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  2. SirMixesAlot

    amira timecode oddness

    Has anyone successfully jammed an Amira with a Zaxcom QRX235 w/QIFB?
  3. Christian Spaeth

    sound blankets berlin

    If you don't mind them being white you could get a couple of thick but cheap Ikea bedcovers like these: https://www.ikea.com/de/de/catalog/products/70271682/ The heavier the merrier.
  4. You managed to squeeze in a VPR-5? I would love to have one, but the only one I have been able to track down, is with a seller, who is almost impossible to get an answer from...
  5. Ty Ford

    Most common microphones on set?

    Hmmm, a lav's placement can noticeably effect the sound, even on the same person. In some cases, wouldn't you be trying to improve the sound from a particular scene so that it matches "better sound" from a previous scene, or maybe the next scene? As in, not using a lav in a scene even though one was used because it definitely doesn't match the boom used before or after? Regards, Ty Ford
  6. My SoundField SPS200 achieves that, is compact and ideal for location and music work mike
  7. mikewest

    Most common microphones on set?

    What about asking that question to the sound mixer(s) you work with ? mike
  8. JonG

    Most common microphones on set?

    I hope you are using something like a Sound Devices MP1, MM1, 442, etc. as your mic pre. I see a lot of ADR studios using Avalon 737s with Neumann u87s, and then I know why you can often times spot the ADR in films! Definitely look into the sound reports to see what people are using. Common lavs would be from DPA, Sanken, countryman, VT, Sennheiser, and others. Common boom mics are offerings from Sennheiser, DPA, Schoeps, Sanken... and then lower echelons like Rode, AT, and some of the newer Chinese knockoff companies trying to pass for legitimate manufacturers. I hope your incoming work will pay for the mics you need. Nearly all these boom mics cost between $1000-$2500, so to have everything, you’d be spending tens of thousands of dollars.
  9. ivanovich

    AATON Cantar Mini VS. Sonosax SX-R4+

    The answer to these questions is easy. Just get both! I haven't used the CM but work on the X3 regularly. One thing I really like about the x3 is the limiters. Aside from the mic amps being super sweet, the limiters just sound amazing and are there for safety. They're pretty much like a Neve 2264 or a 33609 metal knob version. They work, they're transparent and great on every source. The Aaton recorders may seem really complex but they actually aren't. Like with anything in life--speakers, girlfriends, microphones, wife--you just have to get to know them. Once you learn them it is a breeze. I simply love the quickness and customization of almost every aspect of the recorder. Once you get to know the workflow everything is a breeze. The limiters (or lack there of--sometimes) on the SX-R4+ are sub par in comparison to the Aaton ones. I know the inputs have an incredible amount of dynamic range, but still, it's nice to have nice sounding limiters. Per your output question, I have my Zaxnet audio coming out of the TA3 connector and I have the analog output option card which I use for comteks and/or hard wiring to camera and such. I feel there's enough outputs to take care of business for most things. One annoying thing is the lack of a slate mic on the recorder itself. You have to use the RC8 joint to get access to the slate mic. Otherwise it is an amazing sounding machine! I love that it uses the smart batteries and that it has a hirose power output. Usually I rock two Zaxcom RX's (4 TX's) via digital inputs and line inputs which leave all mic amps open. But then you need more faders.... All in all, the SX-R4+ is excellent for portability. I don't need any power distro or anything. It's also super power efficient. Both recorders allow you to configure most of the pots (faders on the x3) to whatever input and to gang them if you're doing stereo/ambisonic/surround work. This is something the 600 series lack. If you complement the sonosax with the x3 you'll have all your bases covered! I did a shootout between the Maxx, 633, and the SX-R4+ and went with the sonosax. Where are you located again? I'm sure there's a dealer that would let you audition both units!
  10. Whats new, and what's missing since January 2015
  11. Yesterday
  12. Cool Mono! That video's a supplement to William Finnegan's article in the current issue of The New Yorker: Kelly Slater’s Shock Wave The best surfer in history made a machine that creates perfect conditions on demand. Will his invention democratize surfing or despoil it? https://www.newyorker.com/magazine/2018/12/17/kelly-slaters-shock-wave Also Finnegan knows surfing. Check out his Pulitzer-Prize Winning memoir. It's really good: Barbarian Days: A Surfing Life https://www.penguinrandomhouse.com/books/292954/barbarian-days-by-william-finnegan/9780143109396/
  13. VAS

    Most common microphones on set?

    The most common microphone on set is the slate microphone. Everyone has one. Hehe
  14. Malcolm Davies Amps CAS

    sound blankets berlin

    I introduced sound blankets to the UK in 1991 and since then have sold over 3,000 all over Europe including Berlin and Zurich.) The Chinese manufacturers are a fickle lot and have dropped the black ones in favour of the original blue ones which are well known in the US and Canada as they claim that they sell more blue than they ever did with the black ones. (They even had a spate of only supplying green.) I stock the blue ones and will gladly get a shipping cost to Berlin if I can get the quantity required.
  15. Philip Perkins

    Most common microphones on set?

    Most sound reports have a line for mics used in the recordings reported on. That said an exact mic match isn't as important as a match of type, using the correct distance and trying to match the original recording situation (interior vs exterior, amount of reverberation and room slap etc).
  16. mono

    On My Radio

  17. David Waelder

    Most common microphones on set?

    Most experienced production mixers have an inventory of microphones and the instrument selected may vary from scene to scene. If possible, I would recommend that you contact the mixer associated with the project and ask about microphone selection. Without drilling down into too much detail, they ought to be able to tell you the typical pattern of usage - e.g. Sanken lavaliers on the wide shots, Sennheiser MKH 60 or 70 on exterior coverage, Sennheiser MKH 50 on interior coverage. There would probably be a few outliers, plant microphones, car shots, etc. but most microphone usage would probably follow a general pattern. I expect this would be useful information on any film and an outreach should probably be part of your routine approach to each project. After a few such contacts, you would probably have a good inventory of the most commonly used microphones. And, of course, it's not essential that the ADR be recorded with exactly the same microphone used in the original recording. With skill, matching tonal qualities should not be a problem for the post mixer. You already have a good start on choices available to you. The Sennheiser MKH 416 is in very common use both in ADR studios and on location although it is an old design now and used less than in the past. It would probably be good to have an example available as well as the DPA lavalier and the Schoeps hypercardioid. I think those choices should cover you in most situations supplemented by information, when available, from the particular production mixers. David
  18. Louw Verwoerd

    Getting back in the game... Need pole reviews.

    Hi Henry What about the 5 section mini Panamic did you find disappointing? Is it noisy, too bendy with a proper wind shield and rifle in the basket? Any elaboration on your $1000 disappointment would be appreciated. The collapsed length is what I find very attractive.. I'm a Panamic fanatic (even after my Ambient pole acquisitions) I was about to make the purchase when I saw this thread... Best
  19. Who thought surfing near Fresno would be a thing? Definitely an engineering marvel but I'll take my hometown breaks of San Clemente / Trestles any day!
  20. Vincent R.

    Most common microphones on set?

    Now wouldn't it be cool if there was a system like this for shotguns and lavs 😀: https://www.slatedigital.com/virtual-microphone-system/
  21. KGraham045

    Most common microphones on set?

    If it matches, the re recording mixer wouldn’t have a problem... and you don’t have to destructively add the EQ... Every production is different. But if you have a Cos 11 a 416 and a 50. Your covered on quite a few bases... but Sennheiser, scheops, DPA, Countryman, Sanken are all pretty common choices.
  22. recroom

    Most common microphones on set?

    Not sure I agree with you, most ADR calls I get are asking for specific microphones. It's just been a minute so I wanted to take a poll to see what are the most popular. I should be clear that I'm only recording ADR... a re-recording mixer will add compression, EQ, etc. If I eq'd ADR while recording, I'd find myself out of a job pretty quick.
  23. IronFilm

    Most common microphones on set?

    You could also ask "what is the most common lens" on set, or "what is the most common camera". You'll get a very diverse range of answers! You've already got two solid shotguns, if you want a really wide range of mics then get a couple of lavs (like a COS11 and a DPA) and a hypercardioid as well like Schoeps then you've got all the major categories covered at least.
  24. KGraham045

    Most common microphones on set?

    I get that you would want to use the exact same mic as production but it’s still a different signal path. As long as you have some decent options (sounds like you do) you should be able to eq a bit and make the ADR work...
  25. recroom

    Most common microphones on set?

    Hi all, I'm a post guy for the last 20 years. I'll be starting to do a lot more ADR here in the next couple of weeks with a few different companies and will need to setup my own rig. Just curious as to what is the most common microphones used on set these days are? In the past, I know the COS-11d was very popular. Have the DPA 4060s started to permeate the market? As far as shotguns, I've got the MKH 60 and Sanken cs3e, will I need to get a 416? What about Schoeps? Thanks in advance for your answers.
  26. pindrop

    Zaxcom ZMT3-Flex.

    Hmm nice, quite a lot of flex, more than I thought looking at a still photo....:)
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