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I'm a R4+ and M2D2 user and would say Sonosax all the way for music. I used SD and Zaxcom for many years and have recorded music on them for convenience with good results, all fine, great machines. but doing the same with Sonosax is a big jump in musicality and 'ease of sound'. Generally the stuff I have recorded that way has been small music groups playing mostly acoustic instruments along with multiple voices, with a mix of ribbon mics and dynamics, leaving the Schoeps and so on in the cabinet much of the time. For context here, I'll also mention that I operated a proper music recording studio with a Neve 5088 console into Burl converters for 10 years recording tons of music and for me the Sonosax is the only recorder mentioned that can compare to that same level of deep musicality.4 likes
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A used Sound Devices 788T (or even a SD 744) would be all you need to record music. I AM a professional music recordist and for anything under eight tracks, I still use, and am still awe-struck by the quality of, acoustic music recorded on my 788T. D.4 likes
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Nice! How wonderful it was for me to actually be with people in the real world. I have been so overly cautious because of Covid I have missed so many events, so many people. It was great evening, I think one of the best Awards show we've done.3 likes
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I’ve been on a mic acquisition kick lately, and I’ve ended up with too many shotgun mics, so I need to figure out which ones I want to keep as my workhorses. To help me choose, I decided to test to them all under controlled circumstances and see what I could learn. I wrote way more than I intended, so instead of posting the whole thing here, I put it in a post on my website. And for those who don't want to read an 11-page review (I don't blame you), here's my last-paragraph-first summary: https://documentarysoundguy.ca/the-shotgun-shootout-schoeps-cmit-supercmit-sanken-cs-3e-sennheiser-mkh-60/ Enjoy, and happy listening!3 likes
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Yea yea I know they stole. But everybody else in business steals including the usual bag manufacturers so … I know I am going to get a lot of hate but as you all might have found out already I don’t give a F@ck. This is just information. Proaim made a bag. Still old school heavy design and made of polyester but a cheaper version. Price is $1673 likes
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I smell some kind of "racism" here, non US/EU brands is not equal to "low quality / bad image"! To be honest, our industry has been ruled by US and EU companies forever, I would love to see if there could be a chance for a cooperation between companies like Zoom and Aaton, developing more reliable and affordable machines. I think the cooperation between Steinberg and Yamaha is a positive example. The Zoom F8 series are fantastic products at a relative low price. They gave many people the opportunity to get into the world of cinematic sound, those couldn't afford it before such machine existed. But since here is about Aaton, let's give it a hope that Aaton can find an investor and keep making one of the best machines for the industry.3 likes
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Imagine if Blackmagic purchased Aaton and released a $3K Cantar Mini v2, that would be insane!3 likes
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In general, it is very strange to see that much lack of competition. Making an audio recorder and it´s UI is not an atomic science. I don´t prefer the anatomy of cantar recorders at all - it makes even easy operations tricky. Boot times terrible. Input functions limited. Unbearably heavy. Lack of MixAssist / Dugan until the last minute, Lack of SuperSlot. Stiff onboard mixer faders (great cantaress, though). A need to buy an external box to have physical gain knobs. Buttons don´t work when dust gets in. There´s too much stress on set to operate such an absurdly complex piece of equipment on top of it. It´s not doing anything else than recording an audio signal and timecode ! Cantar only worked mentally in some absurd way : once you forced that thing to operate the way you wanted, you got honored with that spurious "atomic scientist pride". But that didn´t win a nobel prize for you. That´s where the audio mixer job only begins. SD, ZOOM and even ZAXCOM make much more straightforward equipment. Yes, I don´t love the overheating Scorpio that´s less durable and flawless compared to 6XX/7XX line but it seems like it´s the best new piece of equipment out there recently. My secret horse is ZOOM Japan. They´re a hair away of making something big. Add Dante support, double the channel count , make bigger mixing surface with same brains as great F - Control. You will rule this market. RIP Aaton. You were not my love but you have my respect.3 likes
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The SNA600a is 2:1 only at the band edges. When defining bandwidth, the 2:1 value is a commonly accepted bandwidth definer. Inside that bandwidth, the SNA600a SWR is much lower on the order of 1.2:1. Keep in mind, a tunable bandwidth may be useful in attenuating undesired RF. "Different horses for different courses" . Best Regards, Larry Fisher2 likes
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Okay cool. It seems like I'm not the only one looking for a solution to this. I've started writing a library in C# for interacting with a 788T over usb and so far it's been pretty successful. Using the USB disables the C. Link In jack on the back but it seems like the C. Link Out still sends "Broadcast All" messages to other machines attached to it. So theoretically, you should be able to not only roll/cut all of them, but also sync settings like Date/Time, file names, recording specs, etc. to the whole C. Link network. I don't think accessing each machine seperately works over C. Link though if you're going through USB, you can only send commands to all of them at once. Once I get it working I'll write a small windows test app I can post here to see if it works anywhere besides my desk haha2 likes
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Honestly if they just made an F16n, maybe threw some AES inputs on it and called it a day, that would be fine too. I'd love a small, 5 channel mixer recorder with phantom and a great mic pre on channel 1, then a super slot for a 4 channel receiver built in as boom + 4 lavs would cover most of my use cases.2 likes
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It's a bummer they discontinued that recorder. They rarely pop up on the used market too and when they do, sell for some pretty big coin quickly. That new Yamaha DC powered dante board into one would be great for high track count stuff into one of those (although it seems people are using that Yamaha's USB into a laptop with Boom Recorder too).2 likes
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Necropost just to report that the DSR was TOTALLY worth the wait!2 likes
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If you're after good SD pres then those on the 552 are the best they get. Lundahl mic transformers per pre, same as the 302, MM1 and 442.2 likes
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Hello, no RAD suspension yet so I am slightly off topic but still about RadiusWindshield: I have received my replacement fur (windjammer) they made for my AF rycote windshield (for my schoeps ortf stereo setup). It is more than 15 years old and going strong still, except the original fur. I must say I am very happy with the fur ! It is so far better than the original one on many account - I have not been trying it in a very strong wind situation yet. The Radius fur fits perfectlty and cover fully the lower part, that was a point not adressed by rycote for years. The fur hair itself feels exactly like the original, maybe slightly lighter. The inner fabric is definitely lighter yet feels strong, and it seems to me the whole windjammer has less acoustic impact in the highs than the original (feeling only since I cannot do A B comparison with a new Rycote). Also the team at Radius was impressively reactive and quick to proceed my request as AF size wasnt in their listing yet. On the total oposite of Vitecbibendum that initially said they could provide but stayed silent for more than a year after I asked for a quote… I am glad I heard of Radius here the first time some months ago and got in touch with them. An efficient human-size business like I wish there were more. I am looking forward to try their suspension, although I am a Cinela fan. But for the Piano fur I will try the Radius replacement soon!2 likes
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I'd imagine that, once the dust clears, someone would probably be able to fix small problems? Hell, you can still get your Nagra repaired back to factory spec so I'd hope you'd be able to be able to fix a machine that literally existed up until this year!1 like
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An Update: After some discussion and asking around, it looks like buying a second Block 21 UCR411 is my best bet. So that’s what I’ll do 👍🏻1 like
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Hi! I believe most tripods are suitable for this microphone because it is lightweight and doesn't require a lot of strength! I included a picture to show that I wanted to place it above the choir conductor, so a tall tripod is needed. However, for nature walks, a smaller and lighter one is much more convenient. Attached to the back tripod, I have a recorder, and for that, I use the Manfrotto MS0490C Carbon Nanopole Stand. The first K&M tripod is quite thick and would need a special attachment. Generally, I use the smaller tripod; I later bought the larger one for recording the choir. The Schoeps W5D Windshield is sufficient for me. I usually don't record in very strong winds. But what do you mean by "decent quality"? 😁 I meant that even those who are picky will probably be satisfied - polite and neat.1 like
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Remove the jumper between pins 2 & 4 and use their servo wiring scheme instead of simple 4V. I can't guarantee it will fix your problem, but that is what Lectro will advise. They'll tell you that with servo wiring, your mic gets a higher voltage than it would at a nominal 4V "regular" wiring due to the voltage drop. I haven't used the MKE1 with that, but the symptoms you describe are consistent with voltage starvation, and servo should help. Try it and see! This is the Lectro's wiring diagram FYI: https://www.lectrosonics.com/lectrosonics-microphone-wiring/uhf-transmitter-5-pin-input-jack-wiring.html Actually, hold that thought, Servo only gives 4V with 3-wire mics. So it would only give you 2V. But it's worth a try.1 like
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My icon platform has died and I’m looking for a replacement. I remember someone talking about the V1 pro and it might be useable as a controller in the near future….. I can’t find the thread now and was wondering if it was a possibility or whether those plans were dead… what else is there?…. The platform fits perfectly in my rastorder cart ….. The waves fit will fit within the frame by 5 mil After last years strikes i don’t have funds for a cl16 . Any other contenders?1 like
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Yes but better tuned. And if you can place it so that stuff is outside the near field it will work better.1 like
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There is the simple fact that getting the passive antennas, Betso, shark fins, etc. up and away from your mixer bag offers a bit clearer reception. It isn't demonstrable but it is a bit better.1 like
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Yamaha is very strict in all consoles about having only stereo recorders on board. Weird, but just as true for the top of the line "Rivage" as it is for this mixer. You can get clock i/o in a Yamaha mixer but you have move up the line a ways. Isn't there a way to add plugins to the mixer?1 like
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I work mainly as a spatial audio recordist and designer and have done this exact thing on many projects over the years (as well as ambisonics and other spatial audio shenanigans). I own the 4560 binaural headset as well, but, a pair of 4060’s is actually more versatile so I mostly take those for binaural in-ear recordings. The capsules are the same anyway. I spoke to DPA about this a few years ago. You don’t need to complicate it with wire. Just pick up some silicone ear hooks (the kind that hold the cable of in-ear headphones in place over the ear). Then use the foam windscreen around the mics to keep the capsules in place at the entrance to your ear canals. You don’t need to go far into your ear canals as that part of the head related transfer function will be added by the listener via on-ear, over-ear and most types of in-ear headphones anyway 😉 Technically, you should have the diaphragm element (if you take off the mic grids, the side with the holes) of both DPA’s facing outwards, but, in practice, it works fine to just put them in place in whatever orientation, so long as they stay in place and are equally arranged in both ears. You can use some tape instead of ear hooks and also some tape to secure the cable on your neck if you want. Last tip: they look ridiculous but pick up (or make) something like a pair of the ear-muff type Soundman windscreens (for their OKM binaural microphones) as other types of wind protection don’t give you enough dead air combined with a secure fit. As for speaker playback of binaural: I like it and think it has more depth than stereo, but, I know this is contentious! You could use an ambisonic microphone instead and decode for both binaural for headphones and stereo for speaker playback. But, it depends on where you want the greatest effect. Direct binaural recording is still more immersive than binaurally-decoded ambisonic, unless you include headtracking.1 like
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I love the 4minx, but the two units that I have, have the tone (around 1490Hz), the preamps are great but have high harmonic distortion too The menu is very awful for drama, but for music isn't a drama Another for the Sound Devices 788T, the best preamps I tried and measured in a battery recorder, built for last (Except the keyboard). The drawback for me is the menu (I hate it) (I'll love a harwire CL Wifi), but isn't a problem for music. Measures1 like
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Love my CS3e for sports coverage.. huddles, post game interviews, etc. It pulls the voice out of the chaos.1 like
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right the phone is a bit bucket for redundancy and convenience. The m2d2 also has a headphone jack, and I'm assuming (I hope reasonably) that combined with my reasonably good headphones, will make for good mobile listening.1 like
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I'm not quite sure what you're getting at with the frequency response chart. The M2D2 is basically a USB-C sound cart or interface so whether you write the digital file on a high-end recorder, a computer or a smartphone doesn't really matter quality-wise. It's just the already converted file that will be the same everywhere you store it. Playback quality is not the reason for using a phone, I guess. Or am I not getting something here?1 like
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I think it's a beautiful set up, but my personal preference is flexibility. I'd prefer two CMC1 pres with MK41 capsules to a fixed ORTF rig.1 like
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I happily use the NOVA 2, Nomad 12's and now Deva 24 on a daily basis on Episodic. Each fill a roll perfectly encapsulated with Zaxnet control over all my wireless.. This "Eco System" is what eventually doomed Aaton. Selling a recorder is good. Selling a Record and all the wireless is even better.. With that I would see the only "Fit" to purchase the Aaton assets is a Wireless company looking to join the Ecosystem world..1 like
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Hahaha. Just get it close enough. Unless you’re going full Neumann fritz. The fritz is an actual head with two mics for ears made by Neuman. The mics are pointed into the ear canal to get as close to the ear drum as possible in order to replicate the users natural hearing. It uses the ear shape of the user. You could get some old Sony headphones and ruban some 4060’s to make it work, it won’t be all DPA pretty but it will function identically. I’d say capsules facing forward similar to the cup of the ear.1 like
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I can't tell from your post if you already own the MSTC 74 (since you posted the picture) or intend to buy one. If you don't already own it then I would rather go for the CMC1 + MK4 setup. Putting this pair in the Cinela Albert you can basically use it for ambiences everywhere. Even without the fur these blimps are protecting the mics from light winds and sound quite transparent so no changing of your mic setup from int to ext. The main benefit I see from going CMC1 instead of MSTC is the flexibility. So you could also use them seperately for podcast interviews or whatever situation where you might need one or two cardiod mics. If you already have the MSTC and intend to use it exclusively for ambiences then I would probably stick to it. The Cinela Albert would be a nice addition but sure, two Leos, Bubblebee Windkillers or similar will handle most wind situations. For stronger winds you might need a blimp though...1 like
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many lifetimes ago I had an mstc44. It was stereo in easy mode, the recordings always came out well. It's not flexible, and doesn't respond as well to stereo manipulation via software, so it's a "you get what you get", but it definitely sounds better out of the mic than any other stereo mic I've used.1 like
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I record music on my 788T all the time. Good music, well-played music, symphony orchestras, church choirs, early music folks. Some end up on CDs, some Grammy noms. I have NEVER had a client (or anyone else) say that my recordings weren't "musical". Bologna! The 788T preamps are just fine for recording music, never fear. $1400-1600 will get you what you want. D.1 like
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Who knows. Someone might just buy the brand and sell whatever stuff using it, or, if the new owners want to keep the current products they will need the engineering staff. In the late 90's I was designing multi track voice recorders (clunky stuff for call centers). We were a group of four people inside a larger company focusing on cable infrastructure and networking. The company went bankrupt and it was acquired by new owners. The new owners weren't interested on the development group I was part of and an interested party approached the new owners in order to acquire our business. Before approaching them, the interested party contacted each of us in order to know what we expected, what we wanted, ie, in order to make sure that they acquired a team and not just a bunch of source code, schematics and a brand name. They even asked our opinion on the location to set up the new premises, which new staff we needed, if any, etc. Sadly the new owners asked for too much money and the operation was aborted. So several months later I just left the company (I was the architect of the system and I had developed the most complex part of the software) and the value of the operation became zero. So, who knows. Not all "corporate" types are stupid.1 like
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Let's not forget Sonosax, they also make fantastic recorders and mixers, and well-suited for drama/theater use.1 like
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MixPre 10 II with Musician Plugin will serve you well. You get 8 inputs, good audio quality, timecode, mobile design, nice user interface for a fair price. You can even use it as a high quality audio interface for your laptop if you like. I remember recording a symphony orchestra at different locations around 2010, only with Schoeps ORTF setup directly into a 744T. The quality surprised not only me, it was blasting. I would say still better than MixPre, but nowadays I would like to be ready for more tracks.1 like
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When you currently have only one channel of Lectrosonics, it's overkill to put your 2nd channel in a completely different block. And as Karl mentions in that linked video, there are benefits to staying within the same block (for instance you could easily replace your 2x UCR411 with a single SRb, if you needed to go lightweight. Or you could bring just one UM400 and it would act as a spare emergency backup transmitter for either of your transmitters, if talent lost/broke one of them. But if you were using two different blocks, you'd need twice as many spare backups with you). If you've got a clean block, then you can fit a lot of channels within that block. (so long as you're being sensible and using frequency coordination, such as with FreqFinder) You're not going to get interference just because they're in the same block!1 like
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Just my tuppenceworth.....but FYI ..I got OST TL40's for my Sony UTX-B40's and they were wired signal to sleeve, screen to tip (!) ..they hummed like hell. Dave at OST insisted that the wiring was correct...but it just didn't work. Eventually , the supplier of the wireless kit asked the Sony rep who supplied the wiring diagram for another two wire lav, a DPA....this suggested .signal to tip, screen to sleeve, 3k3 resistor between ring and tip. I tried it and it works just fine.1 like
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