Mobilemike

Dreamhire isn't renting equipment anymore, but if there is one out there I bet Chris would still know where to find it. He's still answering calls/emails: https://www.dreamhire.com -Mike

The 416 has kind of a high frequency fizz sometimes on certain voices. I don’t think it’s distortion, just the sound of the microphone itself. My top choice for something like this would be my Neumann RMS 190; I like the stereo image to give a little extra life to the performance. For a mono mic I would choose a Neumann KMR 81.

I quite like the Avid Pro Limiter. That’s included with a Pro Tools HD upgrade package. DMG Audio makes some excellent stuff. Their EQ’s (Equality and Equick) are my go-to EQ’s. Massey Plugins are awesome too. Soundtoys gives some some free ones away from time to time. Cool little effects. -Mike

My understanding is that there is a difference between a splitter and a distribution amplifier. The splitter is usually passive and will have some transformers to isolate the signals, but little else in the way of electronics that could modify the incoming signal. A distribution amplifier will usually have active electronics inside that amplify the signal, and thus have more of an impact on the sound of the source that is going in to the unit. Not to say that a distribution amplifier won't fit the OP's needs, but there is a difference that should be acknowledged. -Mike

No personal experience with this, but I saw this on Gotham's website: https://www.gothamsound.com/product/eight-channel-rackmount-splitter Has XLR ins and outs. -Mike

True, but none of those products have the capability to act as a USB audio interface. That’s where the MixPre series is unique and having a fader panel would make it into a killer rig for a lot of the remote sessions I do, which are often Pro Tools based. -Mike

I want a MixPre fader panel so badly!

+1 on saving the cash. As long as both camera and slate work at the same frame rate (as you say they do), there is going to be functionally no difference between using the TS-1 and any other current slate. -Mike

It s a surprisingly low price. The seller seems to have a decent amount of feedback though, going all the way back to 2001. Not saying thats proof of innocence, but I would expect somebody fencing stolen gear to have much less of an eBay history. -Mike

Please please please make a fader control surface for the MixPre series! -Mike

Welcome to the forum, Tim! I took a glance at your website, and it seems nicely laid out and has a nice, clean presentation. If I could offer some constructive criticism I would say to go through it again and be extra careful spellchecking and proofreading all of your content. I know this probably doesn’t bug everybody like it does me, but for me, seeing spelling errors, capitalization errors, punctuation errors, etc., on someone’s website does turn me off from wanting to work with them. Good luck! -Mike

The specs for the two mics only list a 2dB difference in self noise between the mics. Depending on how accurately you matched preamp gain and your monitoring environment, I’d say that’s small enough to go unnoticed. -Mike

That would be a bummer. There are plenty of 8 in/8 out (or more) usb interfaces that have no trouble getting that data over a USB-A cable, so if this is the case wouldn’t it mean that the MP10T is terribly inefficient or purposely crippled? Thanks! -Mike

Does that apply even if you power the MP10T externally? I.E., can you feed the MP10T external power and connect to the computer with one USB-A cable and get all channels and functionality? Thanks! -Mike

Yeah sounds like it! I love the idea of being able to remix previously recorded material too. I could see myself for example when OMB’ing low budget shorts, re-mixing the select take of a scene while they’re doing lighting setups or something for the next one, just so the editors have a great mix track to listen to. -Mike

+1 I’ve never actually noticed that different microphones cause different battery life when I’m using them. -Mike

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Super cool, thanks!

+1 I have the remote audio cup and just use a piece of gaff tape to secure it though. Works fine. -MF

I also get more than a full day from the 98whr powering a 633 and two 411’s. -Mike

I do the same. I do wish there were away to record both the decoded and raw tracks simultaneously however. I would love it if the isos were true isos - recording the input signal only - and any processing happened only to the stereo bus. To my knowledge though all of the SD products 6-series and newer work this way though, where m-s linking affects isos too. -Mike

Some discussion and ideas in this thread: -Mike

You should join the Facebook group: https://www.facebook.com/groups/mixpre/ I've seen at least one report on there of weird behavior when the -10T is powered solely by AA batteries - including not being able to access the timecode menu, or format a USB thumb drive. These errors were reported to go away when an L-mount battery was attached. -Mike

+1 No "boom poles," just "microphone stands" No "shotgun mics" just "microphones". -Mike

Apparently Taylor Swift's backup dancers have to do her music videos while only dancing to a click track - no music. https://www.google.com/amp/s/www.buzzfeed.com/amphtml/stephenlaconte/heres-how-taylor-swift-prevents-her-backup-dancers-from Try showing that to a director who insists on a loud music track! -Mike