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  1. 2 likes
    I have both the Bose cancelling headphones and 2 versions of the Remote "aircraft" type cans with the Sony drivers. The former are helpful on long flights for reducing the roar of the aircraft engines and HVAC systems, but do not much at all for nearby conversations, crying babies etc. As audio headphones I think they leave a lot to be desired, compared to what I'm used to in terms of clarity, detail and freq response: they sound like cheap headphones. The current model of Remote Audio HN headphones match my regular 7506 etc headphones pretty well, but with far greater isolation. Pretty much all of my location music recording work, which nearly always needs to happen with me in the same room as the players for various reasons, would not work nearly as well without them. Mic position especially as well as my live ref mix are really improved by being able to hear what's going on far more clearly than with regular headphones. If I didn't have the Remote HNs with me and had to record in a noisy environment, I think I'd go with my normal headphones and live with the bleed instead of trying to record and mix using those Bose, they are really strange sounding...
  2. 2 likes
    I agree with Dan and FerrousBeard. What I want isn't noise cancellation, but isolation. I want to hear certain noises to know if they're going to degrade my tracks. Totally nonscientific anecdotal goofing around suggests that noise-cancelling headsets don't eliminate lav/clothing rustle, mouth clicks, and such...but they can remove passing trucks. As in: if the sound acoustically can reach the noise-cancelling headphone, it will try to eliminate it... and then I can't tell if it's also reaching the microphone. But that was with a producer's Bose headphones; maybe other models will differentiate between local (at headphone) and distant (at microphone) reception of the sounds. Anyway, that's my take. But I use over-the-ear 7506s, so I have a touch more isolation than you do with HD25s. Maybe some non-noise cancelling over-the-ear Sennheisers will work for you? Or can you turn off the noise cancelling on your PXC550 and see what you think (factoring in the bluetoothyness)?
  3. 2 likes
    Maybe more importantly they fixed a pretty serious bug where you could lose a recording if you renamed a previous take.
  4. 2 likes
    No supplier in our industry would ever ever make false claims. Hippo Skin is only for closing surgical incisions on a hippopotamus. Any other use is a violation of US Hippo health confidentiality law. Joe's Sticky Stuff, which is gosh-darned useful for all kinds of temporary sticking, is unfortunately only generated when Joe gets excited. (Tentacle Sync can be used only when shooting hentai.)
  5. 2 likes
    The concrete blocks that once protected Britain More than 100 years ago acoustic mirrors along the coast of England were used to detect the sound of approaching German zeppelins. The concave concrete structures were designed to pick up sound waves from enemy aircraft, making it possible to predict their flight trajectory, giving enough time for ground forces to be alerted to defend the towns and cities of Britain. Image copyright Joe Pettet-Smith Image caption The sound mirror at Abbot's Cliff, between Folkestone and Dover. "When I originally arrived at the cliff's edge, the sun was creating a harsh shadow down the face of the concave which wouldn't have done the structure any justice'" says Pettet-Smith. "I knew it was going to pass at some point so I just got my book out and waited. Around three or four hours passed and eventually the sunlight started making the eclipse in the concave that makes the picture what it is." Invented by Dr. William Sansome Tucke and known as sound mirrors, their development continued until the mid-1930s, when radar made them obsolete. Joe Pettet-Smith set out to photograph all the remaining structures following a conversation with his father, who told him about these large concrete structures dotted along the coastline between Brighton and Dover. Image copyright Joe Pettet-Smith Image caption "From what I can gather from old Ordnance Survey aerial photos, this sound mirror at Warden Point on the Isle of Sheppey used to be mounted on the neighbouring cliff, but has since fallen into the sea due to coastal erosion. When the tide is up it is nearly entirely submerged so I had to work out when the tide was going to be fully out to be able to photograph it. It was then a case of finding an angle that accentuated the curve of the surviving section of concave," says Pettet-Smith. "When I was a child my father told me stories about my grandfather and his involvement in radar," says Pettet-Smith. "One of his recurring joke's has always gone along the lines of: 'It's not rocket science, I should know, my Dad was a rocket scientist.'" Initially Pettet-Smith was drawn to the family connection, but after researching early aircraft defence experiments, he became fascinated by the story of the sound mirrors. Image copyright Joe Pettet-Smith Image caption "When this structure was constructed in Redcar in about 1916 the surrounding area would have been marshland. It was built away from the population to avoid any intruding sound pollution," says Pettet-Smith. "Today it stands on the edge of a housing estate. So there I was, tripod half on the pavement half off, jacket over my head framing up the picture when I notice a few bystanders have started to stop and stare. One lad said he passed by it every day but didn't know what it was, let alone that it was one of many up and down the country." "I began to think more and more about the relationship between art, science and the creative process. Experimentation and ultimately failure are an intrinsic commonality of all three. "The sound mirror experiment, this idea of having a chain of concrete structures facing the Channel using sound to detect the flight trajectory of enemy aircraft, was just that - an experiment. They tried many different sizes and designs before the project was scrapped when radar was introduced. "The science was solid, but aircraft kept getting faster and quieter, which made them obsolete." Image copyright Joe Pettet-Smith Image caption "This is in a farmer's field in Yorkshire," says Pettet-Smith. "On Google Maps a landline number pops up for a caravan site next door. After speaking to them, I got the number for the chap who owns the field and he kindly said it was okay for me to cut across and photograph the structure. So my thanks go to Peter for this one. Luckily his sheep were in the next field along. Interestingly the Kilnsea mirror is one of the only structures to still have the remnants of the metal microphone pole that would have originally been used." Pettet-Smith used an old wooden large format plate camera to record the structures, partly because he wanted to use technology that was around at the time, and secondly as it allowed him to correct the perspective of the structure in-camera without resorting to manipulation at a later date. "Some of the structures were removed by local councils; many more were planned but never built. This series is a celebration and a cataloguing of all the remaining examples." Image copyright Joe Pettet-Smith Image caption "The design of the Selsey mirror in East Sussex matches structures on the Northern coast in Boulby, Redcar and Sunderland, but the opposite side has been bricked up," says Pettet-Smith. "The letter box had a mobile number on it and so I left a voicemail. That evening Darren, the owner, called me back and we spoke at length about the sound mirrors and the peculiar history of the Selsey mirror. Unlike the other remaining mirrors, the Selsey mirror is a Grade II listed building and was converted into a domestic residence shortly after the end of World War Two." Image copyright Joe Pettet-Smith Image caption Boulby sound mirror on the Yorkshire coast Image copyright Joe Pettet-Smith Image caption The sound mirror at Namey Hill in Fulwell, near Sunderland Image copyright Joe Pettet-Smith Image caption The sound mirror at Fan Bay, Dover, has a diameter of 15ft. Image copyright Joe Pettet-Smith Image caption A larger 30ft mirror can be found nearby. Image copyright Joe Pettet-Smith Image caption There are three sound mirrors on the coast at Denge near Dungeness. The first is 20ft. Image copyright Joe Pettet-Smith Image caption Nearby sits this one, which is 30ft. Image copyright Joe Pettet-Smith Image caption The largest of them is a 200ft sound mirror. Image copyright Joe Pettet-Smith Image caption The sound mirror at Hythe was built in 1923. All photographs by Joe Pettet-Smith https://www.bbc.com/news/in-pictures-46348917 Copyright © 2019 BBC.
  6. 2 likes
    We are. I was an early adopter of the TCB. Talked to the folks at Denecke late last year about that slate and was told it was not going away, but hinted at something in the works. So time will tell.
  7. 1 like
    Not much you can do, I've been in this same position. When you can, record room tone with the fan off, then if it kicks in take tone after the interview is over also. If the subjects are mic'd up, let them leave after the emotional interviews, then grab a PA or whoever and have them sit through the RTs with the same lav mic. Good luck
  8. 1 like
    Maybe it could be modified and then used as a camera return ... it won't harm any UHF frequencies used for mikes + hops.
  9. 1 like
    Totally coincidental, I should think: Martin's a West Country chap here in the U.K. I agree it's pretty odd that the two names should be so similar, though. John
  10. 1 like
    muffins. yes. they are still cheerios.
  11. 1 like
    I use them for a little bit now. So far seems like a more straight forward solution than the Ambient ones - which I still use with some specific "secondary" (if the 416 is secondary to anything!) equipment. Still we need some time to check the longevity of the system, while the Ambient ones still perform well without any servicing, really. Just didn't like the twist-release movement since the beginning. Before the Rycote release I was about to buy the SSG, but couldn't find anyone own one to test, so I took a leap of faith with the Rycote one, and it delivers. I am about to buy their special handle and another couple of tips, so I am a believer!
  12. 1 like
    @chrismedr as a rental rule, most sound mixers charge what rental houses charge. The rental brochure on the LSC site is essentially a guideline for a good majority of us. When I am negotiating with production, I quote my base rate and rental, and refer to anything outside of a basic kit on an à la carte basis using their rental brochure as reference. I recommend everyone do the same as a baseline price (feel free to charge more!), that way we will all be quoting the same and no production will act surprised when they hear the numbers. At least in the US. Other countries may use rental prices from an established rental house as their own reference. Indie films are an obvious exception to the rule, but I’ve found that when issuing an itemized invoice, people rarely push back.
  13. 1 like
    Looks like the headphones hang on a Nite Ize gear tie https://www.niteize.com/collection/gear-tie.asp
  14. 1 like
    agreed. having a bunch or long TC cables made (that people step on and trip over) does sound both, more expensive and inconvenient then buying one of the low cost TC boxes (which most people have already anyway). besides if we take the equipment cost /100 per day rental, a tentacle would come in at 2.50, or lets say 4.00 - if that's too expensive for a client on a dual system job then you probably have bigger problems.
  15. 1 like
    MOTAT in New Zealand has had the same too since I was a young kid, so you could whisper to someone else on the other side of the room. As a child I thought that was pretty cool. https://www.motat.org.nz/
  16. 1 like
    The Germans had radars as well. I highly recommend “The Most Secret War” by RV Jones. He describes some interesting differences between the German and British radar. Moreover, the main factor was how the British exploited the information obtained by them.
  17. 1 like
    I wouldn't have accepted such a refusal. I would have insisted on a refund or a date in court. The EU gives you good, solid protection against such behaviour - a microphone cable should last at least 5 years IMO.
  18. 1 like
    As Phil and others suggest, for Oktavas, it REALLY helps to hear the exact microphone you're going to buy. Or buy from The Sound Room, which in the past (and probably still currently) had a good track record of actually rejecting (and not selling) individual mics with serious flaws. That's where my MK-012s came from, and they seem pretty good for the breed. https://sound-room.com/home For you, living way away from everything, maybe see if a mixer or two will be visiting the Main Workshops in Rockport. Or maybe trek down to Boston and buy lunch for a couple local mixers (there are some good ones in that town). Or head down to NYC and visit Gotham Sound (and perhaps a couple friendly/hungry mixers), and give a bunch of mics a listen. I've rented/demoed mics before buying; good dealers can help arrange that...sometimes the rental fee can be applied towards the purchase price. But you know, I've bought microphones without first hearing them. Based on my experience with other mics, the opinions of people I trust (including many here), and the ability to return a mic if it really isn't working for me, that works. Also, I just do small jobs. Unlike a bunch of people here, I don't own and buy tons of mics. There's no local location-audio dealer here (San Francisco bay area), and I'm dealing with it. For the better mics, there's consistency from unit to unit...also note that for these mics, specialty dealers such at Gotham, Trew, and others offer basically the same prices as the box stores such as B&H, Sweetwater, etc...and the specialty dealers usually offer expertise in our arcane field. (Sorry if this is all obvious).
  19. 1 like
    Nice bags everyone! Here is mine:
  20. 1 like
    They have actually released a firmware update to their MixPre series. On its own that’s not terribly exciting, but it does add a few cool features, like re-mix. Pair this with overdub from the 10M and add a few inputs and a mixer panel and they‘d have a really exciting package. The remix thing is also screaming for a mixer panel for the MixPre series. I bet they‘ll do that first Paul Isaacs said in a video that they can‘t add these features to the 6-series. I think they also can‘t have their lower line of gear have better features than their higher end line. So my personal conclusion: they will release a bew higher line recorder soon-ish.
  21. 1 like
    Hi, Millar! We are expecting the bare circuit boards to arrive this week. It will take a few weeks to populate them in surface mount, run them through test and make sure the new boards behave as well as the betas that are out circulating now in the wild. Once they are considered good to go, we will announce and start scheduling board replacements for anyone having difficulties. We are almost there - sorry it has taken so long but we had to get it right. We ended up with a complete redesign of the RF boards. So, stay tuned just a bit longer - the fix is in and we will be taking service soon. Those of you who have units in house waiting for the new boards, the long wait is almost over. Gordon
  22. 1 like
    Thanks to Jim Gallup, I was just made aware of this thread. I have been working on the CMC4 to CMC5 conversion process for quite some time. In December, I wrote a quick blog post about it: http://www.txsound.com/blog/schoeps-cmc4u-preamp-cmc5u/ I've managed to bring the conversion to a level of consistency that I'm offering to do the conversion for $145 plus return shipping. More details can be had here: http://www.cmc4upgrade.com Thank you Pete Verrando
  23. 1 like
    John B, This is the CMC5 board which is the same and the CMC3 except for the omission of that jumper across "C". Here is the schematic. IMHO, this is a much better design than the newer CMC6 circuit. The older stuff is completely discreet in design, whilst the CMC6 has more complex circuitry for switching between varying supply voltages. Most modern preamp equipment sends around 48v phantom DC current over the two modulated paths returning over the shield. I think the CMC5 is the best choice for the Scheops Colette series bearing that in mind.
  24. 1 like
    I've been using an AKG CK-93 with the 75 Hz low pass engaged in a Lyre suspension, and have really enjoyed it. Not a lot of reach, but smooth and laid back when you can get the boom in. Below is a trailer for a feature where we used the AKG for the majority of interior dialogue (pretty much all the interior stuff that you hear in this trailer is the from that mic): "The Kill Hole" Trailer Hope this helps, -Christian
  25. 1 like
    All the mics I gave you are hypers. People call the 416 a shotgun but it is in fact a hypercard in pattern. The Oktava does have handling issues but these can be cured by a good shock mount. It is the the closest match to a Schoeps MK41 that I've ever heard in a cheap mic. phil p
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