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About minduout

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  • Birthday 12/10/1975

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  • Interested in Sound for Picture
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    Sound Designer

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  1. For the people who have modded their oktavas: Does the noise floor get lower after the mod? Love the sound of mine but would love even more if I could get a better SNR and a better response on the whispered side of the bad acting spectrum. I saw this kits and was tempted by the claim of a lower noise floor: http://www.billsrecording.com/BSRS/Mod012.html Mine arrived from the EU dealer with a very worrying low frequency rumble close to the noise floor that I fixed after some research by putting it on Silica Gel. I assumed by the time that the transportation across the Atlantic was a little troublesome (I live in Brazil) and was happy that it was a simple fix since the ride back and forth to the dealer would require some work with the Brazilian customs clearance. Sometime after this it started this crackling rumble on the middle of a take and went to the Silica again. I could replicate the problem by letting it on overnight and getting this crackling on the next day by the time of the morning mist. The noise went out immediately by putting it close to the silica. I tried to get rid of any contamination that may be attracting moisture to the capsule by blowing gently with a lens dust cleaner and now it rests on a closed case with the silica but I'm not very comfortable to use it on every situation. Ilari's testimonial may have clarified to me that this is not a defected unit but instead a problem with the design of the mic. That's a shame since it has a very beautiful sound and is extremely directional (the HC capsule that is the only one I have). I don't mind much about the handling and the wind noise since is because of these "flaws" that I've improved my booming technique and got a better wind protection solution.
  2. Any further info on this? If not for doing the mod maybe just for educational purpose.
  3. I've been wondering about that too... on page 20 in the manual there is an example of setting DC power supply with a nominal 14.8V battery pack, so I can only assume that the 9 to 16V limit is for the nominal value. But I would like to be sure of that before plugging in a charged pack.
  4. Hi José, thank you for your response. I think I can live with some coloration and in fact I count on it in some situations. Dependind on the job I use a different pair of heaphones knowing its frequency response will help me identify something that will get me in trouble at post. E.g., when capturing ambience I like to use the AKG 414p (wich is designed for on-stage monitoring). Because of its pronounced bass, it allows me to identify excessive noise that can ruin the take. It also has some sort of compression of the dynamics (I think because of the closed back design combined with its small cup) that help me distinguish unwanted backgound noise more accuratedly. These headphones are tuned for identifying airplanes coming far beyond the horizon... Reading my post again I could see that I was being obvious, as the headphones behaving differently according to the equipment is the very definition of HP amp coloring... what I really was trying to say is that if it's not exaggerated it is a thing you can live with, as you pointed out. Best regards and sorry for my bad english.
  5. Hi José, can you be more specific about this coloration? Exaggerated bass, muffled highs? Is it that much of a problem? Is there a possibility that the headphones interacted with the recorder in a bad way? I ask this because I have encountered situations where headphones behaved very differently according to the characteristics of the equipment it was attached to. Not that it changed completely the sound, but it was sufficient to be noticed. If, perhaps, the coloration of the F8 is exaggerated, it will be indeed a game stopper. Thanks.
  6. This is a review made by one of the members of this forum that I think will help you sort it out: http://mixeli.us/technology/zoom-f8/
  7. Hi there Christian, is good to know that you have had enjoyable experiences with brazillian personnel. As I said, we have very professional people working both at the top and bottom levels of the film production. They're just not the majority. Brazil is a vast country and much of the brazillian film production does not reach outside our own boundaries. The productions that are shown in festivals outside our country and those that make it to the international market certainly represent our very best and deserves all the merit, but they do not represent the majority of the work done here. I can't talk for the Argentinian film production except that I'm a great fan of their work. Maybe I've been too graphic at my report and that may have been somewhat distressing to the outsider. Brazil is a very singular and intricated market and to try to explain it to others may require a seminar. When I say that we have no film industry is of what can be compared to Hollywood or the rest of the world, where there are investors, a product, a workforce, a prospect of continuous production and profit. If you consider a market mostly sustained by government incentives and that get no revenue at the box office, then you can say we have an industry.The whole telenovelas ecosystem is very influential to the film production in a very bad way, but I may not dig this hole in here as I've been too much off topic already. As a side note, keep the good work with your national soccer team. You may again encounter our best personell, but at the soccer ground in the next world cup. Hehehehe!!! That team of ours you germans smashed last year is an example of the unprofessionalism I was talking about, hehehe... we may have some of the best soccer players in the world but that doesn't mean all our players are good... (I can laugh about it as I don't care much about soccer, but there are people around here that are still crying that defeat...) Best regards.
  8. I forgot to mention that I live in Curitiba, wich is outside the more vivid production centers of Rio de Janeiro and São Paulo, but I can assure that even in these centers the market is light years behind the quality and quantity of productions normally found in the USA or Europe. I would like to say that in any manner I'm diminishing the work of those who have built their knowledge at the field in the trial and error fashion. I'm just reporting that culturally the sound for picture in here are relegated to a second class. This is historical as I came to know recently. Our closest attempt to form a film industry was in the late 40s / early 50s, and it is said that there were this practice where all the filming was made with the director talking to the actors and camera crew and all sound was made in post-production. Most of our films until the end of 80s are of a terrible audio quality and to this day the sound department is viewed by the rest of the crew as a liability in some productions. This too is slowly changing with the arrival of more quality focused people in the film production jobs.
  9. Here the dominant player is the Zoom H4n, and it is widespread to the point that it is unfairly associated with low quality audio. That's because every production house has one and it is usually given to the last person in the production to have an occupation, or it's operated by the same guy who is operating the camera, directing the scene, the photography, etc... The natural replacement for this aging little wonderful machine is the Zoom H6, who will have the same fate in the unprofessional hands. There are some Roland and Tascam handheld recorders doing the same job with a somewhat higher reputation but with the same unprofessional results as for being unprofessionally operated. For multitrack jobs, the Roland R44 / Tascam DR-680 are common in the bags as the Roland R-88 / Tascam HS-P82 are in the carts. Then there is THE Sound Devices (almost exclusively the 7xx series), that here is associated with very professional and very expensive productions, despite being operated by a "professional" owner who is the same kind of untrained person, but with a high budget to invest in gear. Of course there is exceptions to this scenario, with very professional people operating both types of equipment, but they're a very small percentage of the market, as we have no film industry here and most (if not all) knowledge were built in the trial and error method, usually at the low budget end. This scenario is slowly changing as there are more access to information and there are more properly trained people getting into the market nowadays. Zaxcom, Sonosax, Aaton and other less known companies have no penetration in here whatsoever. Our access to gear is by alternative ways of import and that leaves us with the major players only, with the exception of Sound Devices wich is the fetiche brand around here. Again I apologise for my bad english and encourage you guys to point out any mistakes I do in my attempt to communicate in your language, as this will improve my ways of doing it. Thanks.
  10. No need to worry, Mr. Wexler. I know you do your best to keep this forum the reference it is. My concerns are for the little contribution I can give to the discussions, being from a totally different background than you professionals, so I'm asking for your forgivingness in anticipation for the mistakes I'll certainly do in here. That being said, I'm looking for some thougths about this little machine, as I'm willing to purchase one. I have good experiences with zoom gear (as I do have bad ones too), both in the music front and sound for picture, and I'm tending to think it's a great value. Being the first attempt from zoom to really get into the field recording market, it appears that they are doing things right. At least is what it seems to me. I would like to know from you experts what are your thougths about it, and will certainly wait for some real life experiences from others before make the purchase. I just didn't resist the urge to share the news in here. My bad... Best regards.
  11. Didn't know about this policy. I beg your pardon Mr. Wexler. My point is that the beast is unleashed and I would love to know what the real professionals think about the specs. I think it's a very impressive list of words, lets see if it holds in the real world. I'm from a no english speaking country and for what matters (professional audio) I'm in a completely different planet, so I'm asking you guys to be kind to me as I have the greatest appreciation for the opinions expressed within this realm. Best regards.
  12. JW says: I'm not too pleased with posts that are just links but I approved this post anyway. The Zoom F8 will be available at all the usual (professional) suspects as well as Guitar Center, Sweetwater, B&H, amazon, etc. http://www.locationsound.com/zoom-f8-8-channel-multitrack-recorder-with-time-code-2904 http://www.prosoundnetwork.com/article/zoom-debuts-f8-multitrack-field-recorder-/19574#sthash.b1YEOTkx.dpuf https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-f8-multitrack-field-recorder It's here.
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