dfisk

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About dfisk

  • Rank
    Supreme ruler of Space, Time, and Dimension
  • Birthday January 25

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  • Location
    United States
  • Interested in Sound for Picture
    Yes
  • About
    Audio Product Specialist at DVeStore. Previous experience in video game sound design, television sound design, and feature film sound design. Former product specialist at Coffey Sound. Expert knowledge of microphones, recorders, and workflow.
  1. Here's a video I did with Karl at NAB:
  2. I did very briefly touch on why one would use Poly or Mono, but didn't get deep into the weeds on it as the length was getting a little long, and I really just wanted to focus on the difference between the two. That being said, it is probably a good idea for me to do a follow up on why one would use Mono over Poly, or vice versa.
  3. From the VO world, there is a doc called "I know That Voice" that was produced by John Di Maggio. I was lucky to work with many of the people in this trailer, and it's a great look into the VO world for animation and video games (the world I lived in for a while). A lot of these people did video games as well.
  4. can't believe I didn't think to say that. I may do a follow up video on situations where you would want one over the other and actually get into specifics like this.
  5. HAHA! Thanks.
  6. I know most of the active participators here know the difference between broadcast wave polyphonic files and broadcast wave monophonic files, but part of my new gig is customer education, and I still get asked all the time about the difference between these two. One day, when I was taking my son to archery practice, I tossed him my phone and said "I'm going to shoot a video, ask me about BWF.P vs. BMW.M", and so we did. This is the non-fancy uber low budget result. I mainly did this so when people ask I can just give them this link. Not only is it about the differences between the two types, but why you might use one over the other.
  7. PSC didn't do a booth at NAB this year.
  8. Got some hands on time with this, Crew, and it sounds great. Karl spent some quality time with me showing me this new system, and it's really slick. It's pretty powerful, and I can see uses for it in different areas as well. I wish I would have had this system back in the day when I was a monitor mixer.
  9. If I had all the money in the world I'd resurrect "Crazy Eddie's" and do the commercials just like the old days. It'd make a splash.
  10. Here are the dimensions: MixPre-66.53” x 4.65” x 1.40” (166mm x 118mm x 36mm)19.9 oz (.56 kg)MixPre-35.68” x 4.35” x 1.40” (144mm x 110mm x 36mm)16.8 oz (.48 kg) I'm taking pre-orders now. I'm also looking into appropriate bag options.
  11. Wow...I remember those from when I was a kid. Didn't he/they get in some legal trouble? As far as my first gear. It was a pair of Oktava MC-012 microphones that were on consignment when I was working at Coffey Sound along with a pair of PSC universal shock mounts, a mic stand (which I'm still using right now), a stereo bar, and raw cable and connectors to make my own XLR cable. I used them for sound effects and Foley recording. Shortly after that I purchased a Pro Tools LE rig and freelanced post work from my apartment. When I was freelance most of my work was post/video game sound, so I didn't have a need to purchase production equipment, and the production gigs I did get were so varied, I needed a different list of gear each time. Sometimes I'd need a Deva V. Other times just a 744t. I just ended up renting what I needed.
  12. At the start of this thread I thought I was reading that one. Instead of typing out what I said in that one here again, I'll just say to read that thread.
  13. That's really something to be discussed between you and the seller before money exchanges hands. "Hey, if I buy this thing from you, what happens if it fails on the second day I have it? Are you selling as is or are you willing to work with me on repair costs?"
  14. There are so many ways to tackle this one. As someone who has done a lot of sound recording in the field I can say the mic choice is probably the most important. Then, it's down to reliability of the recorders, as well as their mic-pre's. If you are recording really quiet things, like nature at night, or a desert in the middle of the day, you want the quietest stuff you can get. Whatever it costs, it costs. You are spending so much time and energy on this, it's probably best to do it right. When it comes to budgeting, I've been telling people for years this: Don't approach it from the "I have 'x' amount of dollars to spend on equipment, what's the best I can get for 'x' amount?". It needs to be approached from the idea of "I'm going to do a project that requires certain things of me, what is the equipment that is most appropriate for this project and what does it cost?", and then budget from there. If the equipment costs more than you have now, then save up for it. That's just me, though. I'll fully admit that in the right hands, great results can be had from lower end equipment. As far as what to have; With all the time you'll have you really can go pretty nuts on this one. I really like the idea David Waelder had of having a small handheld/pocket recorder. I know people that have a real small recorder on them at all times because, as they say "you never know when you'll need to record something". In your situation, it could be invaluable. I've become a fan of the Tascam DR-701D. It's a very capable recorder in a very small package, and can integrate into a small camera rig easily for simple double system audio. I'm also a big fan of the Sound Devices 7-series or Zaxcom recorders for critical recordings where absolute minimal self noise is critical. One thing that hasn't been mentioned is a stereo boom pole. I've used this ALL THE TIME for situations where carrying around and setting up a tripod mic stand can be cumbersome. A wired stereo boom pole can act as a monopod for you and keep cable mess to a minimum. Of course, it wouldn't always be appropriate to use something like this, but if you find yourself hiking through a jungle and find a nice spot to record, it'll be great. It can also give you extra reach if you want to get up into a tree or close to a running river or who knows what. It's a tool you'll find yourself reaching for more and more the more you use it.
  15. I've used most of the setups mentioned in this thread. I love the sound of the 191. I've also used the CSS-5, and it's a fantastic microphone. The trouble I had with the 191 was finding a good field suspension and wind protection set up for it. The CSS-5 is a little easier to deal with. The CMIT/CCM8 combo, though...that's a pretty sweet setup. So far, most of the things mentioned here will sound good, depending on exactly what you're after. For me, when I was doing this type of thing in the field, it wasn't just about the nicest mic. It's also about ease of use and what I call "wire-rhea". I try to reduce the amount of cable-age as much as possible if I'm running around with a bag recording sounds.