Jump to content

Emory Murchison

Members
  • Posts

    66
  • Joined

  • Last visited

Profile Information

  • Location
    Montreal
  • About
    Soundie too old for this shit.
  • Interested in Sound for Picture
    Yes

Recent Profile Visitors

2,717 profile views
  1. A fix for this would be super appreciated.
  2. I have tried the MMP-G on a zaxcom transmitter to connect my 4017 with no luck. Noise floor was very noticeable and not a workable solution. I don't know if this would work with different capsules, or if the problem is the 3V zaxcom output.... -emory
  3. No I guess not. They are protecting the 6 series I suppose. Sent from my F5121 using Tapatalk
  4. Sony f5. But I tried also feeding tone into my 302 set to line and I also had to almost max out the gain to get 0dBu. After a few experiments I figured out that the x1x2 output is an exact level match for the tape out/mix in on the 302. From the specs I'm guessing the main LR out has the same level. I was really hoping to fall in love with this unit but sofar not so much. Also no level meter when adjusting gain! Yikes. Sent from my F5121 using Tapatalk
  5. Has anybody figured out the reference output level of the new MixPre series mixers? It says max output is +7.8dBu, but does that correspond to 0DBFS? Hooking up line level to a camera doesn't seem to work because the level is quite low. How are you folks doing it? Emory Sent from my F5121 using Tapatalk
  6. Anybody have experience working in Moscow? good/bad blocks, general advice. thanks! emory
  7. I've been using this on a few documentary projects. It works great! I had a few noise and RF interference issues at the beginning but I sorted that with some carefull bag planning. This is not a mixer. Switching back and forth between trim fader and pan using the same knob that is not an endless encoder just doesn't work. Also no camera return. If you need mixing capability get something else. I haven't tried the app yet. Noise floor hasn't been an issue but the preamps are more hissy than what I'm used to. It might not be as intuitive a machine to use as other pro recorders but it gets the job done, sounds good and it's tiny! Definetly makes me think twice about pulling out the Nagra VI if I know I'm going to be on my feet all day... I've used it enough to feel confident that it can perform in a professional context. If I were starting out right now I might just buy two of these!
  8. here is my latest bike to work setup. my favourite new part is the rifle case for my booms. my bike is a little difficult to steer with the heavy pelican on the back but it works. also note this kit is indoor only. no zeppelins... happy trails!
  9. not sure what you mean by "the DPA which i made". can you elaborate? -emory
  10. +1 this works. just be careful with connectors! tape is good, i also used rubber bands!! -emory
  11. i keep my blimp and 4017 with other fragiles in a Pelican 1510 which i bring on the plane when travelling. still mint!
  12. just to throw another workflow into the mix: multiple 5Dmkii and Sony FS700. Each camera has a Zaxcom ERXTCD feeding ltc timecode onto one of the audio channels. plop all the audio from my recorder and the footage into Avid sync from the ltc of the video footage, and voila! theoretically it is even possible to also send a scratch audio track, but in practice the level mismatch doesn't work on the DSLR camera's so more gear would be involved or a special cable with one channel padded... also in our situation with the FS700 it was better to have an onboard shotgun. i know this is kind of a special workflow and not for everybody but i'll just put it out there because maybe it will be perfect for somebody else! -emory
  13. I guess I should be clear that I was comparing a regular Cos-11 with the B6W5 version. The highest SPL listed on the low sensitivity B6 is higher, but in my experience the cos-11 did better even with regular sensitivity. I'm just saying that getting a low sensitivity mic and a high SPL mic are not necessarily the same thing. Ideally you should test for best results in a particular situation.
  14. my experience with low sensitivity Countryman B6 mics is they didn't help for high SPL situations, even though their sensitivity is lower. So maybe they work best for preventing the mic from overloading the input of the transmitter, but not necessarily for dealing with high SPL. -emory
×
×
  • Create New...