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Everything posted by Mobilemike

  1. Ok fair but until I can pay my rent in bitcoins, or pay for groceries in bitcoins, I still think the OP was correct in holding out for other currency. We're not in this business to speculate - if we wanted to do that we can always play the stock market or invest in bitcoins in our own time. We do work, and expect to get paid a fair wage in hard currency. -Mike
  2. Sound Devices Mix Pre-3 and Mix Pre-6

    Thats correct. If you choose to embed timecode as metadata then it will work like any other production sound recorder on the market, and the editor can sync it up just like normal in his/her NLE. If you choose to record LTC as audio, you will have to have another piece of software that converts audio LTC to timecode metadata first, like the Tentacle Sync software does. -Mike
  3. Sound Devices Mix Pre-3 and Mix Pre-6

    You can set the MIxPre to do either one. If you set the "aux in" mode to timecode, then it will read the incoming LTC and embed it as metadata. However if you setthe aux in to line input, it will just read the LTC as an audio signal and you can route it to any track to record to. -Mike
  4. OT: Best all-round DI box?

    The Radial DI's are built like a tank and sound excellent. I've used those in bands for years. -Mike
  5. Cos11 tie-clip alternates

    It works perfectly on the ADR stage though! -Mike
  6. Cos11 tie-clip alternates

    This is the Auray Mic clip for the Sony ECM-44 on a COS-11/Hushlav. -Mike
  7. Cos11 tie-clip alternates

    If you're not trying to hide the mic, I use a COS-11 in a hush-lav, and it fits in some of the larger tie clips very well. There's one from Lectrosonics I used to like quite a bit although the last two I bought were faulty and didn't close all the way and had to be returned. Clips for the Sony lavs seem to fit the COS-11/Hushlav combo well too. -Mike
  8. MKH40 high pitch noise

    Based on the quoted phrase alone this made me think the mic is simply picking up something in the environment. If it was a problem with the microphone itself I would think the noise would be present no matter what the mic position and angle is. -Mike
  9. MKH50, Sennheiser vs Rycote mount?

    Nothing wrong with the Sennheiser elastics, just that elastics in general are more prone to moving and stretching and breaking than the Rycote lyres. Just one less thing to think about with the Rycote mounts. -Mike
  10. MKH50, Sennheiser vs Rycote mount?

    I usually use Rycote mounts, but I've used the stock Sennheiser mount a couple of times in a pinch. No issues here - worked fine. I prefer the Rycote because I don't like dealing with elastics, but no worries about the sound. -Mike
  11. Logo Creation

    Not 100% sure what you are asking but a lot of graphic design professionals use Adobe Illustrator or Photoshop for this work. Consider hiring a graphic designer for this work. You will likely save time and money versus trying to do it yourself. -Mike
  12. BDS Battery + AC

    That's pretty cool! -Mike
  13. ISO's vs. Mix Track

    Like @Rob Neidig, I've been burned too often (well, twice but still), by editors who leave my split mix panned hard left and right, that unless I know who is doing audio post and have a conversation with them beforehand, I will always mix in dual mono now and deliver that along with ISO's. Dual mono meaning that I mix in mono, and record it to both the L and R channels of the mix track, to dummy-proof the mix as much as possible. I do have a split headphone preset set up that I use quite frequently with boom on the left and lavs on the right. I do find that its easier to pinpoint something being off that way, even while mixing to mono. -Mike
  14. Sometimes things slip through

    Its good to know I'm not the only one who has this problem! -Mike
  15. Portabrace “Silent” audio bags.

    The $99 price may have been a mistake. I saw it on the website this morning, but now the 1.5 is listed at $139. -Mike
  16. Yup, this has been my experience. There have been several situations where I've gone with option C - brought my own wireless lavs and let the house do their thing, and me do mine. These are usually live events where I am providing a mix for a livestream, as well as a recording of the event for later editing. Its funny because when there are issues with the house system, the audience members still look at me as if I can fix them, even though my recording is going just fine! -Mike
  17. Hey all, I was curious if any of those members who are experienced with soundfield/Ambisonic recording could share a bit about their delivery workflow. Obviously I know each client is different, but in general how have you been asked to do things? Some of the questions I had were: As a sound mixer do you just deliver the A-format files and be done with it? Or have you been tasked with converting the files to B-format after recording and delivering those? If so, do you bill for that time? Have you ever been asked to deliver 5.1 or 7.1 (etc, etc) files? Any other thoughts you have are appreciated! Thanks! -Mike
  18. ADR with BG noise

    I've done that in ADR sessions from time to time when an actor needs help. You can can also use the volume of his/her headphones to "trick" the actor into giving more or less projection - louder backing track in the headphones usually means they will naturally speak louder to compensate and vice versa. I always prefer to work work with an actor and guide or ask for what I want first before resorting to tricks like these... but sometimes they're the best way to get results. -Mike
  19. Remote Audio BDSv4U Connection

    There's also this thread with some good info: -Mike
  20. Is a new Sound Devices MixPre-10T coming soon?

    Yes, notes field for MixPre shows up for me the same as for my 633. However the @Fernando is right that the "Reports" section of the Wingman app is greyed-out and unavailable when connected to my MixPre-3. Is there a reason that sound reports are not available on the MixPres? -Mike
  21. Neumann RSM 191 Matrix box needed?

    Good call! From the RSM 190 manual: "The side signal is constituted by a transverse figure-8. Two opposed single capsules are arranged closely behind the interference tube capsule." -Mike
  22. Neumann RSM 191 Matrix box needed?

    There was some talk a few years ago, either on a Neumann forum or possibly on Gearslutz, about trying to build a smaller power supply only for the mic -without the M/S matrix in it. Not sure what came of that, I believe the idea was eventually scrapped as being too difficult and expensive, and not really worth it as the matrix box works well. But some judicious googling should turn up that discussion if you're interested. I have and use an RSM 190, and the matrix box isn't that big of a hassle. Totally worth it for the sound of the microphone IMO. -Mike
  23. Neumann RSM 191 Matrix box needed?

    The box actually provides power to the microphone, which uses a different powering scheme than phantom power can provide natively. So yes, the box is needed. You can still output discreet M/S from the box and do your matrixing in the 633, which is what I do. -Mike
  24. MixPre-6 or a second hand 552?

    +1 on this. To the OP: you have to figure out what your primary need is. If you primarily need a mixer, and sometimes need recording functions, then the 552 is awesome. If you primarily need a recorder, that happens to have some mixing functions, go MixPre-6. -Mike