axel

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About axel

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    Hero Member
  • Birthday 09/03/1965

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    http://www.axeltraun.at

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  • Location
    Vienna Austria
  • Interests
    eh, location sound mixing. movies. photography. a little cooking, a little sports. some freediving too. a sip of good rum.
  • About
    location sound mixer

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  1. Those get lost so easily, but sell for € 9,- per piece here in Austria. No chance at hardware stores, because it is all metric scale here, apart of usual 3/8" and 1/4" gear.
  2. look for a used Sonosax SX-R4 (not SX-R4+!). It has 4 very good preamps (imho better than SD7xx), same footprint as Zoom F4, lightweight (under 1 kg), very power efficient compared to SD or Zoom, can also run on AA Batteries... and it's got a successor model that can do a lot more things you don't need for your project. So People might want to get rid their old SX-R4. There was a post on JW sound on Facebook a few days ago, where sombody mentioned he had an option to buy a SX-R4 for a 1000 $, asking for advice
  3. some little clarification points on the 191: the 191 creates a very well defined spatial stereo image, by far the most accurate one I know deriving from a single point stereo mic. It sounds airy and transparent and creates a sound that comes close to a natural perception. in relation to the RSM 190, the sucessor 191 is quieter on the side (M/S = 16/22 dB-A, A-weighted). Recalling my memory from back in the 90s, the 190 was noisy for quiet ambience recordings. there is a cinela suspension/windbasket made especially for the RSM 191; it is really expensive (>1000,- €) , but worth every cent on a handheld boom if you work documentary style there are also 30mm Rycote lyres made for it, they are cheap and work with any modern Rycote basket. Good for any mic stand applications or careful boom handling. the weight is identical to a MKH 416, but you have to add size and weight of the 191 Matrix box inside your bag; it has some advantages though, like an XLR Plug that is easily accessible, Lo-cut and pad switches at your finger tips, you can easily chose between decoded XY or native M/S setup plus define your stereo width with dedicated switches. cannot understand why Neumann/Sennheiser terminated the production some years ago. One of the best sounding mics ever made.
  4. +1 for the Neumann RSM191, best in a Cinela suspension. If you go standard Rycote it may be hard to keep sound free from bumps and handling noise.
  5. same here, shooting on Alexa Mini, jam synced twice a day, after the first day the assistant editor complained about 1-2 frames drift (Alexa behind). I have the Cantar X3 as a master, next tried to feed the X3 from the Lockit (ACL 204), nothing changed. Now I compensate the Lockit with +1,5 frames (just used to carry TC to the cam) and AE says sync is OK now.
  6. Donald, if you are still on this thread, I've worked with the YPAs, but they have let me down in critical situations: the tiny thread for the microdot connectors was not long enough to make for a sturdy connection. DAP adapters @ triple price sport one winding more, which makes for a reliable connection ! Resulted in ugly dropouts with some actor's movements. It took me several incidents of not knowing what caused the bumps and dropouts until I found it was the connector that was critical on the ankle when it came to skintight pants or on the back with a little sweat and tight clothes. I was using the Lectro-TA5 variant and this happened in 2014, so maybe YPA has already improved the design.
  7. I also have to leave things in the car. And no, I am not willing to go for the paranoia thing. I try to make the remaining items look shabby and worthless. If I were a thief, I would definitely go for anything covered by blankets. I think, a comprehensive list of all stolen gear would make our lives easier, some internet based wiki thing where anyone could add his stolen items, sorted by manufacturer and/or category. Would make it more dangerous for a thief to sell stolen audio gear because anyone could routinely look up serials there ahead of buying something used.
  8. Tambongo, as Rado says, the 8060 is rather failsafe regarding humidity and RF interference (same MKH concept). It is also really robust: I had a crash, where the 8060 on the boom literally was hammered into a tile of an acoustic ceiling when a boom op totally lost his balance control. The plastered tile broke into pieces, the 8060 (no foam!) got a little scratched, but nothing else happened. Sounded the same as ever afterwards and continued working flawlessly for the next two years. Then out of the sudden it developed a strange short inside the tube circuitry, was only working upside down but was totally dead in horizontal position. Still with Sennheiser since late November...
  9. Pascal, a perfect solution in my eyes. :-)
  10. Very nice setup! But how did it work to mix on the touchscreen in the cold? Did you try with gloves? Did the screen get wet?
  11. hey Tambongo, good choice for indoor and outdoor with moderate wind. imho it is also more transparent soundwise than the original sennheiser foam windscreen. I think 15 cm is the correct length for 8060
  12. I confess I absolutely like the sound of the 8060 and also use it indoors a lot. To my ears it outperformed the 8050 (hypercardiod of the same series) many times even on real closeups (sounds "slimmer" in the 150 Hz area). If room acoustics are OK, the 8060 sounds like one step "closer" miked than other short shotguns, even outperforms the 416 in this respect. But: I'd not encourage anybody to sell his one and only 416 for an 8060, because there also some cons: .) The 8060 is very susceptible to windnoise, for quick swings on the pole you are not covered by using the original foam. This foam also alters the sound btw, taking away much of the 8060's specific clarity and "airyness". Look for some light basket solution or some ENG style fur with mesh even for indoors, if you have to perform quick movements. For outdoor use even a rycote basked with windjammer can be critical in windy situations, the bigger the basket the safer you are. I also keep a 416 in my gear for those strong wind days. Maybe a cinela basket is the way to go. .) not sure if Sennheiser has fixed it's manufacturing issues. There were some problems with 8060s of the first buch, one of my 8060s has stayed with Sennheiser for a considerable time back in 2012 to get repaired. Then they re-desiged the body adding a black ring as a visual mark for the new series. Thing is, that I even had one of those new mics go down after only 3 weeks of use recently. None of those issues was caused by maltreating the mics. Sennheiser is very easy with exchanges or courtesy repairs, sometimes even after the warranty has expired, but it takes considerable time to get those units fixed or exchanged.
  13. where is the like button ... I like your setup. But maybe some day your back will tell you, that it was not wise to carry it for -even short- days.
  14. comes in its own neat case, but very similar to the B6. Obviously I got 2 of the cases but I cant remember where the second one went...
  15. - MKH 8030, yes indeed; - CPU upgrade for my brain: 8 core minimum @ 5,2 Ghz, suggested layout: core 1-4 for monitoring up to 12 iso tracks simultaneously as if listening in mono mode; alternativly only 8 ISOs, but with frameline clear™ boom drop-in and reflection control on 2 HD monitors core 5 for proper mixing 10+ isos with anticipation of erroneous cues and automatic overlap detector core 6 for notes & memory (permanentely updating and keeping in mind all adjustements necessary for the next take, next setup, next scene and day after tomorrow) core 7 for proper multi level communication including automatic timeslot detector for talking to director, 1st AD, DOP and main cast core 8 reserved for humour and friendliness on set