Emory Murchison

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About Emory Murchison

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  1. Anybody have experience working in Moscow? good/bad blocks, general advice. thanks! emory
  2. 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!
  3. 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!
  4. not sure what you mean by "the DPA which i made". can you elaborate? -emory
  5. +1 this works. just be careful with connectors! tape is good, i also used rubber bands!! -emory
  6. i keep my blimp and 4017 with other fragiles in a Pelican 1510 which i bring on the plane when travelling. still mint!
  7. Just bluff. -emory
  8. 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
  9. 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.
  10. 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
  11. i've used this combination. didn't notice any excessive noise, but it was used in loud environments and pretty close to the mouth, hence the "red band" i did notice that it had reduced sensitivity as advertised, but it would also overload which kind of defeats the purpose. in the same situation using a regular cos-11 i got better results just using lower gain settings. looking at the specs the "red band" version has max SPL of 130dB, and a cos-11 says 123dB@1%THD. I definetly noticed more clipping on the B6. for the noise the difference in "Equivalent Acoustic Noise" countryman says: 24 vs 29 dBSPL, neither of which she be a problem in most situations. to sum up a rambling and off topic reply: noise wasn't a problem for me with the B6W5 and zaxcom TRX900LA -emory
  12. i know you weren't trying to put down the other guys but this is more than just the difference between lav and boom. lav placement, clothing noise and pretty incredible mangling somewhere in there by some nasty compressor. depending on the placement i am sure there are examples out there where the differences are much more subtle. i also prefer the sound of a boom mic, but i do run into the occasional director who insists on a lav just because they like that really dry closed sound. no accounting for taste i guess! -emory
  13. Ha! I think they did get a little carried away with the NeverClip idea. It's not supposed to apply to the belt side of things!
  14. I've used these on COS-11 and TL40. Tricky to get on sometimes, but very effective. I had one on a freeskii style downhill skier doing crazy jumps and tricks. i had some pretty impressive results considering! I've never tried the Rycote, so not sure how it compares. cheers!
  15. I have also started using my QRX100 in dual mode with two talent mics. One TRX900AA (50mW) and one TRX900LA(125mW). I use them in a very busy RF environment (NHL hockey game!!) and the range in dual mode definetly is less. I am having trouble with TRX900AA starting at about 25', but the TRX900LA works great and only gives me drop outs occasionaly when a player is skating around. I'm not sure if this is because of the extra distance, movement, or the super busy RF environment, the ice etc... needless to say in this situation the recording feature is heavily used! I also have a Lectro system going at the same time: SRa with two SMQV at 100mW. The range on these is slightly better, but it's a different block so hard to tell if it's because of the RF environment or the different technology. Getting close to the talent in this situation is not going to be possible so I have been considering different antenna ideas. I am bag based and need to move around quite a bit but I think I could swing a dipole antenna on the bag. I'm just not sure now if I would neet two dipoles or an RF splitter to service the two antenna of my QRX100 in dual mode. My other idea was to mount some kind of fixed antenna near the ice somewhere and plug/unplug depending on where the action is. Am i crazy?