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About soundmanjohn

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  • Birthday 10/02/1951

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  1. Well, M/S, for a start, but I find them useful in many circumstances because of the side null. In tight spaces in orchestra pits, for example, or in odd acoustics to minimise reflections from side walls. John
  2. One of these recordings was played over the air by the BBC: the news reader, highly respected and professional Charlotte Green, heard her producer commenting in her headphones that it sounded like a bee trapped in a jar. This did not bode well for Charlotte's composure, as you can hear:
  3. This unit is a pre-production model and the belt clip is fixed: production models will have a removeable clip. Not sure about power, but can probably find out.
  4. Got to handle this little fella yesterday: no sharp corners, talent skin friendly, no external antenna, rechargeable battery giving seven hours continuous. No portable receivers as yet, but rack-mounted 2 & 4 channel units can be 12 v dc powered. Not cheap, but very neat.
  5. The MixPre-6 is €899 excluding tax. FedEx to the UK is €25. No definite date for delivery, but expected any time soon, I guess.
  6. Waiting to hear from Ambient in Germany when they have mine in stock. Great company, easy to deal with and a couple of hundred bucks cheaper than buying in the UK. WIll report in as soon as it gets here. John
  7. I'm saving up for a Mix-Pre 6 as a backup/alternative to my ageing 744, but am also surprised and a bit dismayed by the UK price-point, which is pretty high, at approximately US$1,240.00 pre-tax. VAT adds 20%, so we're nearer US$1,500.00. The Zoom F4 comes in at just over half that, at around US$770.00, which is a big difference, so I'm not sure how much of dent these are going to make in the UK market at the moment. Regardless, it's something I'm looking forward to for later in the year. Regards,
  8. TwistedWave will do the batch conversion for you, albeit outside ProTools, or ask Svein for a beta of Harpex-X, which will do the SPS A-B conversion as well as the 5.1 transcode. The Ambeo plug-in is just for the Ambeo mic, and isn't actually that good, in my opinion.
  9. My first ever kit for recording sound effects was a second-hand Uher 4000S and an AKG D707. A pair of DT48s, cheap from the local hi-fi emporium who had got them in for a customer who hated them and gave them back, lasted me for years, with a complete refurb from Beyer UK after about twenty years. Shortly after, they were stolen from a committee room at The Houses Of Parliament. Went from mono Uher to stereo Uher, Sony TCD5 Pro cassette machine, Sony TCD D10 DAT, Metric Halo 2882 & laptop, then SD 788T. More mics, including assorted Soundfields and Rycotes galore. Happy now. John
  10. And here's another book for you to look at: Gordon Hempton's 'Earth Is A Solar-Powered Jukebox' written by the man who's been there and done that.
  11. Unless there's no wind at all, you may have problems. Foam windshields are fine in a studio, but nothing beats a properly designed basket-windshield when you're outdoors.
  12. Wel, if you read the beginning of the article, it does mention what else I mostly use for recording when I'm not using the Soundfield, which is a M/S pair using MKH30/40 in a Rycote windshield. I thoroughly recommend that set up for low noise and portability. You can find them used within your budget from various places. Replacing the MKH40 with an MKH50 or a 20 would give you more options but push your budget through the roof, but we've been there before, I think.
  13. Yes, exactly. This is the problem I'm finding with this thread: we could go on for ever making recommendations, but without one fairly vital piece of information, that of your actual budget, most of it will be a total waste of time. We've gone from just over £1,000 for all the kit, to the realms of £3,000 for a pair of Neumann LDC digital mics and the associated DMI-2 controller and another couple of grand for a recorder that takes AES in to go with it. Decide on a budget, research the kit that you can afford within your budget and then rent to see what works for you. Don't forget to factor in windshields, cables, power-supplies, a stand or boom pole, headphones, and a bag along with everything else. Go back and look at your original plan and work on that premise. Otherwise, you'll spend forever getting recommendations for kit and no time at all actually getting out and recording. For further reading, the Bernie Krause books are excellent: you could also look at Cathy Lane & Angus Carlyle's 'In The Field - The Art of Field Recording' and on a rather more esoteric level, another collection of essays and interviews called 'Autumn Leaves - Sound and the Environment in Artistic Practice' edited by Angus Carlyle.
  14. My take on the DPA mics: You may need to register to read, but it's a good magazine anyway. Regards, John
  15. I'm in London & I've got a Telinga you can borrow, if you want to try one out: you'll need an omni like an 8020 as it's just the reflector & pistol grip. It's one of the transparent roll-up models, so easy to transport. Alternatively, I've got an old green reflector that needs a bit of TLC, brackets, etc., that's your for £20 Drop me a PM. John