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dfisk

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About dfisk

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

Profile Information

  • 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. Based on personal experience in manufacturing, NAB doesn't need to be the thing that a new product launches at. The past 5-8 years it's been a "wow, not a whole lot of new stuff at NAB" kind of thing. While there sure are new things at NAB this year, we live in a world where it is easy to announce a new product and get word out about it very quickly to many people at any time of the year. Last year SD released three new MixPre recorders, which have done very well, and they just recently announced the MixPre-10M. They announced ambeo recording support on these recorders at NAB. The 633 was announced and started shipping in the fall of the year it came out. At K-Tek, I wasn't as concerned with announcing something new at NAB. Product development cycles run their course, and if something is ready in the summer or fall or winter, then that's when it is ready. I much prefer announcing a new product when I can actually ship it rather than announce something and say "it won't be shipping for 6 months". At my new gig (Warm Audio), we announced our new mics and new mic pres when we were ready to ship, which was late last year and have shipped thousands of units so far. Waiting for a trade show was not optimal, nor necessary. Trade shows are great for meeting new potential re-sellers and end users, and is a chance for people to get their hands on gear if they don't live close to a re-seller, as well as see people we haven't seen in a while and network. It's not like it was in years past where manufacturers would scramble to get something ready for NAB because that's when you had to announce something and there were all kinds of big surprises.
  2. Rupert Neve - Sound on Sound Interview

    I got to see this in person a while back when Nelson still had it, I believe. Very interesting piece of equipment.
  3. NAB 2018 Products update

    I'd like to see details on this transformer.
  4. Boom holder for K Tek Articulated pole

    The K-Tek boom cradle. I don't see it on their site so not sure on the availability of it, but when I was there it was the most rock solid boom cradle you could get. A little pricey, but very nice.
  5. I'm not sure on this one. I don't have a MP-10T any more to try it out with, but I think so. It's not just about power but also about the amount of data as well.
  6. Yes, but you need 2 USB-A ports. SD has a USB-C to 2x USB-A splitter cable that you'll need to use.
  7. I was wondering about this, actually. I currently have my MixPre-6 connected to my Sony a6500 camera via HDMI, and it remote fires the MixPre-6 when I go into record on the camera, BUT, I'm going to be getting an external LCD monitor so I can easily monitor video (I shoot my youtube videos by myself most of the time) and I'd like to be able to use the monitor and the HDMI functionality of the MixPre-6 at the same. I'm seeing a bunch of HDMI switchers online, but not a hub in the "USB Hub" sense of the word.
  8. Manufacturer photos are typically done to highlight what a product looks like, and don't necessarily reflect the way something will be used (Proof: I used to be a manufacturer and have taken loads of product photos). The optimal location of a mic in a windshield is having it be in the exact center of the windshield. The effectiveness of a windshield is the amount of dead air around the microphone, so you don't want it really far up in the windshield or really far back or too much off to one side. You want it smack dab in the middle. Covering up some of the tube slots isn't going to have a real big negative effect on the mic.
  9. On a side note building off of what Nick said: I'm a big fan of using timecode boxes that are all jammed from one source (a separate master timecode generator or the audio recorder) and then those boxes live on the cameras. The cameras are set to external jam. If you have one on your audio recorder it is also set to external jam. This helps eliminate TC drift and allows everything to have as accurate a start timecode on the files as possible. It's even better if you can wirelessly jam everything all at once. The thing is, doing it this way can cost money, but it can be a life saver....as long as the person in charge of the TC knows what they are doing. It isn't that hard. When I was doing freelance work I had people let me be the "timecode god". They told me what frame rate we were rolling at, and I made sure everything was on the same page. Never had an issue.
  10. You can use the direct outs of any mixer (that has them) to then go into the MixPre-10T. You can route anything you want to the outputs of the 10T as well, so you can send a return to the mixer and monitor it that way. I could see it getting a little clumsy, though. You'd have to be careful to keep track of what you have routed to the L+R tracks on the MP-10T. It doesn't have infinite routing. The inputs go to their tracks, and then you can pan those tracks left, center, or right, and that's it. Like I said about the outputs, you can send anything you want to the left or right. So, this means you need to make sure you assign what you want to the L and R on the MP-10T. You'd also need to make sure you have your levels calibrated properly. Even then, the mic pres are so good in the MixPre recorders I'd want to put something really nice in front of it, and that won't be cheap.
  11. Just know that it won't work with every single camera that has an HDMI port on it. The camera manufacturers haven't standardized this sort of thing. ALSO, if you try to daisy chain devices, like going from a camera to an Atomos, and then to your recorder, it can create some weirdness....at least that's what one customer reported to me recently.
  12. Tripod for Ambience gathering

    Are you talking about a regular camera tripod? I have a Benro that I use. It's pretty nice for what I need. It isn't super heavy so I can take it places and not be weighed down. Easy to set up.
  13. Let me know if you want to demo it. You can use my MP-10t to play with.
  14. I cover that here in a video series I did on the MixPre-3/6:
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