Mobilemike
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Posts posted by Mobilemike
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I’m confused I guess why you need a switch at all. If all you are connecting is the Sonifex and the Cantar, just use a CAT6 cable and plug them together. You only need a switch if you have three or more devices that all need to talk to each other.
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Like everyone before me, I gave my old fixed channel lectro units away to a mixer who was just starting out.
I hung onto some other stuff though like my first mixer - a Wendt X4. It actually came in handy just last week when I needed a way to get a bunch of talkback mics into my main mixer.
-Mike
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My worst investment(s) we’re all of the pro-sumer recorder/mixers that I bought to try to avoid shelling out the big bucks for a professional recorder. I had a Tascam HDP2, a DR680, and a couple of others I’ve forgotten about or blocked from my memory. Every gig was a struggle with those. Trying to make them work and do what I wanted consumed way more mental energy than actually recording.
Conversely, I think my best investment was when I broke down and ordered a Sound Devices 633. I remember the moment well - I was actually on lunch break at a gig that I had been “using” (read: sweating and struggling with) the HD-P2 on and I got so frustrated that I sat there at lunch and called Trew Audio. I’m not saying that that the 633 solved all of my problems forever but once I got it I could finally trust my recorder to do its work and focus my brainpower on other aspects of the job.
-Mike
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You can move the Lyres closer together so they don’t cover up the interference tube and allow the foam to be used.
-Mike
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Your audio files are not playing for me, but I’m on my phone at the moment.
The 416 is a fairly bright microphone so it makes sense that the hiss you hear would be concentrated more in the high frequencies than for a flatter mic.
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Is handling noise really a concern for ambiance recording?
Normally I would set the mics up on a stationary stand somewhere and let them roll for awhile, if possible after walking away (so you don’t get human breaths or movement in the recordings).
For recording ambiance’s I’d also recommend spaced Omni’s instead of a cardioid-based stereo technique. Techniques like ORTF, MS, and NOS are fantastic if you are focusing on a source that is in front of the mic, like recording a musical ensemble, or recording sound effects. However for ambiances your source is 360° around you, so omnis will give you a more spacious, enveloping sound IMO. MKH8020’s are fantastic, and I also really like the Sony ECM100N at a lower price point. Both have extended high frequency responses up to (I believe) 50kHz.
You’ll definitely need to invest in good wind protection too, so figure that into the budget. Omnis are a little more forgiving than cardioids in that respect but still need good protection.
-Mike
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That’s awesome! Can’t wait for the “sounds of Mars” museum exhibit.
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IMHO the MKH50 sounds “better” than the CSM1 in ideal conditions.
however the CSM1 has better rejection than the 50 and still sounds great.
For me when I don’t know what kind of environment I’m going to be in, the CSM1 has been my default.
-Mike
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Yes absolutely if at all possible. Just label accordingly.
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2 hours ago, Sebi said:
But keep in mind that the 32-bit float recording is only "dummy proof" recording-wise. In post it's some extra work and if the files are being delivered to editorial and they import it into Avid the audio will be converted to 24 bit which means everything above 0 dBFS just clips. If you have a sound post they can of course replace the files and adjust the clip gain but depending on the job there won't be any and the audio is expected to be delivered more or less "finished".
So considering every step of smaller productions I wouldn't recommend this workflow since 24 bit offers enough dynamic range and the limiters on the MixPre work fine.
IM(not so)HO, if there’s a production which hires a sound mixer who is so inexperienced that they need to use the MixPre’s basic mode, and they also expect the audio to be delivered “finished”, then they deserve whatever they get.
-Mike
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On 9/14/2021 at 1:08 PM, Grant said:
I'm not so concerned about price as I am simplicity/shallow learning curve. I would like to have a field unit that can be handed off to a fellow professional without too much time spent delving into feature sets, etc.
If this is a consideration I would definitely recommend the MixPre 6-II. It even has a basic mode that makes operation incredibly simple, and with 32-bit float recording there is very little that can go wrong. It’s about as dummy proof as I think a professional sounding recorder can get.
-Mike
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Sucks this is happening to you but thank you for bringing it up here so that other people can avoid dealing with him in the future.
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If I had a quarter for the amount of times I thought disassembling something was going to be really complicated when “just pull it apart” was the answer…
-Mike
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Ok this is my new favorite thread.
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These are by far the most comfortable (non-KN95) masks I've found:
They are large enough (on me) to get the top of the mask all the way up on the bridge of my nose, so then I can get my glasses farther down on my nose so that they don't fog up. Definitely a balancing act sometimes but it works for the most part.
-Mike
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What’s the reach and off axis rejection like on the 4097?
-Mike
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The device you linked looks like it'll work fine.
The AES output is on the XLR connectors, not the BNC, which is for sync.
You can see a diagram of the breakout cable here:
https://www.aja.com/products/ada4
So you'd just need to adapt XLR outputs A and C to TA3 and you're good to go.
-MIke
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6 hours ago, henrimic said:
I use both depending on the situation.
For fixed interviews, I'll use the Sennheiser that has more reach and a sound less "flat".
When in movement and when several persons speaks at the same time, the Schoeps is more natural and forgiving if you are not spotted perfectly.
I'd say that if you have to choose only one, the Schoeps is more universal.
This is exactly my experience.
-Mike
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I am not a software programmer so take my advice with a grain of salt, but I believe one of the caveats with using an ambisonic mic is that for the best results, the software you use to process the files after recording and turn them into something listenable should be calibrated for the exact microphone you’re using - sensitivity, distance between the capsules, etc.
just something else to think about if you’re thinking about going the DIY route - even with a great mic you may get less than ideal results unless you invest in a custom software solution as well.
-Mike
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I just discovered these... they are hilarious!
Another fav:
-Mike
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You really only need 2 channels of preamp for ADR/Foley, so I wouldn’t worry about the 4 channel Millennia. Your interface will likely have some built in preamps that can be used for utility channels like talkback mics, saving the main preamp for talent duties.
Also I don’t know the pricing in India but check out the Neumann TLM107 - it’s cheaper and sounds a lot more similar to the U87 than the TLM103 in my view.
-Mike
Which switch for this Dante Setup?
in Equipment
Posted
That’s fair, but once you have initially set it up with the computer, you can disconnect the computer and just connect the two pieces directly to each other. If you’re using the switch only for the initial setup then the kind of switch or features on the switch shouldn’t matter at all since you were just setting it up and not even having any audio flowing through the switch.
-Mike