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About Mobilemike

  • Rank
    Hero Member

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  • Location
    New York City
  • Interested in Sound for Picture
  • About
    Mobile ADR recording, location sound, foley, sound editing and mixing.

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  1. DPA 4017B Vs CMIT 5U

    +1 to that @Constantin I have a CMIT5U up today at client request, with the hi boost and low cut on, and it does sound very smooth and really nice. I'm liking it quite a bit today. -Mike
  2. Boom Poles on Sale Today

    I was also interested to read that Auray offers carbon fiber extension tubes that apparently can be popped on any of these poles to make them longer without having to buy a whole new pole. I thought that was a pretty cool feature. -Mike
  3. Boom Poles on Sale Today

    Pretty good deal! No personal experience here to share although I have picked these up and played with them a little bit in the B&H store. They seemed pretty decent, but playing with it in the store is a long way away from actually using it in anger. FYI, the B&H website will let you order the pole at that price even if it says out of stock on the website. It just may take longer for them to get it to you. -Mike
  4. All Round Shotgun Mic MKH8060??

    DPA 4017 B/C or Sanken CS3e would be my picks. -Mike
  5. DPA 4017B Vs CMIT 5U

    That is a good point. I try hard to baby my mics so I don't have any personal experience, but the DPA is a modular design whereas the CMIT5u is all one piece, so I can see the Schoeps being a bit more rugged. I do check my DPA every time I put it up to make sure the connection between the capsule and preamp is tight. -Mike
  6. DPA 4017B Vs CMIT 5U

    I've had more experience with the DPA than with the Schoeps, but that's mostly because I like the DPA better. The DPA overall sounds a bit brighter than the Schoeps, but to me that translates as having a bit more clarity to the sound. It still sounds nice and full with a nice bottom end, and I don't feel that anything is missing. The CMIT5u has the Schoeps sound - very warm and natural – quite similar to the CMC 641. When I use it though, which is usually by client request, it always leaves me with the feeling that it's going to sound really great when it's had a little bit of EQ. The DPA on the other hand sounds great as is. The Schoeps seems to pick up a little more of the room than the DPA does. I have both the B and C preamps for the 4017. I use the mic a lot for ADR sessions where I'm not worried about size or weight, and in that situation I love the extra filters on the B preamp. When I'm booming I love the tiny size and weight of the C preamp. I have the Rycote basket made for the 4017 C, and the thing is so small it's amazing. -Mike
  7. sound devices media prices in UK

    I think it's funny that topics like this come up every couple of months. We in the US regularly pay more than our European cousins for brands like Neumann, Schoeps, DPA... but the moment an American brand costs more it's a huge deal. -Mike
  8. NEW: Timecode Systems | UltraSync One

    These look great, thanks for this! -Mike
  9. Sound Devices Mix Pre-3 and Mix Pre-6

    Here's a question/request for Sound Devices: Is there any way to set or adjust the default frame rate the MixPre sets when it's in "Time Of Day" timecode mode? It seems like it sets itself to 30 fps and I don't see a way to change that. I realize this mode isn't for frame accurate timecode, but on little shoots like I did today where they're syncing with a clapper slate and plural eyes it works fine. I know it doesn't actually matter or influence how the file is recorded at all since we aren't using timecode on the shoot; I'm just more worried about someone down the line seeing the "wrong" frame rate in the metadata and thinking that I screwed it up. I don't want to have picture editors freak out when/if they see in the metadata that the audio is at 30fps. Today, I ended up using Wave Agent to change the files to 23.976 afterwards which is an option, but the process takes awhile if there are a lot of files. Thanks! -Mike
  10. Data Recovery

    Thats good to know! Glad it worked out! -Mike
  11. Data Recovery

    You could try downloading Audacity - its pretty good about opening otherwise unplayable files. You can even import the files as raw data in Audacity and then save them as WAV files. "File menu > Import > Raw Data" -Mike
  12. Delivering files from multiple recorders

    I would be interested to hear suggestions too. So far the only time I've had to do this is when I had more channels than my 788 could handle so I had to C-Link a 744t to it to handle the overflow. In that case file naming wasn't a problem, but I still dumped everything into Wave Agent afterward to generate one combined sound report and give all of the files to the editor together. -Mike
  13. MixPre-6 – worth it for this beginner?

    +1 -Mike
  14. MixPre-6 – worth it for this beginner?

    What do you need the recorder to do that your DR-70D isn't doing right now? If you can answer that and the MixPre-6 fulfills those needs, then you'll have your answer. If if you're getting it just to impress clients, don't. As already stated, most clients don't know or care. If if you're getting it as a sound quality upgrade to the Tascam, fine, but keep in mind that your sound quality will still be limited by the worst sounding piece of gear in the signal chain. I doubt anyone could hear much of a difference between the RodeLink wireless you mentioned earlier into a DR-70D and the RodeLink into a MixPre. -Mike
  15. FYI if you're using this as a USB interface: I noticed the other day and have confirmed with Sound Devices that the individual track outputs over the USB bus are only post-fader, regardless of whether or not the internal ISO tracks are set to pre or post fader. Sound Devices says they will pass this along to the development and firmware team but a couple other people chiming in and asking for a fix wouldn't be a bad thing either. -Mike