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  2. Nagra Stories Sound-men won’t ever tell

    Yes, a lot of the Nagra decks are very expensive indeed on Ebay. Very glad I bought my Nagra E & Nagra III for $300 AUD each, but the Nagra III did need a bit of restoration work done on it. My favourite portable reel to reel decks for sure...
  3. Next level on-camera microphone in M/S

    The CCM MK4 is a great centre mic for M/S and I'm not surprised you like the sound of it. For the side mic, my understanding of the Emesser is that its fairly noisy, from whats been reported on this forum. I'm not familiar with the Kortwich Acht at all, but it looks like a neat little mic, and would be quite worthwhile if its self noise specifications are good and it sounds nice. I like its capability of going from figure 8 to stereo with a cable changeover. Have any of our usual audio pros played around with the Kortwich Acht, and can give us an opinion on it's sonics and noise floor? Cheers, Brent Calkin
  4. Today
  5. really nice job! thank you for the insight
  6. from this: http://abcnews.go.com/Entertainment/famous-wilhelm-scream-silent-star-wars-galaxy/story?id=52911832 from this: http://abcnews.go.com/Entertainment/star-wars-sound-designers-reveal-secret-sounds-bring/story?id=53111130
  7. Next level on-camera microphone in M/S

    there many M/S setups and it's advantages discussed on this forum, try another search. some favourites include: MKH50 / MKH30 MK41 / MK8 CMIT / MK8 unfortunately those are not cheap, but if it doesn't fit your budget you probably have to live with the audio limitation (there's no magic 300EUR M/S setup). Be aware that you'll need a very good suspension and that on camera you'll likely get operator noises and possibly other challenges (like changing stereo imaging on moving shots). In the end you'll probably want to test this before you spend 3000 bucks. chris
  8. Nagra Stories Sound-men won’t ever tell

    Mike, I have one. BM II.pdf
  9. Sound Devices Mix Pre 6 With Zax wireless

    https://www.shop-ftt.de/de/preamp-vcp-m2-sound-devices-744t
  10. Nagra Stories Sound-men won’t ever tell

    Mike: i have one, but you will need to be patient, as we are doing very long days. I’m sure Trew and LSC would one too. Not much to those things! -Scott
  11. Next level on-camera microphone in M/S

    Thanks for pointing that out. But I've already found and read it before. It's a quite different approach. I already have a BP4029, which is considered a typical broadcast M/S mic. But the shotgun mid does not sound very natural to my ears. And I also find it quite noisy.. Any shorter mic design should be better here - be it a cardioid or hyper cardioid. I want a more flexible and more natural sounding setup.
  12. Next level on-camera microphone in M/S

    Some discussion and ideas in this thread: -Mike
  13. Sound Devices Mix Pre 6 With Zax wireless

    Nicely done, I'm also planning a mp6 rig (tho with Sr's) and I figure the weight of internal batts on each device will likely be very close to a 49whr audioroot batt/bds to power the bag.
  14. Hi, I did research quite a bit but did not find anything close enough. Here's what I want: I'm a cameraman mainly doing documentaries. Rarely, there's a dedicated sound person/operator on set. Usually, there's me plus the director occasionally booming or recording additional non-sync sounds. I have a very simple AT875R mounted on my lightweight Pansonic AU-EVA1 setup. Audiotechnica calls it a ine + gradient pattern short shotgun mic. There's barely much low frequency response below 80 Hz. http://www.audio-technica.com/cms/wired_mics/cae8c23cfe000574/index.html I tested dozens of other on camera mics over the years on different cameras. In the end, I always returned to this dead cheap mic again. The simple reason is that I like its pretty natural, mildly warm sound and it's ruggedness. If there's a talent talking there'S of course another technique involved. Let it be booming or lav, depending on the situation. This is not the on-camera mic's duty. Now, I did work with other very nice cardioid or hyper cardoids like the Schoeps CCM series or Sennheiser MKH-40/50/60, MKH60. Yesterday I did some tests wuth a very interesting setup on camera. The CCM MK4 as mid plus a Kortwich Acht http://www.filmtontechnik.de/en/products-from-kortwich/microphone/ on top as side. I was never listening to such a natural and balanced Stereo on-camera setup. It is small and lightweight, too. I also have a AT BP4029 M/S shotgun, which i s often used for a wide atmosphere when the camera is on a tripod. I like it for what it is, but I thought I could have a better noisefree and more natural sound without a shotgun as mid signal. I thought of having a Sennheiser MKH 8040 incl. the MZW module as a mid/main mic adding a Kortwich Acht or Ambient Audio Emesser208 as side signal, when needed. Later I'll buy another MKH capsule with longer reach - be it the 8050 hyper or 8060 shotgun. Would this make a good combination for my needs and be a substantial upgrade from the A/875/ AT BP 4029 combo? Can it be handled on camera well enough?
  15. Help with circuit diagram of Nagra BM2 mixer

    Dan Dugan? D.
  16. Soundbag as Hand Luggage

    +1 If they find it, the TSA will absolutely take your Lav Bullet away from you. Their newer “Mic Drop” shape is preferable for flying. Regards, Evan
  17. Yeah it is frustrating. I've inquired in some places for a selling price for certain units and was quoted absurdly high because they're looking to eBay for a reference.
  18. Soundbag as Hand Luggage

    Be careful also not to say "lav bullet"! https://www.trewaudio.com/product/sound-guys-solutions-lav-bullet/
  19. Hearing Follow Focus

    Can be annoying. I experience RF problems too sometimes with Steadycam remotes.
  20. Multi Tasking !!!

    Well as long as they hire you as a sound recordist you can say to yourself: I'm the best payed drone battery holder in town! That's what I think then too while being a kind of taxi driver, GoPro installer, tripod carrier, watchman...
  21. Thank you very much for this background information! Great piece of work! I listened to it several times, even on monitor boxes and with monitor headphones. I didn't expect every instrument being played really live cause I thought that this would have been too complicated. From my experience also the crosstalk from vocals and acoustic guitars must have been quite challenging.
  22. MixPre 10T - Runtime on rechargeable AA batteries?

    You should join the Facebook group: https://www.facebook.com/groups/mixpre/ I've seen at least one report on there of weird behavior when the -10T is powered solely by AA batteries - including not being able to access the timecode menu, or format a USB thumb drive. These errors were reported to go away when an L-mount battery was attached. -Mike
  23. Thank you for these insights, Henri ! Not knowing what you just wrote, I would have guessed at least half of the tracks were recorded in studio. - Pretty impressive, both in terms of the performances, as well as the recording. Well done!
  24. Hi All, Hope everyone is well and having a good week :-) Are there any MixPre 10T users powering their units internally with 8 rechargeable AA batteries in the included sled? Any experience with the runtime with this powering method? If you are satisfied with internal AA rechargeable battery performance, what brand are you having good results with? Sound Devices has an article about the MixPre series powering but not too specific about the 10T model. https://www.sounddevices.com/tech-notes/mixpre-3-mixpre-6-maxbatteryruntime I'm thinking that I should ultimately get the L-Mount Sony style batteries and sled and keep the 10T loaded with rechargeable AAs as backup. If you have any other suggestions that would be very welcome. Thanks for any tips about the 10T and rechargeable AA performance - much appreciated. Cheers, Dave
  25. Playback rig

    I'm a ProTools person after years of playback on various shows. When discussing playback sessions with editorial and post, I am usually put in contact with the music supervisor. If it's a complicated playback situation, I can have them build a nice session with clicks, thumps, music stems, TC as audio, etc. and have it sent directly to me. When given a few minutes, I can build the same with a stereo music track. It's such a versatile program that I find it essential. As for interface, since my rig I/O is Dante, I have Dante Virtual Sound Card on my laptop. I can assign as many tracks as I want to my console via Dante Controller. Usually it's a mono mix/buss, click and thump, and sometimes TC. Then I can feed it to whatever I need, earwigs/speakers or sub for thump. Sounds complicated, but it really isn't when you start putting it together. Hope that all made sense... Phil
  26. Hello all and thank you for your kind words. With Guillaume de la Villeon, I was one of the two sound directors on this shoot (conception, recording, post mixing) and it is quite a story. Perhaps too long and boring to tell here so I'll just answer a couple of precise questions asked here. There were 6 takes in total: 5 day takes and 1 night take. This last night take is the only one that was done with this lighting. You can actually see a lot more of the unhidden mics and wiring in the day version. All of the sound is from live sources. There are no studio overdubs. It is a mix of wired microphones (drums, electric guitar, piano, horns...), wired and wireless DIs (Bass, Rhodes, drum pads, acoustic guitars...), wireless lav mics (lead singers, backing vocals, percussionist, acoustic guitar...) and wired or wireless ambient mics (stereo AB, stereo ORTF, Ambeo, elevator roof, ORTF stereo boom mics...). In post, of course, there is some editing (as in cleaning the tracks of that one take from bleed, hums, crew footsteps...) to have only the active tracks in use. Then there is a phase of studio mixing to make sure everything sounds nice. Besides the first room which has a pretty gritty surface, the footsteps aren't heard because: 1) they don't make much noise while walking and they wear soft sole shoes. 2) The music covers most of it. The lifts weren't noisy at all. Except for the doors that you can clearly hear (we really liked that sound - makes it sound more real and is characteristic to the Bradbury Building's sound print). About the vocal lav mics on the leads, we did think of having one in Chris' hat as a plan B. The guy has a huge beard and is quite a viril man. But it didn't rustle at all and sounded good on the chest. The "thinning" of the sound that you perceive is the acoustics of the elevator i believe, that make it sound little and roomy. We liked that and enhanced this effect in the mix as it had a immersive purpose with the image but also a musical purpose as it builds up and gets bigger when they get out. It was quite a challenge. The RF coverage was also a big concern but Gary and his team nailed it: we're talking about 5 floors, around 50 meters in length, 25 meters wide, with two steel cages and railings, covering 16 transmitters, around 17 or 18 stereo IEM receivers and god who knows IFBs for the clients. Thank you all for bringing this up. We're very happy to know our work is noticed and appreciated out there by nice folks such as you guys here. All the best, Henri
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