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About Constantin

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    Hero Member

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  • Location
    Cologne, Germany
  • Interested in Sound for Picture
  • About
    mostly cart-based, but also bag-based commercials, corporate, documentaries, etc.<br />
    To contact me away from jswoundgroup, please use:<br />
    mail {at} constantinbomers.com <br />
    (leave out blanks and brackets, and replace at with @, of course)

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  1. Constantin

    The Wheel - 2018

  2. Constantin

    Zoom F8n.

    Actually it does. You can remove the front panel from the Deva24 and put the recorder into your backpack and hide the panel under your jacket
  3. Constantin

    AATON Cantar Mini VS. Sonosax SX-R4+

    The 4017 has a much smoother off-axis response and in many ways sounds more like a supercardioid. Still it’s not the obvious mic for interiors, but it does sound really nice in most imteriors (abd exteriors, too). Plus with the C preamp it becomes really small. Just make sure it works fine with you chosen transmitter
  4. Constantin

    AATON Cantar Mini VS. Sonosax SX-R4+

    What I find annoying with the Mini is that it doesn’t have enough analog or digital inputs to use all 10 inputs with one or the other. So you can’t go fully analog or fully digital. If you have ten sources to record you‘ll always need to mix and match. And ten inputs is only two more than I have now with my 788T, so there‘s only two more on the Mini. The Cantar does have great software options though and that screen is awesome. And the faders are built right in so you won’t need to buy a panel one day. On the Sonosax you can expand that to 12 mic inputs (with an add-on) or go fully digital, that’s great. But there‘s no fader panel yet and the software options are less exciting (if you ever need them all is another question). Soundwise both won’t have any issues I‘m sure. By the way, you could consider getting a 788T instead. These are coming way down in their used prices and still offer 8 mic/line inputs.
  5. Constantin

    Zoom F8n.

    Oh no, I think you must be the first Zoom Fanboy out of New Zealand! Maybe anywhere...
  6. Constantin

    Cardiod Microphones

    If you are really on a tripod at all times, why not buy something with that in mind? That would mean you get buy a long shotgung if you wanted to, or, something I would prefer, a stereo mic solution. With stereo you may lose some of the „kick“ and maybe some details, but on the other hand you’ll get much nicer, more immersive atmosphere and the sound would be independent from your camera angle and noise. There are some ok low budget stereo mics available, such as the Rode NT-4. I also have the Beyerdynamic MCE 72 (stereo mic) which was made for on-camera mounting. Again not very nice sounding, but ok for the price. The NT-4 is quite heavy and may not be suitable for on camera applications. Or you buy two separate mics and put them on a stand with a stereo bar.
  7. Constantin

    LT/LR vs SRc

    Daniel helped you above Ok, who are they? They don’t seem all that solid to me
  8. Constantin

    LT/LR vs SRc

    Pretty close 50/50 decision??? Read up on both of them again and you‘ll come to a different conclusion. Hint: there’s a reason (probably) why you mentioned that you have two transmitters
  9. Constantin

    Noisy Environments

    A bit OT and just out of curiosity: I know that in the US there were these ADR trucks that would drive up to the location with a properly treated recording room and there you could record instant ADR. Are these still a thing? On what kind of shows are they used?
  10. Constantin

    News from Audio, Ltd

    What are you talking about? Of course! Isn't it that what we've been discussing here? The recording feature is now available when a balanced input is connected to the A10 transmitter - e.g. a boom microphone. The recording feature is still not available in the US (but everywhere else) with bodyworn lav mics. Other than that nothing's changed, it's just that Sound Devices apparently have found something of a loop-hole.
  11. Constantin

    In ear monitors for production sound

    Yes, I totally agree with that. I really love my HN's. I also wear them when I'm stationed outdoors, but the action takes place indoors. It really helps to get rid of traffic noise, etc. They are indeed not the most comfortable ones, so I only wear them when needed, but I am very reluctant to use in-ears, as I keep hearing that they are really bad for your long-term hearing as we tend to turn them up to loudly. But I have also never spoken to a doctor about that.
  12. Constantin

    DPA 4098 Travel cases

    Yes, I agree they are not well packed. I have both the 15cm version and the 30cm version. The 15cm I keep in a Countryman B6 case, which offer some protection and the 30cm version I have in a square aluminium tube, like you can get easily in any hardware store. That works pretty well, whereas the 15cm hast a broken tube bit, which is indeed annoying, but I think that happened in action rather than inside the case
  13. Constantin

    You think WE'VE got sync problems?

    It‘s 7.8 Hz, as Larry stated. There is no indication that this beat occurs at precise intervals, or even frequencies. And it varies depending on the time of year and on certain weather phenomena, such as lightning
  14. Constantin

    John Blankenship is officially a year older today

    Happy Birthday, John! And yey to Jeff‘s post
  15. Constantin

    Noisy Environments

    Yes, I am constantly amazed at what a good post team can do with problemtatic locations. But my guess is that they will go to the producer and tell him/her that since the locations were so bad, they‘ll need a few more days to get their job done. That may end up being more expensive than a fair amount of adr. Especially, since ADR is already included in the actor‘s day rate - or at least it used to be like that. So the thing making it more expensive is the studio side if things. I‘v been in similar situations before, and I have done the following: - request a bit more time each day to wire the actors and make doubly sure those lavs sound good. They really can make a difference - get a long shotgun or a SuperCMIT. It may help a little. - keep a list of the bad locations and write down what’s bad about them. Mail this list every few days (as it grows) to everyone involved: producer, director, AD, post house, assistant editor, production company and so on. You won’t believe how quickly they forget that you warned them about the sound having problems. They always kick down not up. And yes, speak to post. Call the studio if you know which one. Just call the head sound guy or whoever, it doesn’t matter as long as you get them involved. The last point is probably the most important one and also the one that can change things easiest.