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  2. Next level on-camera microphone in M/S

    Are you sure the noise your hearing while using the BP4029 is not your mic pre's? Here's a sample of a raw M/S recording I did decoded to a LR file from my BP4029 at a residential lake in the morning which was recorded into a Sound Devices MixPre3 https://www.dropbox.com/s/viv9hn32glhc93h/AKG_BP4029_DECODED_MS_WIDE.wav?dl=0
  3. Sound Devices Mix Pre-3 and Mix Pre-6

    Thank you Allen !
  4. Apple Offering Battery Replacement Discount on Older iPhones

    Nope working as well (ie- pretty good, not perfect) as before. Provider: Verizon Wireless. Location: Mostly San Francisco Bay Area. Same with my wife's phone. And not hearing complaints from friends and colleagues (though I haven't asked). Any idea what's up in LA (or wherever you're trying to conduct calls)? Think it's your phone?
  5. Next level on-camera microphone in M/S

    I'd prefer A/B or its siblings ORTF and Blumlein. But they are not as easy to set up as far as I know. I'd be happy to listen If there's a simple A/B recording solution.
  6. Next level on-camera microphone in M/S

    Why do you prefer X/Y? I would consider it the most boring of all stereo techniques
  7. Yesterday
  8. Apple Offering Battery Replacement Discount on Older iPhones

    Hang on. You want to make phone calls with your iPhone? There's your problem right there. Don't let the product name fool you.
  9. Next level on-camera microphone in M/S

    I really appreciate your insights. Nevertheless, without going to deep into details of the project, I decided to do it this way. I won't put a Schoeps combo on top, but I can tell you it does not sound awful on camera automatically. It's always nice to have an extra sound guy on bord, but sometimes it doesn't help the filming when adding to much people in sensitive situations. I received a very nice and small cardoid/8 combo built by Kortwich and I think this comes close to what I want. Will do some tests soon. I'm also evaluating the possibility of recording the best sync mono I can get plus a seperate stereo (preferrable X/Y) atmo where we can. I have a Zoom H6 with the 1/2" X/Y capsules and these guys aren't bad at all. That would still mean carrying an extra bag with recorder/mic, wind protection, batteries, small tripod etc. etc. I also have an older Olympus LS-11 with X/Y capsules, too.I think it's one of the best complete small stereo packages. I still have 4 weeks before we're heading to the production. Further recommendations highly appreciated!
  10. Next level on-camera microphone in M/S

    With a 4ch camera, IMMO the way to go in 2018 is a ambisonic A mic, you can post-process for eliminate noises and focus the sound to the interesting part of image
  11. How did they capture this audio? [BBC 1979]

    Oh that's very interesting! Thank you for your information! In fact, looking at some studio examples I have, they quite clearly are using those Sony lavs. Yes this whole subject is very interesting to me. Really cool how they had equipment that came from on who had worked with them. Probably was instrumental in tackling the problems ahead of time by someone who may have had that experience. Were other systems of the time finnicky though? I.e. were their signals easily blocked by obstacles and didn't go very far? It's great to know what system they had likely used then, but then there's just two questions left: why did they hide it in those outdoor shots? (the two that were perhaps not done with a shotgun mic) And would the lav mics pick up ambiance like we hear in those two examples?
  12. Next level on-camera microphone in M/S

    Throw in a bit of Cinela and it costs nearly as much as the camera: I don't mind the idea of a camera mic rig like this - spares 2 channels of the audio recorder, better chance for an 'on board' camera department - sensitive to sound, reasonable way of getting a stereo sound image to match camera in the context of a small crew etc (where it would not otherwise happen).
  13. Next level on-camera microphone in M/S

    I find it totally overkill and a bit ridiculous to put a Schoeps M/S set or similar on a camera. You will hear all the noises you make pulling focus or pressing buttons etc. The reason why your cheap mic sounded good to you might be because it's less sensitive, has less high frequencies and probably also less low end which will result in less rumble. If you have too much money, instead of putting two Schoeps mics on your Panasonic cam maybe you could try working with a professional sound mixer. You will be surprised of the "next level" sound you will get this way. The sounds you will be able to use from a camera mic is usually some atmo, maybe some sounds from when you're close to a sound source. These sounds in my experience will be totally fine with any inexpensive camera mic like the Sennheiser and Rode cam mount mics. Schoeps pick up way too much for to be mounted on cams.
  14. Which Lemo Power Plug for Timecode Buddy Wave

    This ebay seller says this $10 Lemo plug will work: https://www.ebay.com/itm/171989556108 And for anyone looking at this later the answer to my first question is 0B.
  15. Np-50 Bulk Charger

    This looks like a great idea, and a very neat execution. I would definitely include mounting options - charger cases are becoming more popular these days. I too would be interested to know the price. Good luck, Simon B
  16. Soundbag as Hand Luggage

    Try real international travel! Equipment safe in cases LiPo batteries as safe as hand carry Carnets for exit / entry and return Take no short cuts!!!! mike 30 countries so far!
  17. Thanks guys so much You are such supportive friends Cheers mike
  18. Help with circuit diagram of Nagra BM2 mixer

    Hi Nathan, You absolute master of information I am so grateful Thanks so much! mike
  19. Cinela has relaunched the LEO windscreen.

    From Cinela’s website, shown in order – LEO-20, LEO-22, LEO-25, LEO-20-MS, LEO-FUR: Cinela emphasizes that the new LEO windscreens are built with “unbreakable” material. They also note the LEO-20 is built for mics including the Schoeps CMC, the LEO-22 for Neumann KMA and KMD series, and the LEO-25 for Sennheiser MKH50. The LEO-20-MS is specifically made for a mid-side pairing of a Schoeps CMC and CCM8. Trew Audio appears to be the exclusive United States dealer for the windscreens (except the LEO-22), which are available right now for $169 USD. Their newsletter says the windscreen fur is included while supplies last.
  20. Next level on-camera microphone in M/S

    Likewise, never had a problem with my CCM's and have used them in a wide variety of climatic conditions. I think the module configuration of the CMC's might be more prone to occasional connection problems, but CCM's are one piece units.
  21. The new LEO range is now available ! Unbreakable material. New design. LEO-20 for Schoeps CMC LEO-20-MS for CMC + CCM8 LEO-22 for Neumann KM series LEO-25 for Sennheiser MKH40/50 more infos at: http://www.cinela.fr/catalog.php
  22. How did they capture this audio? [BBC 1979]

    And, on this side of the pond, the FCC hadn't yet taken large portions of the public airways from the public and sold them to commercial interests so they can sell the use of those public airways to the public.
  23. Last week
  24. How did they capture this audio? [BBC 1979]

    And the airwaves were practically empty compared to today!!
  25. Lectro SRc field reports?

    For those of us with A1 SRC's, I guess it's best that we try use 470 until the update is available?
  26. How did they capture this audio? [BBC 1979]

    Actually by 1979 the BBC used wireless quite a bit. The chances are very good that a Micron Wireless was used on this shoot since that is predominately what the BBC used in 1979. The lav was most likely an ECM 50. Since you are interested in technology from that era: *Micron was founded by a former BBC engineer (Neville Druce) and they came out with their first wireless system in the early 1970’s. *This shoot could have been done by BBC TFS (Television Film Studios). Micron designed special equipment specifically for BBC TFS. These wireless systems were different in that they were higher power and they had their own frequencies. This special design made it more practical to come out of a building and go into van. *This was probably not a diversity system. However the BBC did a lot of research into diversity at that time. They researched diversity up to 4 channels and found dual channel diversity to be most effective for the money.
  27. Pad for SD 633 X3/X4 out to Lectro xmitter

    And as long as things are being adjusted, strong levels to the transmitter are always best for reducing ground loops and any induced noise. In all of the current Lectro transmitters, there is no "front end" to overload. Gain is wrapped around the front end in a feedback loop so there is no advantage to "centering" the gain control. You probably would like to leave a little adjustment room for quick additional attenuation but really, the transmitter input and compressor don't give rat's patootie if the transmitter gain is close to minimum.. With lavaliere mics and internal batteries, there are no common ground problems because the only ground is the shield tied to the transmitter. With line level inputs, there are grounds galore; the mixer output ground, the battery power cable to the mixer and the battery power cable to the transmitter battery eliminator. With gains adjusted as recommended, these problems can be greatly reduced. If I'm beating a well pounded drum, some readers may not have run into this. Best Regards, Larry Fisher
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