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msimonson

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Posts posted by msimonson

  1. On 3/5/2020 at 1:44 PM, JensF said:

    Didn’t see you posted a audio file until now. How do you have your mics positioned?

    They are in a Rycote setup so that the MKH50/30 is positioned correctly for M/S. I don't think I've ever removed the 30 from that rig, but I remove the 50 frequently. It seems that the 30 is the issue though.

    I had to use an alternative solution for my recording gig so now I've got some time. I'm going to try to bypass the connbox just to make sure it's not that. Beyond that I'll have to think...

  2. 10 minutes ago, JensF said:

    Any phase inconsistency’s in the cable would only lead to the decoded LR stereo image being flipped.

    Yeah, sadly that's definitely not the case here because I could just flip it. the sides are showing up in the middle.

     

    The unencoded stereo file is correct as far as I can tell, so I don't think it's an issue with the MixPre. Or the microphone unless something was happening with the connbox pins. I'm still puzzled.

  3. Hi, I'm using a Senn MKH50/30 MS rig with connbox > 5pin to dual 3pin XLR > MixPre6.

    My 5pin to dual 3pin XLR cable broke, so I'm trying to make a new one before recording today. I've wired it exactly like the old one, and as far as I can tell, exactly as I should according to the internet, and yet, when I MS decode my file after recording, it doesn't sound correct.

     

    Can someone tell me what I'm doing wrong? I've attached pictures of my cable, and a sound clip of the decoded MS stereo file, in case hearing it helps.

     

    I've also tried rewiring the 5pin so that the positives and negatives are reversed, but that didn't fix it.

    5pin_angle_1.jpg

    5pin_angle_2.jpg

    5pin_angle_3.jpg

    channel_1_xlr.jpg

    channel_2_xlr.jpg

    mid_side_problem.mp3

  4. On 10/31/2019 at 5:40 PM, tourtelot said:

    I use Belden console wiring cable to make adapters like this.  Easy to work with, 100% shielded and skinny.  Good stuff.

     

    https://www.markertek.com/product/bl-1508a-500/belden-1508a-2-conductor-paired-microphone-cable-500-foot

    D, thanks so much for the help. One more question if I may.

    Could you use the Mogami two-pair for both purposes (a 5-pin to 5-pin, or a 5-pin to dual 3-pin)? Is the advantage to the Belden just that it's skinny?

  5. couple questions I've had working with the MixPre for a little bit:

     

    1: Can you store numerous take names like you can on the 744t? I haven't figured out how.  I've created presets where a certain take name is default, but it seems like I have to type in a new name if I want to change it while still in one preset.

     

    2: Can you scroll through your headphone presets using the right dial like on the 744t?  I know I can access them through the menu, but that headphone rotation on the 744t is sure handy.

  6. I'm anxiously waiting for my MS rig to arrive and when it does I will be doing lots of tests that I will share.  When I was researching mics I found it helpful to go on soundcloud and search for 'mkh 30' or '8040', as a lot of MS recordings in various configurations popped up.

  7. Sorry I should have mentioned, the side mic will be MKH30.

    Jez, I'm still kinda finding my way in field recording. I don't work in film.  Sometimes I record interesting sounds around me for the purpose of transforming them in the computer for music, for which the mid being important and the sides being "candy" sounds right.  I would like to get great nature ambiances, and perhaps having a MS recording to compare/mix with an ORTF 8040 pair recording would be good.  I like weird animal sounds. I'm leaning toward the 50 because the better directionality might work for when I need it as a mid mic, for random sounds/sfx.  I don't think renting is an option in my city, but I might try to see if I can order the 40 and 50, do a test (for everyone's benefit), and then return one.

  8. Hello,

    Does anybody have, or know of, any MS recordings that compare the MKH40 to the MKH50 with that as the only variable in the comparison?  I'm trying to get a feel for how the different polar patterns will affect an MS recording, but I haven't found anything that directly shows this.  I'm trying to decide between the 40/50/8040 for a mid mic, and since I might get a stereo pair of 8040s and could use one of those for MS occasionally, it seems like it's coming down to this question of the 40 vs. 50.  I know the 40 is classic but some say it's boring, some say the 50 is "beefy" but perhaps I will lose a lot of the image going super-cardioid?

    Any advice would be appreciated, thanks!

  9. Hi friends, I could use your advice.

    I have an SD744t and a MixPre-D.  For mics I have a Rode NT4, an Usi stereo pair, 2 JrF contacts, 1 JrF hydro, and 1 Aquarian hydro.

    I'm going to north Australia (Cape Tribulation) in July and want to record mainly

    • ambiances of the rainforest and beach
    • the sound of a cassowary yelling at me

    I'm wondering what gear you would bring on a trip like this, so that I may consider upgrading or investing,  Since I'd prefer to stay away from the Cassowary's deadly claw, I'm thinking maybe Tellinga parabolic system.  Alternately I could maybe find an animal specialist that could work with me to find one and get the sound.  Has anyone here ever done something like that for a project?

  10. 1 hour ago, old school said:

    Music Concrete?   I enjoyed these. Thanks for sharing. After recording the samples, do you play them on the pad controller or cut and paste, or all of the above? Well made. Not sure why the stereo mic but it can't hurt it.

    CrewC

    Thanks for watching. I slice up the samples and then play around with them in Ableton Live, mostly using its sampler but sometimes just looping parts.  For making the melodies etc. I do play them on that Push controller.  Lots of effects added of course.  The stereo mic is not necessary but sometimes it actually comes in handy getting an interesting sound.  Sometimes the more usable material is from an angle that would usually be "bad"

    39 minutes ago, Constantin said:

    Yes, I did enjoy these, particularly Oats, although I lost the sound on playback after the opening.
    I did a lot of stuff like that back when I was at uni, so I am also going to be critical. If you use such a source for your sounds, I think it's a shame that almost all of that is lost when you hear the piece. If I heard it without knowing what it was, I might think "nice sounds, but nothing special".
    While it isn't it sounds a bit generic. Which it isn't, but I want to hear that as well.
    Musically, it doesn't excite me much, but it's nice enough. Also no interesting harmonies. But then 99.9% of pop music is like that.
    Maybe just not my type of music.
    Crew is right, though, well made.
    Maybe you could just be a bit more adventurous

    Thank you for the feedback, I'm glad overall you enjoyed them :)

  11. Hey,

    I'm mostly a lurker here because I don't work in film sound although I think I'd like to do something along those lines.  But I wanted to share this anyway in case fellow sound enthusiasts enjoy it.

    I've been making a video series where I take ordinary objects and make music using only the sounds from the object.  It's a bi-weekly sound design challenge.  Here are the episodes I have out right now.  Whaddya think?

    Recorded on 744t (bought on here!) and an NT4.

    --Matthew

  12. Hi, I found a Sony TC-D5 Pro II cassette recorder and I wanted to do some field recording with it.  Anyone still use one of these for fun?

    I have a pair of the Usi Pro microphones but they require phantom power and it doesn't look like the Sony supplies that.  So I can get a portable phantom power supply, or new mics.  Does anyone have any suggestions for good stereo mics that don't require phantom power?  I'm mostly looking to record ambiences of whatever is around me.  I tried an Electro-Voice 635 just to test the machine and it worked but it didn't seem to pick up much, so something pretty sensitive might be good.

    Thanks for any feedback.

  13. Hello board members,

     

    First time posting.  I'm going to Los Angeles for a little bit next week.  I was wondering if anyone has any suggestions on:

     

    1. Stores where vintage, obscure or unusual instruments/gear are sold (or private collector/dealers)

    2. Locations that are particularly nice for recording interesting sounds, perhaps something that is unique to LA.

    3. Just general cool things to check out.  Anything worth doing.

     

    Thanks for your time!

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