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The Immoral Mr Teas

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About The Immoral Mr Teas

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    Hero Member

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  • Location
    UK, Europe, Asia and occasionally the States
  • Interested in Sound for Picture
    Yes
  • About
    Film Sound

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  1. The Immoral Mr Teas

    New Zoom H3-VR Recorder mic combo..

    Yep indeed - and of course this nugget of truth counts just as much for a top quality ambisonic rig as a budget one (as indeed it could for any technique of any quality ... ) Not a magic formula, ambisonic tracks could be close to useless for many applications and situations, but the best solution or as good as for others. For atmos tracks useful to me as a film sound editor I'd be happier being handed a pile of ORTF tracks, Dan ... But interesting, and fun - certainly Jez
  2. The Immoral Mr Teas

    New Zoom H3-VR Recorder mic combo..

    Jose, I reckon the quality product has existed for years (decades even with earlier multi tracks) and they recognise the real market far better than we long-term ambisonicists did! For the record, and unfortunately, I invested in my Soundfield more to have it to record and experiment and (in post sound) have never actually got a penny back for it in 'rental' ! There you go ! Although if I was recording VR gigs then yes, I'm sure I would hope to be getting some income from it. J (postscript - not that I'm using it without charge - just not using it on my paying gigs ... nor wanting/needing to)
  3. The Immoral Mr Teas

    New Zoom H3-VR Recorder mic combo..

    I will likely get one just to play around with it and test it out, but I doubt it replace my SoundField SP200 and MixPre-6 rig. Not sure how I managed to combine both above - I meant Jose to be first and Ear to be second ... haha never mind I also don't plan to sell my Soundfield (regardless of reviews) to pick up one of these but the point is they're not challenging the quality aspect but throwing in a gauntlet of a price-point unit that gives ambisonic sound for the new VR (as in the slightly less new DSLR) community. I expect anyone making money (ie working) with VR etc (from their Soundfield etc investment) would and should pick one up if only to see how they work? Sadly I can't see it being a high rental return but just wait and see - if people start charging then charge the same ... After all, how much do you charge for your $600 boom pole, accessories, cables etc?
  4. The Immoral Mr Teas

    New Zoom H3-VR Recorder mic combo..

    Here's me 'presuming' again * ... that the tri-axial accelerometer /gyro is the same simple gadget found in every modern phone and whose purpose is simply that stated, to identify and 'choose' whether inverted, endfire etc and nothing more. The package as a whole should indicate how fast ambisonics has become popular and useful for younger applications in a very short time - and I think rather an intriguing and well designed little gadget (at its price point - presuming* again). Jez * that's me pontificating from me jacksie
  5. The Immoral Mr Teas

    DPA 3mm lav mic

    Well I am probably the only one here who missed all the hype, so this is a really nice surprise. Would I be the first idiot to try dunking one into water ... ? Might be worth thinking to get three then ... Jez
  6. The Immoral Mr Teas

    Recording music performances on set

    I'd consider what Philip suggests quite seriously: it might even be an excellent acoustic solution, thus pretty much solving the problem and getting a great recording. So if you think in your case it could either help or be the best solution make sure to argue the case with the director and run it over with the DP etc for framing in advance (if that is possible for you) ... Jez
  7. The Immoral Mr Teas

    New to Nagra!!

    Which I had no idea about Philip! But sadly my oh-so-vague memory seems to be a different shaped model, less brick more box slightly, but with similar beautiful build quality. Sitting on an archive of many hundreds of cassettes (one of which recently made its way back to the BBC as a 'lost' radio play) I'm pleased I picked up a decent D3 a few years back to replace the head wear of my original D6C for most stuff. A beautiful machine itself. J
  8. The Immoral Mr Teas

    Sonosax M2D2

    As someone seriously hoping this appears (and very happy that Sonosax offers preliminaries for feedback) here is my immediate feedback. As a field recordist often out in the 'middle of nowhere' and WEEKS or more away from simple replacement parts - I am a huge fan of simplicity and conformity for common/essential tasks. This and several other reasons would make me want standard XLRs for the two inputs. Extra cables are bad enough - losing the extra cable is (all too often) a disastrous nightmare. Would be more than happy to make up space by having the AES3/42 on XLR1 if so : no great reason for an extra connection for a 2 channel unit? Expect others might have good reason to disagree but have to say I don't know what it may be. Not so bothered on not having balanced analogue outputs but might expand its user base (could increase other uses - I am well aware that this is designed as an input accessory for the SXR4), nor output connector. Looks good. And good to think that a series of small '+2' modules might expand the R4+ Still think there is perhaps a strong potential market for a (same footprint/body as the AD8) AD4+4, being 8 AD converters but with just four of them having preamps in front of them. A compromise between cost and those who might need the converters just at line level (which I've seen at least once here). Jez
  9. The Immoral Mr Teas

    Etymotic or other brand for low-cost earplugs?

    Priceless! (Etymotics currently back in the pocket along with micro wind-up torch since you're asking ...) Jez
  10. The Immoral Mr Teas

    Abisonic Microphones

    Cheers again, Jose, a little late back to the table! I hadn't actually realised the 'upconversion' existed ... or indeedy how it might work so I'm going to have a good look at that too! Thanks, Jez
  11. The Immoral Mr Teas

    New to Nagra!!

    Now you have me really interested Gustavo! I remember 'shopping for' the unbelievably expensive top Walkman before the (unbelievably expensive) WMD6C came out and I bought. Maybe I saw the 600B but could there have been a model between that and the WMD6C? It's a vague memory from the early 80s! Jez
  12. The Immoral Mr Teas

    Studio Sound Magazine Sept 1984 Issue

    Took me a while to get past page 2 Al, let alone 38. My studio bought Gerry Rafferty's Soundcraft 200 Producer Series (which I guess he bought off the back of Baker Street and the album after 1980). Cheers! Jez
  13. The Immoral Mr Teas

    Abisonic Microphones

    Yeah pretty much, thanks Jose. Was curious really how much HOA had developed industry-wise - as in clients, rather than just ourselves. Cheers, Jez
  14. The Immoral Mr Teas

    New to Nagra!!

    TCM 600B Yes that's a beauty to me. And definitely not the 'early pre-pro walkman' that I was thinking about. Never seen it before, cheers! I'll even venture to stick a year on it - 1983 at a guess!
  15. The Immoral Mr Teas

    Abisonic Microphones

    Excellent, interesting and nicely concise write-up Jose, thank you. Interesting that you are mixing (and presumably delivering?) in 3OA and recording in 1OA. I don't have close to the same experience as yourself in actually working (and delivering a product) in ambisonics, yet I've known it, used it and experimented with it since a long while back. I believe Jon was perhaps referring to the end delivery format or situation in his question (which was well answered but I'm still curious). I will add my own experience that as a single point mic, if the ambisonic mic cannot be well-positioned it may well be compromised (or be not terribly good) as the source of a good or perfect 'localisation sound-scape'. This will be understood by everyone who at some time couldn't get the boom mic just outside the frame pointing at the dialogue, and is stated pretty succinctly by Soundfield who pretty much said 'position it as a mono mic to get a good result'. So even for these 'vector-soundscape' situations perhaps even ambisonics can't deliver (against the tyranny of camera position for instance). So, I'm sort of second-guessing Jon's question here in what the requirements are and how much are met by a single ambisonic mic and what else goes into a third order ambisonic mix? Are you using Harpex for the final mix? And is there a strong reason for delivering in 3OA rather than 1OA? Is it just that 'one can' or do other input elements and/or delivery requirements (being what - speaker or output-wise) necessitate or benefit from the higher order? Hope these questions make sense to anyone but myself! I'm actually interested in how we might be experiencing a repeat of the "locked camera" restriction of both sight and sound that disabled film in the 1930s, a previous era of great change, and my own fetish interest ... Jez
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