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Found 24 results

  1. Hey friends, I have a small diaphragm condenser, bought used, that the previous owner kept in a homemade PVC pipe contraption. The pipe is sealed on one end, with the end cap being removable and held in place by how snugly it fits. I wonder if keeping a mic in there could cause problems, because if you pull the cap off it creates a "pop" sound when I create a low-pressure situation in the pipe. Some thoughts; if there's no closed air space inside the mic/capsule/diaphragm, then this air pressure will affect the whole thing evenly and not create any problems. But if there's an enclosed air space, the differential pressure could be enough to put strain on the mic. Any thoughts welcome!
  2. Podcast Microphones

    Hey y'all! I'm a mixer from Idaho, and I've noticed there's quite a few podcasts coming out of my area, but most have limited audio quality (aka cheapo USB mics). I would love to be able to offer these various groups my services to show them how good of quality they can get with the right equipment. However, my mic collection is generally just production oriented (shotguns and lavs). What mics do you guys find work best for podcasts? I'd love to also have them work as table mics for live events etc, but I'm just interested in hearing everyone's thoughts. Any input is greatly appreciated! Thanks again!
  3. Hi everybody. I recently purchased a SD 633 that I love. My only issue is with the internal slate mic, it sounds crapy, hi-medium with some resonnance. Do you have the same feeling with yours? It's no big deal but I'd like to know if mine has a problem, or if it's just normal. Thanks
  4. Howdy Gents, I've been doing a fair amount of horror films and I always have distortion issues with my CMIT5u when anyone screams (especially women), or even yells too loud. I normally back off the gain and move the mic away to handle it but this changes proximity, and in post, there's a noticeable difference. I've been renting a MKH60 with a -10pad to better handle these situations but it occurred to me that you all have had to deal with this situation at one time or another. So I was wondering what your solution is/was for capturing clean scream sounds? I'd prefer the mic to be up close to my subjects when I do this of course to get a more consistent result to send to post. Any guidance would be greatly appreciated! Thanks, John (jgbsound)
  5. Sanken CS3e sound differences

    Hey all, My main shotgun mic for about 4 years has been a trusty Sanken CS3 with the mod to make it a CS3e. Recently I needed another shotgun, so I picked up a second, new Sanken CS3e. I put them up together just for kicks and there is a small but definitely noticeable sound difference between the two. It's subtle but definitely there. The newer one is a little warmer sounding, with a bit more bottom end; the older one is a bit brighter. Interestingly, if I swap the foam windscreens between the two mics I can get them to match quite a bit better. If I put a thicker (cheaper) windscreen on the old one, and a nicer, more open-cell windscreen on the new one, the sound difference is practically negligible. I know this is a subtle thing, and probably a silly question. I also know that I can send the old back to Sanken for a checkup, but I wanted to ask you guys first as quite a few of you probably have experience with these mics, to see if the sound differences are normal or if they are something I should get looked at. Thanks! -Mike
  6. Hi folks; I was told I had a budget of around $5k for some new gear at the video production company I'm now at as audio guy and video assistant editor. So I know it's everyone's favourite question in boom mic land, but I'll phrase it differently Currently they're using Sennheiser ME66 and ME2 boom/lavs and when I priced out some Sanken COS-11 and Rode Lav wires and a complete package Senn 8070 (with grip, blimp, and rycote total of over $3k), the answer I received was "You wanna spend HOW much on one microphone?!?! You're crazy! What's wrong with using lavs, we already have a boom mic!" So: in order to keep with a 21mm/22mm mic shockmount and zeppelin rig (which will make them happy by keeping cost down), I'm looking for bang for buck and was maybe entertaining idea of Shure VP89 short and long capsule. Ideally, I'd go with Schoeps CMC6/MK41 for interior sit down interviews but my concern for these folks is the outdoor location shoots (it's 'corporate video' etc and sometimes can be in factory/mining/manufacturing/outside in windy prairie fields) so if I have to use the ME66 indoors, I shall. I know I can't serve both needs equally (indoor sit-down and possible distance-shot location with desired rejection) but which mics would you suggest I look at for the sub- $1200 ish range? I haven't been in location audio for awhile (mainly a post guy who polishes it later) so the go-to's for me used to be Senn 416, Neumann 81 / 82. I've recently been reading about Rode NTG-3 and the Shure VP89 series. Cheers! Jeff
  7. Sennheiser 418S, is it faulty or not?

    Long time lurker first time poster (i think), hello! Also, I posted this on gearslutz too, apologies to anyone who read both forums. I recently bought a Sennheiser 418S m/s microphone off eBay, since I’m doing a bunch of field recording projects at the moment but I liked the idea of retaining some possibility for stereo ambiences in my recordings. The 418S was recommended to me by a friend who I work with a lot, and I had been pretty impressed by the recordings he had made with it. It seemed like just what I needed. Anyway, when it arrived I was dismayed to plug it in and hear a pretty serious hiss on the mid channel. I compared it to my cheap ME66 and the comparison made it even more obvious. I even set them up and did a quick and dirty A/B test, which you can hear at this link. The result was the same both in my Sound Devices 552 and my RME Fireface interface. To me the mic is unusable. The eBay seller asked me to send it to his repair guy in Germany, who in turn has told me that he tested it and it does not have any faults. I'm inclined to disagree, but I thought I'd ask around to see what other people thought. So my question is kind of in the description: am I crazy to think that this mic is faulty? I know it's a weird mic, but it would be pretty useful for what I'm doing at the moment. There is so much hiss in it, I can't possibly believe that it's supposed to be that way, even if it's pretty quirky. Any help/tips would be great!
  8. Hi, Recently, I've been experiencing sutil intermitent clicks when using one of my oktavas mk-012. I've changed the capsule, but problem remains. I think this comes from hte mic body then. Anyone has experienced this issue?
  9. Lost Schoeps CMIT

    On August 23rd a friend of mine left my schoeps cmit and a comtek pr-216 receiver in a taxi on the west side of L.A. The serial number on the microphone is 757. If anyone has any information a reward is in order. Message me here.
  10. MIKE

    So producer says they want to split the cameras to two different locations tomorrow. One for an interview and the other for recreation with four talent. I'm the only sound guy. She says they have an extra wireless microphone that the interview cam can use. This is a picture of what they handed me. When I stopped laughing, I broke a lectro out of my bag, set the cam up to record audio and wished the operator good luck. Note the MIKE in and out.
  11. Lavs made for abuse

    Hey all! I've been working on an Arena football reality show, and we've been putting some of my wirelesses on players during the game. The SMQVs are pretty snug in padding and gaff taped to hell, so they're holding up like champs, but as you can imagine, my lav mics are getting destroyed. The mic head is pretty tucked away inside of padding, but they're still taking on a decent brunt of impact. I've been using my B6s because they're fairly sweat proof, but between the impact and the yelling (my SMQVs' sensitivities are set to 1.5 during the games and the players still occasionally peak in unit), the diaphragms are taking a beating. I was thinking of picking up some Oscar Sound tech TL-40s because of their price point, but I was wondering if anyone could suggest some rugged mics that might hold up better in this situation. I've been shying away from my tram mics in this situation because my experience with them is that they tend to sweat out pretty quickly. Thanks!
  12. Microphone test - help wanted

    Brian McCarty, an audio professional presently living in Australia, seeks to conduct a series of tests to evaluate subtleties of microphone performance. His theory is that the shift away from interference tube microphones to cardioid and hypercardioid designs yielded an improvement in the intelligibility of dialog recording. Even if background noise increased slightly with the less directional designs, the dialog itself was more understandable and this more than compensated for the additional noise. He will be in Los Angeles later this month and would like to conduct some controlled tests to produce data to prove this theorem. He expects to be here from about the 17th to about the 22nd. Some tests will be done in a workshop under controlled conditions. He would also very much like to make some tests on an active set. The idea is to rig two microphones, one with an interference tube and one without, to a single boom and make matching recordings of dialog in a real-world environment. The resulting recordings would then be carefully evaluated for any differences in intelligibility. He is working in close association with Dr. Peter Mapp, a UK expert in audiology who has computer software that can help quantify any perceived differences. To make real world comparisons, he needs cooperation from someone working on a project who might be able to extend an invitation to visit the set and briefly encumber the boom operator with a second microphone. He would particularly like to conduct this test in an exterior scene but any working project would provide an opportunity to make meaningful tests. Probably the whole business could be accomplished in an hour or so. An independent production would probably be best as it is difficult to persuade the studios to allow anyone to make recordings, even briefly, and take away copies. Brian used to live in Los Angeles and was a member of both Local 695 and Local 700. He is presently the head of Coral Sea Studios in Australia (http://www.coralseastudios.com/index.html) and is also chair of the AES Technical Committee on Sound for Digital Cinema and Television. If you can help, please post here or send me a PM. Thanks very much. David
  13. DPA 406X connector and model type info

    Hello, I have done my fair bit of research on the web and within this forum concerning the DPA 406X series, but I haven't found a general answer to my specific question. Is the microdot connector really as faulty as people are saying? Is it better to just get it terminated to TA-5F for use with my Lectro wireless system? If I didn't hear the horror stories about the microdot I would be more inclined to get it because they offer both the 4060 and 4061 in a stereo set. The set also includes 2 microdot - XLR belt clip adapters; and I try to use a wire when possible so this would be very convenient. If I get the mics terminated to TA-5F I would need either the Lectro or Remote Audio TA-XLRF adapter. Is anyone using these adapters? I noticed the Lectro to be 3x the price. I'm afraid this would make my setup too bulky. I suppose by not getting the stereo set I could then get one 4060 and one 4061, but that would keep me from using the mics for stereo ambiences and SFX and limit me to film+ENG dialog. I'm at a loss of what to do and any further information on the microdot connector or TA-5F-XLRF adapters would be great. Thanks,
  14. Hi mates, I have a question about microphone lemo 3 pin connection. Can I use sanken cos11 lemo 3 pin with both Wisycom Mtp40 and Sennheiser 2000? Does they have the same connection? Thank you very much Bye Turi
  15. For those of you heading to NAB next week, please use this interactive map to locate us in the Central hall (it will be hard to miss us...) booth C1720. http://www.mapyourshow.com/shows/index.cfm?Show_ID=nab13&exhid=100379&booth=C1720&hall=B If you still haven't registered but are considering it, just go here and use code LV4213 for a free exhibits pass: http://registration3.experientevent.com/ShowNAB131/Default.aspx We look forward to seeing you in Las Vegas!
  16. Audix SCX1-HC vs AKG C480B+CK63

    Hi to you all, first post here. I'm a sound mixer based in barcelona, spain. I'm looking for an interior boom mic, i have read a lot of discussions here about hyper and super cardioids mics, i know that a lot of people loves their CMC641 and MKH50 (mkh 8040 and 8050 also), but unfortunately they are out of my budget. People allways recommend on a low budget this two mics the audix and the akg. Here in barcelona it's impossible to rent them and make a side by side comparison, so i would like to know if any of you have used boths and know your reviews as well. I like that the akg have a +6, 0, -10 db pad, and also a bass cut filter: 12 db/octave at 70hz and 150hz. Thanks to you all, regards from barcelona, spain. Nico
  17. Hi guys! I was in a meeting about an upcoming TV series yesterday when the producer dropped in the old "oh and we'll get the presenter in a swamp and he might dive in." Having never been presented with this problem before, I thought it best to ask those who may have. Based on this conversation, I imagine I'd have to purchase a water-resistent transmitter, but how best to protect the lav when / if our guy gets submerged in muddy water? Any help would be appreciated! Cheers, Eren
  18. Dear community, I would like to make a simple "T" power supply for my old 416T, intended to be used on a wireless boom. I don't want to use a barrel style adapter, as that kind of adapter eats up lots of power just to convert the P48 to T12, and I don't want to be changing batteries on a plug-on TX every hour. Plus, using external power would allow me to use basically any TX. I already have a lightweight 12V Li-Ion rechargeable (which actually gave me the idea for that project), so that's no problem. However I can't find any reliable diagrams on the web, they all show the 180 Ohms resistors but differ widely in coupling capacitor values. Any pointers? THX in advance
  19. Sanken Contacts

    Does anyone knows any contact person at Sanken? Or better yet, is anyone here from Sanken? Need to chat to them about a PR thing, but prefer a direct email rather than the form in the website. Thanks
  20. Boom Technique/Mic Position

    Just curious, how many Mixers wish for their booms to go for the mouth and how many want to go for the chest? Let me know your thoughts!'
  21. Thin cable lapel mic

    I normally use either tram or cos11 with my lectro radios, but there has been a few occasions that although the cable is cream or withe, the shirt or blouse of the actors is very see-through and you can see the cable. Or the material is too tight and it creates a vein like effect. I have 2 Countryman B6 that normally are very good in this cases, as the cable is hair thin; but i find the sound a bit thin and very sensitive to clothing noise. What other options are around with such a thin cable? the actual size of the mic is also good, but now as critical.
  22. Not sure how many of you know about these already, but I thought I'd post about it anyway with some pics for those that do not as I think this is a very good solution for any that have been looking. I bought a Sennheiser MKH-416 last year and like many of us newbies dabbling in the DSLR video and audio world I started with the Rode NTG-3 as a first shotgun mic. When I decided to upgrade to the 416 and sold the NTG-3 I was sad to see the storage case that the Rode came with go. For those that dont know the Rode NTG-3 comes with a very nice aluminum, pipe bomb looking, rubber gasket sealed storage case. There is nice squishy black foam inside the barrel and in the end caps as well. And since the NTG-3 and MKH-416 are nearly identical in every way, the 416 happens to fit in the NTG-3's storage tube. So I began looking around to see where I could get just the storage tube alone. Turned out no one sold it by itself and most places I talked to didnt even know what I was talking about. Eventually I found myself contacting Rode at 1-925-548-9451 and learned that the case is called a Baton in Australia and a Storage Cylinder here in the states by Rode's customer service people and that the part number is: 310-001-1-2. After talking to a Rode rep here in the states, he was nice enough to just give me a storage cylinder for free! I didnt even have to pay shipping. While I cant guarantee they will do that for anyone that calls, I at least wanted to make those that werent aware something like this existed and will be MUCH less expensive and IMO better than cases made by say ALFA (LINK) or any others. And I figured even if Rode wanted to sell you one I doubt they would charge much. Anyway, hope this info is of some use to someone. Just trying to give back a little.
  23. cylindrical p48 supply

    Anyone aware of or ever had custom built a AA p48 supply? The Denecke PS-1A or the PSC box of the same variety are fine but in certain situations it'd be really handy to have one in a tube, so you could throw a AA in there and be done with it. Much like an ME66 or Rode Ntg-2. Does a standalone external one exist? if not, why?
  24. Does anyone know where I can purchase those little semi-clear plastic boxes that most sound guys have to store their lavs and the clips/holders/etc. They are hinged and open lengthwise into two halfs, One on side is a main compartment with a closeable plastic flap, and the other has about 6 individual closing sections as well. I asked the guys down at Coffey sound and they said they were made in China and the manufacturer has discontinued making them!!! Ugggh. They are perfect and I need a couple. Any help would be great! Thanks, John
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