryptic statement...) Cheers, Brent Calkin
  12. Thanks for that link Peter. The economic argument against a 400 mode R1 makes sense, although as a documentary recordist who only needs one unit for the director and maybe one for a field producer- I probably WOULD pay $1100 for a single IFB receiver channel, if it meant that I could leave the comteks at home. Cheers, Brent Calkin
  13. I would love to have a R1 format receiver that could receive a signal from one channel of my camera hop. And I bet I'm not the only one... Cheers, Brent Calkin
  14. Atari Speakerhat! Perfect!

    It's only 8 bit... -Brent Calkin
  15. Cos 11 Sticky cable- not from tape...

    Yep, sorry Ty, the very effective ceiling mount was also acting as a lint mount, not to mention it's capabilities as a dog hair mount... Cheers, Brent Calkin