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  1. 4 likes
    If the antenna is actually touching the skin, you can lose much of your range. I put 1/2 of an ursa foamie around the end of the antenna to keep it away from the skin.
  2. 4 likes
    I want an RX Emergency Two to use with my 302, but can't justify the $200 cost. I looked at the tech notes from Sound Devices about connecting to the mix in, but don't know how a variable resistor will interact with the resistor network they recommend. I decided to compromise and build inputs that would connect to the camera returns; this way my controls are "faders" and the trims on the 302 are "gains". Plus I can change the channel 4/5 signal routing in the 302 and not have to add external switches. The box is incredibly simple; Neutrik combo XLR/TRS input jacks, Bournes 10k log taper pots, and a 3.5mm output: Works great, and I think it cost $40 and 90 minutes of work!
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    To the OP: I can sympathize with your notion that you can only do so much as a one-person dept, but know that most sound being recorded every day for video is done by one-person depts, and those folks make it work. The problems you have are frankly nothing special, they are in fact typical of what people doing sound for corporate videos encounter all the time. I encourage you to bring as much energy and thought as you can to that work, so that the sound you capture will not only be good, but possibly better in those circumstances than others doing that same sort work for your company. Some of this is equipment, some of it is preparation and having plans A/B/C etc, some of it is diplomacy informed by knowing how the other departments, including post, really work. Often sound people on these sorts of shoots have to walk a line between being professional and being a pain in the ass to everyone else to get the job done well. Re: giving away my "recipes": that's pretty funny any more. There is nothing I can tell someone about production sound that they could not find out in 5 min on the web. When soundies of JW (and my) generation started there was a lot of info hoarding going on among established mixers vs newbs, which I though was bullshit then and think is bullshit now. I'd rather tell a questioner, esp if they are new to sound, what I know and have their gratitude than blow them off with the false assumption that I have just safeguarded my exalted position in the biz.
  4. 3 likes
    Rio Rancho, NM (April 1, 2019) – Bucking the trend towards making everything smaller and smaller, Lectrosonics is introducing the Big Series™ transmitters. The new BS transmitters boast multiple powering methods for extreme run times and a host of additional advanced features including language translation, on-board high-density data storage, fuzzy logic, artificial intelligence, a neural network, quantum computing, the Internet of Things and much more. The recently developed Multipower™ module allows a multitude of powering methods including three, four, or six D cell batteries depending on the model, and propane, kerosene, compressed air, and user-cranked flywheel. By offering these various powering methods, users will be able to ensure continuous operation even in remote, undeveloped and inhospitable regions of the world where standard batteries may not be available. Run time with 6 D cell batteries is 48 hours, and with one quart of kerosene or one pound of propane, the BS units can run for 12 hours. If the user cranks the flywheel once every few minutes, continuous operation can be achieved. To keep the weight of these units reasonable, Unobtanium alloy is used for all metal parts. By employing a neural network using quantum computing and fuzzy logic, the new BS Series transmits and simultaneously translates the incoming dialog or singing into multiple languages in real time with extremely low latency. The units auto-detect the incoming language and then choose the output language based on local area using GPS information crossed with a geolocation database. The optional MultiLanguageDiversity™ module enables multiple languages to be transmitted on several frequencies simultaneously. Latency for the translation and transmission is 0.001 ms. Information about the detected local language, translations chosen, GPS data and other information, but not audio, are stored on the BS Series units’ 20 TB solid-state drives on board. An IOT interface allows the units to be accessed by smartphone or other IP device from anywhere in the world. “We realized that we were limiting the functionality and flexibility by making our transmitters so small,” states Karl Winkler, VP of Sales at Lectrosonics. “People want features and so we’ve got ‘em in there! The large size makes just about anything possible.” Models available include the BSBP (3 D cell) and BSDBP (6 D cell) belt pack transmitters, the BSHH handheld unit, and the BSHM plug-on unit. Available to order now, pre-backordered to April 1, 2020. About Lectrosonics Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company's dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. * This text and image content is for Editorial Use Only and may not be used in any kind of commercial or promotional material or advertising without written permission. https://www.lectrosonics.com/US/lectrosonics-decides-bigger-is-better.html
  5. 3 likes
    I think Jim's suggestion is on point. I haven't been watching Mrs. Maisel but I've been seeing Mathew Price's name on credits for some time now. Among other things, he was responsible for the sound on The Sopranos. I think he did the whole run of the show. Moreover, I've been noticing audio problems on other shows that seem to come and go depending on what time one views the episode. I had considerable difficulty with some scenes in the recent True Detective episodes, especially with scenes featuring Mahershala Ali as an old man. Then I rewatched the show later viewing the east coast feed and found the sound much cleaner. David
  6. 3 likes
    My son is six years old and has only started to go to school 5 months ago. But he has already understood that there is no point in me reading his texts to him. He knows that he needs to read them himself in order to learn how to read. And when he does get stuck and has a concrete question, I can help him. oh wait, maybe I should‘ve posted that in a „parenting for beginners“ forum. Nah, I‘ll just leave it here anyway
  7. 3 likes
    I thought manufacturers and dealers section???
  8. 3 likes
    Neil is great on the process of making (and finding and capturing) musical art, and the contribution of an analog tape deck and its tape to his sound. There is a diff between digital and analog capture of audio for sure, but someone should tell Neil that just as he feels all the ultimate divisions of digital sound (samples) are somehow all the same, so are all the "lands" of magnetic oxide on the analog tape he's using. That uniformity of the particles of the magnetic oxide of tape was long in coming and contributed to tape acquiring a better signal to noise ratio as formulas improved. High end users of analog tape, esp classical music recordists still argue over this issue in deciding which brand/type of tape to use. 2nd thought, don't tell Neil, since it's all working for him just fine. Good questions from HW, asked in a way and by a person Neil takes seriously enough to answer eloquently (ie not just another Youtube interview kid).
  9. 2 likes
    Oh man.... I could write a very long post here, but I will try to keep it under control LOL. I started playing guitar as a 12 year old back in Sweden. My whole thing started in Rock, Blues and Metal (specifically the New Wave Of British Heavy Metal and the whole 70's and 80's scene with Eddie Van Halen, Randy Rhoads and various lineups of Thin Lizzy being big heroes. As I got older, I started digging backwards in time towards the roots of blues and rock. Jimi Hendrix and Jimmy Page was a gateway to Buddy Guy, Albert King, BB King, Bukka White, Howling Wolf, Muddy Waters, Robert Johnson etc. For myself, I have to this day never found ANY of the amp simulators to be sounding quite right. In fact, I have never played a solid state amp that I liked either. For me, when it comes to electric guitar - it's all about tubes. Tubes, tubes, tubes. Or Valves as they say in England. I was about 14 when I had saved up enough by doing paper routes, collecting recyclable bottles to get some kind of obscure amp-head (I think it was German, but cannot remember the name of it), paired with a Fender Bassman 2x12" cabinet (might have been 2x15") that had foldable kickstands on the sides. I got this setup from a neighbor at my parent's summer house. Played a cheap SG knockoff by the brand "Duke" through a fuzz-box into it LOUD to the dismay of parents and neighbors, I'm sure. Then around the age of 16, I got a band going, and it was all about Marshall amps. My first one was a combo amp, then Marshall heads with 4x12 cabinets. In the Eddie Van Halen school of thought (overdrive the pre-amp, overdrive the power amp and overdrive the speaker cone), I didn't like the sound of Distortion pedals, so I had the heads tweaked and swapped out the tubes for ones that were easier to drive. Also got hold of a 60's Marshall speaker cab with 30-watt elements. Then, later added a 4x12 cab with 25-watt elements. At that point, I was running a rack mount custom built tube pre (built by 2 crazy Swedes that played guitar with Glenn Hughes' band). Ran that through a Stereo tube Power Amp by the name of "Kitty Hawk" to the two 4x12 cabs, with a Rocktron Intellifex adding Chorus / Delay / Reverb to taste for a big sound. I used a Roland Pedal board that was able to switch between the different pre-sets via MIDI, and also could switch between channels on the pre-amp. Played the (now defunct) Stockholm Water Festival's main stage with that setup, and later shipped it too L.A. once I had decided that I had moved here. Played some shows at the Roxy and The Troubadour with that setup as well. Before deciding to ship this heavy stuff all the way from Sweden, for a while I played a 50-Watt Peavy Classic Combo tweed amp, which was not bad actually - especially for its price point. For a while, I experimented with, and got good results with connecting the tube-pre to the DAW via interface, and using Impulse Responses of various Amps and speaker cabinets. This is not to be confused with amp simulators, as the tone is actually coming from a real tube pre-amp, and the impulse responses are virtually actual speaker cabinets coloring the sound. There were hundreds of people sampling their amps and cabs and uploading/sharing the files for free for others to use. I simply loaded them into a IR Reverb plug-in, and saved them as presets; Princeton, Vox AC30, Marshall Plexi etc. Nowadays, I don't play shows anymore, but my favorite amp for recording electric Guitar is a Vox AC4TV. This little thing is amazing. It has an input, a Volume knob, a Tone knob, and a OP Level knob. OP Level switches between 1/4 W, 1 W and 4 W. - 4 watts is clean, 1 W gets a little bit of breakup when turned up, and 1/4 gets a nice Jimmy Page kind of breakup when cranked. It also has a speaker output, and when hooked up to the 4x12 Marshall cab with 30W elements it sounds amazing. Oh yeah, this little thing gets waaay louder than one would expect from a 4-watt amp. By a lot.
  10. 2 likes
    I decided it was time to improve my power distribution; I've been running multiple power supplies for my F8n and 302 and want to simplify things. I also want to be prepared for more bag work down the road. I'm trying to save money for mic upgrades, so I figured this would be a good place to go DIY. To give credit where it's due, I got the idea for the BDS here: https://henrirapp.com/diy-hirose-battery-distribution/ And grabbed the power meter circuit from here: https://learn.adafruit.com/pro-trinket-power-meter/overview?embeds=allow The hardest part of all this was getting the dimensions on the 3d printed remote housing correct, but when all was said and done it came together pretty well- And here's the system in use. For most jobs I'm stationary, so I picked up a 12v PSU to run the system as it's configured in the video. For mobile use I can switch over to a battery and enjoy less power draw since I won't have the FRC and 302 running. All in all I'm pretty pleased- it took about $150 dollars in parts, and gave me several hours of fun building it!
  11. 2 likes
    I am about to order the mic with the Cosi. Seems like the most dependable option. I am expecting it to perform almost like a Rode or Rycote blimp outside but unfortunately won't be an ideal solution for inside, which is a pity. All in all, I am expecting to use the combo as a run n gun solution for in/out. I will come back with more when I receive it.
  12. 2 likes
    A solution to low levels? Turn them up?
  13. 2 likes
    I would say there are 10000 decisions to be made when designing a new product that touches so many lives. Not only did we work with many industry leaders in designing the Nova we listened to the feedback after NAB and incorporated many new features that will be announced right before we deliver it. The size of the display and number of faders are key to the overall dimensions. I and many others are very happy with it. The fader encoders will change how bag mixer/recorders are perceived and used. I think its sets a new standard for size,weight, power consumption and features that dare I say will be a "game changer" for both wireless users and mixer/recorder customers. We will have it out asap. Thank you for your comments Sonyslave. Glenn
  14. 2 likes
    I don’t mind so much the bugs or “features” that come along with large updates. What annoys me greatly is being told “oh I’m not sure”, or “ask other mixers about it on Facebook”. When these problems are KNOWN. Just tell me you don’t know what’s wrong or you’re working on it, don’t pretend like there is some solution I missed.
  15. 2 likes
    I did a battery test with Lectrosonics PDR units (recording). Eneloop black (rechargeable) = 4 hrs Varta alkaline industrial (not rechargeable) = 2 hrs 15 min Varta lithium ultra (not rechargeable) = 6 hrs 30 min
  16. 2 likes
    Actually, the Lectros typically have a higher voltage under lavaliere load than all the other "5 Volt" transmitters since the 4 Volt rail is regulated to a constant 4 Volts at the mic under load where the others will drop at the mic under the load. That's what the "servo" name means. Also, the DPA pulls different amounts of current depending on the internal series resistor that is tied to the 5 Volt rail of typical wireless packs. With a 4k series resistor, the Lectro provides 0.5 mA of current to the DPA, similar to a 4k and 5 Volt Sennheiser pack. However, with a 1k resistor, the Lectro provides 2 mA of current, much higher than all other packs. Basically, the DPA has a constant voltage at the mic of 1.8 to 2 Volts (Fet plus transistor) over a wide range of currents. All other lavalieres (Fet only) are constant current (say 100-200 uA) over a wide range of voltages. In sum, the Lectro's servo input will provide the same or more voltage to regular lavalieres compared to 5 Volt packs and will actually provide more voltage and much more current to mics like the DPA. Best Regards, Larry Fisher
  17. 2 likes
    The newer Red bodies changed again some time back with an unbalanced single TRS jack on the rear -- but, who knows, it may have changed yet again since then... The last time I used one there were ground issues when powered from the camera battery. Ironically, there have been less issues with time code on a Red than on the ARRIs. Mind you, that's with an attached box continuously feeding TC -- the Red generators aren't reliable, but taking continuous external code they've been solid. The ARRI Minis are the opposite -- good internal generators, but flaky when taking external code. However, the latest firmware seems to have improved that greatly.
  18. 2 likes
    Avoid is kinda strong. There are good reasons for using narrower filters in a multicoupler, particularly as new cell phone usage starts up in the 600 to 800 Mhz bands. Your post pretty well gives the reasons for narrower filters. The 411A does a better job than most of front end filtering but that advantage is somewhat over ridden by any multicoupler, more so by wide ones with weak amplifiers. In a well designed multicoupler not only will the filters be only as wide as necessary but the internal amp will be low distortion at high input levels in order to not produce RF intermod products. This spec is commonly left out by some manufactures, as it is hard (expensive) to accomplish. Instead they will quote amazing noise figures which are easy (read cheap). Ideally the amp in a multicoupler will have low gain, low noise, and low distortion (a high third order input intermod number). As usual with things RF, these desirable traits are not easy to attain simultaneously. A really strong, low intermod RF amp can make up for wide band input filters, but the ideal is narrow filters and strong amps. Watch out for quotes of output intermod number. These values are always higher than the input intermod value and make for better numbers. What really measures the performance in a multicoupler is the input intermod value. A high gain, low power amplifier can have good output numbers but weak input numbers since the input number is the output value MINUS the amplifier gain, i.e., high gain leads to poor input intermod values but usually excellent noise figures. One way to improve the performance of a wideband multicopler, is to use antennas with built in filtering or inherent narrow band response. For instance, an SNA600 dipole has about a 30 MHz bandwidth. That is equivalent to having a 30 MHz filter at the input of the multicoupler. A Yagi antenna would be an even narrower bandwidth. Sharkfins (log periodics) have wide response so are not good "filters". Powered sharkfins with built in filters can help. Another way to protect a wideband unit is to put a low loss inline filter in front of the wideband multicoupler input and then swap out the inline filters depending on what bands you are operating in. As an easy example, the Lectro PF25 is a one block wide passive filter and the PF50 is two blocks wide. What the user would like to have is a wideband antenna system and a wideband multicoupler that does not introduce spurious signals (low intermod) and is usable for all possible wireless frequencies. As in most RF compromise, as the airwaves become more congested this dream is going to become a little bit of a nightmare or at least a nightpony. Best Regards, Larry Fisher All very true, though I would say, if it has an amp at all, then input intermod values need to be considered. I would like to see PSC measure and publish third order input intermod numbers rather than just an excellent noise figure. See discussion above. Best Regards, Larry Fisher
  19. 2 likes
    I have reserved mine, and I will tell you all about it!! My plan, currently, is to use it as I do my 788T, with my PSC Solice. I will buy the iCon to add faders when I need extra faders. I have little in-line device that reads the power draw on 12v 4-pin XLR cable. I plan to use that to power the iCon, so I will report back on power consumption. I will now have my 664 in the bag, my 788T/CL9 on a mini cart of sorts, and my Scorpio on the main cart. Can't wait!!
  20. 2 likes
    They will, they're already on it. I can't find the link but I saw it this morning. It even got a name that fits …
  21. 2 likes
    This is really exciting for me. I've been considering a change to my dante system, one of the main things I want is to reduce the size from a full 16 fader console + stage boxes. Scorpio plus a controller will be drastically smaller & lighter, and much easier to fly with. Many design decisions in this recorder are right in line for me, TA4 for power instead of hirose, Icon M+ controller support, 32 Channels in a 688 form factor, redundant networking. Well done Sound Devices. I also appreciate SD's humor in their faq's.
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    I tried my Bose on set and found phase issues between the noise cancellation and the same noise coming from the mic making it impossible to know what you are actually hearing. This only happens when listening in the same room as the mic. I've used them successfully when mixing outside (mic inside), but in every situation, both on set and live music performances, I have found custom molded in ears with double cup construction ear muffs over the top to be the best.
  24. 2 likes
    With Neverclip limiter distortion elimination, no artifacts when recording at 192khz and super quiet preamps the Maxx by Zaxcom should be a great choice to consider.
  25. 2 likes
    I posted this on the Black Friday thread too but just wanted to lend my opinion and experience in this thread as well: I can't address the supply chain but have purchased a handful of betso items over the last 6 years (including a 2nd TCX-2 during this sale, thanks Daniel for the heads up on deals, greatly appreciated). I've always found Jan Zastera to be on point with communication and handled any inquiries I had in a prompt manner. I've found their products to be extremely well built and designed. When I asked about the repair process, it was said that for some repairs parts could be shipped to Gotham Sound (my preferred reseller) and they could handle repairs there and some would need to be handled by Betso. I can recommend Betso and Jan without hesitation.
  26. 2 likes
    Zoom F8n backup for a Nomad, because it will do the job, it's just small enough, has proper timecode, and I use it as a supplementary recorder anyway, as I have twice now in the last couple of months for continuous timecoded music performance desk feed and as a lightweight option for when it's just one radio and a boom etc. I've bought two more TX's for it for the camera hop, to speed up changeover. I've been very happy with the F8n for the money, I don't want a whole other Nomad anyway.
  27. 2 likes
    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).
  28. 2 likes
    Wow, either my wireless Lectro systems sound really good or... A: I am getting too old for this and don't hear the artifacts that are being described... My ears are shot.. B: I'm looking for fat audio of what I am trying to record and am simply happy with what I'm getting.. C: My sets are too noisy to hear that level of background noise D: Everyones full of crap...LOL Set up of system, Placement of mics, set noise, mic choice and other factors are far more important to me... Any noise I hear, which is so minimal I am happy to trade off for being bailed out by my wireless systems. It's simply the cost of using it.. For me that is a cheap trade off...I'll take it all day long... For the record, I have never heard back from any post regarding any noise on any of my wireless systems going back many many years... I am very happy with the audio I get out of these systems... Digital or not.. I think were splitting hairs here.. Remember, our use of wireless is to normally bail out PRODUCTION for their style of shooting... It's the tools we have to do that... If they (Units) hiss or moan .... not our fault, it's theirs for shooting with 4 cameras wide and tight... They are lucky as far as I'm concerned.
  29. 2 likes
    Man it's a great relief to be retired. If a camera "operator" said "no" to a Lockit for a dolly mounted camera, I would say "no timecode for you, bitch" and walk away. I would probably limit my days of employment with that attitude but I wouldn't care. I'm retired! D.
  30. 2 likes
    Curious what your current mood is on the subject, and what everyone else is using for insurance. Time to revive the thread to reveal any updates. Thanks
  31. 2 likes
    The Cinema Audio Society (CAS) is partnering contributing three panel discussions/workshops to the MIX Magazine "Sound for Film" event at Sony Studio in Culver City this October 13 (www.mixsoundforfilm.com). One of the panels will be about the Ambiosonic / Soundfield recording processes. It will be a great way to learn a lot about what I believe will become a common practice.
  32. 2 likes
    And the support is great :-) (I'm the developer.) Bouke
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  34. 1 like
    In my experience, a laptop based setup is too cumbersome and too fragile for field recording. I’d definitely choose the stability and ease of setup of a dedicated field recorder like the Zoom F8N over a laptop based setup. -Mike
  35. 1 like
    This post just for fun. This art machine looks like linotype but works like a hurdy gurdy, very cool. Ingenious kind of musical automata. Ton of work. Steel balls from a pin ball machine? I wonder why he needs the headphones?
  36. 1 like
    You assign the inputs to the 5 faders on up to 4 banks. Once assigned the trim button and the zaxnet button instantly make all 5 faders control trim or Zaxnet if selected. The function is then deactivated and the 5 knobs become faders again. LED rings and flashing buttons indicate that the trim or zaxnet control is active.
  37. 1 like
    Thanks guys but: The levels on the metering is fine but putting a recorded track into software the level is low! So a voice over on the 633 is (in software) far lower than a v/o recorded on my 664. I'm still puzzled mike Thanks for the input, but goodness does not help mike
  38. 1 like
    I have to say how impressive the Cosi is with my miniCMIT. I've only just picked it up but I'd say it's well worth the money. Not perfectly transparent, but easily an improvement over the rycote softie I had and more practical for day to day work than my pianissimo zep. The Ossix mounts are hard to weatherproof and the Cosi solves this problem well. I wouldn't use it for rain machine days or anything but a light rain is fine. The miniCMIT will probably live in the Cosi now with maybe few exceptions.
  39. 1 like
    I've had some varying good results, assuming I'm running the FOH PA on a decent digital console and recording through the same, by putting the ambient mics on a compressor with a sidechain being that of the talent's main microphone(s). This way, the audience response quickly and "automatically" opens up the moment the talent pauses for a reaction, and quickly is pushed down when the talent begins talking again thereby also greatly reducing the "hollowness" normally associated with recording and a live PA. Tom
  40. 1 like
    Big fan of these 2 and this band. I like the live recording. Video is interesting to some degree. Enjoy. CrewC
  41. 1 like
    It's kind of a joke over there. Also, what's up with them not evening "certifying" the latest Mac OS despite it having been out for over six months? I thought this whole annual renewal $$$ was supposed to give us better support but nope!
  42. 1 like
    Hi everyone, I currently own/ use a Sennheiser MKH 416 for sound effects recording. Despite being a classic, proved and durable microphone, some might say that it's technology is outdated and that it's quite noisy compared to newer similar models - especially the MKH 8060, which is often considered as the successor of the 416. I've read a lot about the comparisons between those microphones, the pros and cons etc. (mostly related to dialogue recording) and I'm wondering if it would be worth to replace the 416 with the 8060 (in the sense that it's not possible to own both but the 416 could be returned and exchanged with the 8060 for the usual surcharge, as the 8060 is a bit more expensive than the 416). A lot of people seem to recommend getting the 8060 nowaydays instead of the 416, and owning both doesn't make a lot of sense in my case (I'm not a professional, so a backup mic is not vital; I'm usually recording with one microphone only). The main concern for me is the self-noise, as this has been bothering me the most...comparing the 416 with a NT1A really makes the self noise of the 416 very obvious (although this comparison could probably make a lot of mics sound bad regarding self noise). From what I've gathered, these seem to be some of the pros of the two micophones when directly compared: 8060: + Less self noise (11 db(A) instead of the 13db(A) of the 416) + Hotter output (combined with the lower self noise this could probably make a very noticeable difference) + Better roll-off/ off-axis + Smaller/ lighter + Better indoors 416: + Very durable, "bullet proof" (although maybe the 8060 is too?) + Better rejection/ directionality + Not as sensible to handling noise + Not as sensible to wind + Well-established/ proved Is there an obvious choice for sound effects recording? Am I missing some relevant differences between the two?
  43. 1 like
    There is no way to ask for respect, only ways to act in which to earn it.
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    Does anyone know if there's an option in Premiere to view poly file metadata, most importantly, track names? I I spent half of yesterday doing a bunch of scouring on the interwebs trying to help out an editor that isn't familiar with poly files (because I'm a nice guy) and it looks like there is not.... I have FCP and the track names that I add in to my SD 633 are plain as day. See screenshot below: Thanks!
  46. 1 like
    The business of most of the people on this particular forum is the recording of humans talking, usually on location. That work gets harder and harder for all the reasons stated on this forum over and over, very familiar to the soundies actually doing the work. No ambisonic sort of microphone will ever be able to deliver the sort of audio demanded of pro location dialog mixers every day: we are as much (and sometimes more) about what will NOT be heard in our tracks vs what WILL be heard. Ambisonic is about hearing everything, in a "you are there" sort of situation. Fun, useful for some sorts of things, a value-add if post can actually use those files; not what we generally do. Sure, AI mics and processing for all that pernicious location BG noise are incoming. Not here yet.
  47. 1 like
    Wow what a tidy machine! Have you got a BM-2 to go with it? mike
  48. 1 like
    I'd love to try table stands or goosenecks for something like that, if mics are allowed in frame.
  49. 1 like
    I have tried to find a photo or a schematic for a banana plug->RCA adapter, but unfortunately I could´t find any. Probably because it is quite simple... The closest I can get is to google "XLR RCA adapter schematic" and then show images. The line out/in banana plugs correspond to pin 2 and 3 on the XLR (in no particular order). I have 5 Nagra III´s but I must admit that they are not really being used for other than just testing. I like the III as it is an iconic and historically important machine, but my inner technician is more turned on by the newer recorders (especially the IS, SN and D). But I still collect/hoard any type... I have just noticed that I have accidentally posted a pair of exposed female nipples on the image of the table arranged Nagras. Sorry about that; the poster in the background actually belongs to my wife. But I guess that it is a first on this forum. I have attached an image of 3 swiss digital recorders, just to show that digital recorders can also be quite nice, even in a retro/vintage context...
  50. 1 like
    Shooting in the arrivals area at LAX: " How is it for sound?" ----------------------------------------------- AD : "Roll sound" I quickly say speed, anticipating the call to roll. AD : " WTF! NEVER roll until I tell you to!" ---------------------------------------------- Editor: "What are the digital numbers on your slate?" ---------------------------------------------- Producer: "We have an award winning director" edit- this thread is much needed therapy 😅
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