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Hi, I am completely new to this board so apologies for any errors in etiquette or posting in the wrong place. I have a complete collection of Studio Sound magazines from 1976-2001 (when it was discontinued) in brilliant condition. I am wondering if anyone can advise me a good place to find those who may be interested in these magazines. I recognise this forum may be a good place to start. For example, is there any good websites to buy or sell these magazines, or websites for collectors of music and sound magazines such as these? The collection is impressive and takes up a lot of space. The condition is brilliant …
Last reply by Steve Turner, -
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Hi, I self-record classical chamber music videos with 2 cameras with time-of-day timecode, RME gear (prob switching to Sonosax/Merging) feeding into Reaper. My post workflow takes me forever and makes me hate my life. Can anyone help me improve? What I do is: 1. In Reaper, divide audio into takes, renaming clips T1, T2, .... Mix, including very detailed fader automation. 2. In Resolve, make a long timeline with all video takes. Sync each audio take with video using timecode + waveform sync. 3. In Resolve, divide that long timeline into single-take multicam sequences (set in/out points, create compound clip, convert to multicam sequence). …
Last reply by The Documentary Sound Guy, -
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- 15 replies
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Aloha! For high-end classical musicians, I currently record 6-12 inputs of (mostly) Schoeps mics into RME UFX III + RME 12Mic at 96kHz. The quality is fantastic, and I'm addicted to mixing on the UFX III headphone amp. But powering 2 units with mains, connecting them with MADI, and bringing 2U of hardware just for my most common use case -- a mere 6 channels! -- is really annoying. I'd like to find a portable rig that at least works for 6ch (ideally 8ch) recordings and can record internally as well as to a DAW. Zaxcom Nomad has comparable THD+N specs to the RME gear. Is that the best option? I've had Sound Devices MixPre in the past and…
Last reply by Larry Sanbourne, -
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- 18 replies
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A month ago I spent my day off with the great senator Mike Michaels. We had Chicken and Waffles and a great conversation. He is doing good but staying away from the internet. Which is admirable and something that I inspire to do. I snapped a photo which my Leica CL on a Kodak XX 5222 cinema B&W stock. Developed in Kodak Xtol 1:1 at 75F
Last reply by RadoStefanov, -
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Last reply by codyman, -
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Read any good books lately? I've had one or two good reads in 2011... Don't have time to read much, but it surely is a perfect pastime. Most recent was a Haruki Murakami book called Norwegian Wood. He's insanely popular in Sweden. I guess mostly because he writes a lot of graphic sex scenes. Didn't like the book. I don't like sex scenes at all. Another pretty good read was a Paul Auster novel called Invisible. And of course I've read a lot of interesting stuff here Cheerio! (iPhone wanted to correct cheerio with Cheerios. Cereal sponsoring in autocorrect? Hmmm...)
Last reply by mono, -
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Hello everyone. Thank you for having me. It’ll be a cool place to find information and chat with people in my industry! Btw, where is it ok to list gear that is for sale? I broke my collarbone and need to offload my Lectrosonics.
Last reply by Darrin, -
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- 3 followers
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Was curious on what folks experiences are recently working with MS microphones/tracks these days? For doc type workflows I really like the idea of having the cardioid mid element and figure 8 side element mounted on a camera. I also love the sound of it and the stereo width flexibility of MS in post allowing things to better fit into the mix. But it doesn’t seem to be commonly used in my experience, at least on the projects I’ve worked on. Since I’ve worked mostly narrative as a production mixer these last ten years I'm out of the loop on today’s common uses. Is it falling out of favor, or is it most common in games, VR and other mediums outside of film sound. Also wit…
Last reply by Michael Wynne, -
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Yesterday I had DPAs upcoming new Microdot version in my hands. In general, it features a pull ring that releases a radial ratchet style, a bit similar to some childs safety lock of a hazardous bottle. So far I like it. Time will tell how durable this is. But look for yourself. https://www.dpamicrophones.com/campaign/microlock/ Apparently - it is compatible with the conventional Microdot both ways. - they are thinking about an upgrade service for existing units, however they did not make any promises so far. (keep asking them 😉 ) - new units will be produced with this connector.
Last reply by The Immoral Mr Teas, -
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- 2 replies
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I bought BC back in 2007… it is a GREAT program - that I haven’t used in 10 years. I am trying to buy the new version and am not finding a working link on the website. Any info on this, or more importantly, Take’s well-being? ‘The program downloads fine - but only in two track test-mode. I need the 256 track Pro Version, and the “Digital River” and Apple option go nowhere. Understandably, my old code does not work in my attempts to activate
Last reply by borjam, -
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- 22 replies
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Last reply by mono, -
I searched the group for this topic, but couldn't find any discussion. I've been a freelance location soundman for a long time, and don't recall if I've ever charged for a late payment. I recently did a corporate shoot for a production company in another state. They flew in four people and shot with an Arri Amira and a Sony FX3 (I sent two wireless channels to each). At the end of the day I got a text from the producer saying "Thanks for your help today! Great job!" But, now their invoice (30 days) is overdue. Should I add a late fee? And, how much?
Last reply by Olle Sjostrom, -
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Here is my second album, created with love for poetry and music. Special thanks to all the performers and listeners who make this experience possible. A big thank you also to my inspiring assistant, ChatGPT, who helped me find the best form and structure. https://on.soundcloud.com/SgVCqyp6cfmZdwQh9 Cover photo by: [Hanna-Lotta Kubi], and a few of her photos are included here.
Last reply by inspire, -
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It's the little things like a bit of red nail polish on the lock side that add up to make the day go faster: Whatchoo got? -- Jan
Last reply by mono, -
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Last reply by mono, -
- 6 followers
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I'm wondering just how important adjusting the mix is for location sound. Why does it matter if the mix sounds good in a 2 track print that won't be used for a finished product? It seems as though the job is much mores focused on capturing the best sound possible, then letting the post sound department figure out what's best for the mix. I imagine the dialogue editor would prefer the 2 track mix to be clean but how significant is that? (New to location sound so if the question sounds stupid, my apologies)
Last reply by Philip Perkins, -
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Hell0, [Please excuse the use 0f "0" instead 0f the regular 0 and c0mmas n0t peri0ds ~ my keyb0ard is kaputt and I have t0 get it repaired] I'm a relatively new user 0f Z00m F8n ~ I've attended "Y0utube university" as I like t0 call it ~ and read the manual and kn0w all the basic functi0ns and meanings but I still have a l0t t0 learn S0; when I started up my z00m rec0rder, everything went fine wt SD card ect, and I was sh0wing pretty n0rmal levels, then I went t0 testing my mics, but when I pressed the PFL butt0n, it did n0t w0rk at all, like the m0nit0r w0uld indicate that PFl was 0n, but I w0uld hear the same audi0 LeveLs fr0m b0th mics and n0t just is0la…
Last reply by Cvetko, -
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Hello everybody, This post to have your feedback about your listening listening level with a Aaton Cantar X3 and a Sennheiser HD25 70 ohm. The older I'm the lower I listen. A few years ago I was listening at -20 db, then -22, -26, - 26 and today -30 dB with the same headphone and "headphone safety level" at 0 on the Cantar. Of course at 50 years old there are some frequencies that I hear less that at 20, so I should listen louder than when I was young ? My ears are now quickly tired but I think I still have a good audition ! What about you ?
Last reply by LuisT, -
- 2 followers
- 6 replies
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I’m looking for a mic for documentary (no “talking heads”, but more “run & gun”), possibly with a long reach in order to be able to capture sound also when in not-ideal situations, and sometimes as on camera mic (I know, I know…). I will use either a MixPre3 or a Zoom F3, in accordance to the set up needed on the day (as I have both). Have anyone had the chance to compare the Sennheiser 8060 vs the DPA 2017? I looked at some tests and I feel the 8060 sounds better when positioned at longer distance from the source, but I'd like to hear about your experience if you had the chance to use them. Would the Sennheiser 8060 or DPA 2017 pair well with a Schoeps…
Last reply by MatL, -
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I'm finally dusting some old pieces of equipment that are no longer making me money. Each time I do this (every 3 or 4 years), I feel like everything in the seller's market has changed, and I'm sure others have experienced this too. I thought it might make a good thread to share experiences and views. I think this site is still the best venue to list items on as it's peer-to-peer, people have been vetted, and there aren't fees or management on top of the sale. In recent years, Facebook was a better venue because it has no fees and a much wider reach, although the vetting isn't really there. Now it seems they want 10% off every sale, and currentl…
Last reply by keith mcmanus, -
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I am doing my 2nd gig for a local author I connected with via social media and mutual connections. I did a short story for him which included recording, mixing, and added foley/sound design. I charged $250 for all this due to it being my first audiobook project and wanted to set the relationship off simple. I gave the voice actor (friend, and recording vocalist I have a trusted relationship with) $50, while I pocketed the $200 because the Sound Design took much longer than expected. Anyways, I have just received another gig from him, this time with no sound design. Just record it, patch up any problems with the vocals (Soothe2 plugin is a lifesaver for this), …
Last reply by codyman, -
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- 13 replies
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Apologies if this question doesn't belong on this site, Someone suggested I ask this question here rather than the Tapeheads forums. Has anyone here used the Sound Devices 722 as a music player? If so, how did it perform in that role? I was hoping to use the SD 722 like a cassette or MD recorder, like field recording, recording from the radio, and music playback. Not a professional use case, I know.
Last reply by Scrunch Gumpgins, -
My primary background in sound thus far is from being a studio recording engineer. I'm currently borrowing a friends Neve 1073 Preamp and am simply wondering if using this on a production set is practical? What about for Post? Feel like I could definitely run all dialogue thru this and yield a richer sound? Does anyone have experience or heard of anyone doing something like this?
Last reply by JonG, -
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I just got my paycheck for a shoot I did two weeks back, but for first time for me, my kit rental got lumped together with my day rate. And the payroll company (CAPS, LLC Payroll service) taxed my kit rental in the process. Usually, when I work on a production that receives W-4s, my kit fee is paid nontaxed separately while my dayrate gets the usual taxes deducted. So is this incorrect, or is the payroll company allowed to do that?
Last reply by Jeff Wexler, -
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I went to watch a drag race for cars and motorcycles, and here are some examples: https://youtu.be/C-ZEK9VcmXc?si=oCkZvgpBTOnILo6w https://youtu.be/cJu01ousADA?si=fxrZcn8De7UzyvEX https://youtu.be/Pbm3cpi35pE?si=fZss5liySkDzy3kh The sound there is very loud, and I wondered how to properly record such an event. The SPL is around 98 dBA or maybe even higher. So, my question is, what kind of microphone would you recommend for recording such an event? I was thinking that perhaps a bass drum microphone would be suitable for this purpose? Here are some examples Microphones for Bass Drum: Shure Beta 52A Sennheiser E 602 II AKG D 112 MKII Audix D6 …
Last reply by inspire,
