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About sinnlicht

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  • Location
    New York
  • About
    Independent Filmmaker
  • Interested in Sound for Picture

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  1. Hi, Having spoken extensively with Medzid Veseli and after several meetings with the engineers personally responsible for the development of these digital mics at Neumann Berlin, the issue was that Neuman did not invest enough money and effort in promoting this solution. Sennheiser, who reps Neumann in the US has done an abysmal job of supporting the digital solutions, particularly for sound mixers. The irony is the system I listed in the opening posts was designed for doc and run and gun film production. As I wrote in my previous posts, I could find no where on the East Coast to even dem
  2. Dear Simon, someone had asked at some point about your preferred compressor settings. Anything you could share regarding that topic? Thanks RL
  3. Dear Mungo, any experience with booming KM D + 184/5 while using the DMI-2?
  4. I am curious about any specific experience re handling noise impact using the high pass filter in the RCS/KM D 185/120 M/S configuration vs an analog high pass filter in your recorder?
  5. Dear Constantin, I am grateful for your technical clarification which goes a long way to explain what we experienced in practice. We don't have to agree, as you say, on the perception of the culture of this forum. Dear Doug, the assertion that there is, or even should be, one "we" on this forum that can be weaponized at will, given enough posts and expertise, is nothing that contributes to the open discussion that is worthy of the diverse range of experience present on this platform. it is exactly this habit of a small but vocal minority of members to stylize others as outside the
  6. After researching the digital solutions for some time, I found very little information and almost no stock anywhere, and no ability to test the system in New York. Neumann in Berlin was kind enough to lend me all of the gear listed above for our testing specifically in the area of m/s recording for documentaries, after which we bought it. The equipment proved useful to us, for example in situations where the mixer is also booming in rapidly changing and unpredictable situations. In addition, knowing a direct engaged Neumann contact interested in offering package deals and facilitating direct s
  7. Hi Chris, To eliminate some confusion off the top. I offered to put together something for mixers to look at this kit themselves, if they are interested, and asked such people to PM me in order not have to engage in the troll wars that are endemic to this platform. I did not post as an (i) expert telling other people what they should think or do (ii) nor representing Neumann. I will do my best fo answer the questions from our experience: (i) The main point remains that the 28bit internal dynamic range and the circuitry that shifts the sensitivity of the mic to all
  8. Dear Jim, I am trying to work with those interested in this topic. I am not going to pursue an ad hominem track with you, as I don't know you personally. If the topic is not relevant to you, just let those interested pursue it peace. Richard
  9. Hi Jim, Then maybe this topic is not really meant for you, as I just explained this above. Richard
  10. Hi Nick, i am not an engineer, but the KM D digital output stage works internally with a 28 bit dynamic range. it has circuits which adapt to changes of volume, imperceptibly shifting the internal dynamic range before any preamps, and then outputting that signal to 24bit AES42. For doc this means an added level of production security and quality. The KM D digital output stage allows specifically for a (i) before pre-amp limiter and (ii) a compressor which can be set up to work as a de-esser (iii) an attenuation function that allows the mic the deal with audio up to 141 db. In additi
  11. Hi Constantin, the KM D's need AES42 if used alone; and the DMI-2 outputs a two channel AES3 signal. For example, the SD 664 (what we use) can take the AES3 signal from the DMI-2 and it comes in on inputs 1 and 2 or 5 and 6 (allowing for M+S); the SD 664 will also take two AES42 mics separately on inputs 1 and 6. We don't use a wireless boom with AES3 or AES42, so someone else would need to weigh in on that. Richard
  12. Hi all, Thanks to Medzid Vesili from Neummann Berlin we were able to test the complete Neumann digital solution for film production including: 2x KM D digital output stage 2x KM A analog output stage KK 120 figure-8 capsule KK 184 cardioid capsule KK 185 hypercardioid capsule KMR 81 D digital shotgun mic DMI-2 Aes42 two channel portable control unit RCS AES 42 Control Software We were really impressed by the advantages over analog solutions for unpredictable shooting situations. If there is enough interest I will coordina
  13. A kind member sent me this excerpt from communication to Betso about the identical problem. I had a look behind the label, and yes the advice is correct, that these are cell phone batteries that must be 1400 mah. I only found stock on these batteries in Europe. The also have to soldered to the PC board. The Betso is generally a solid product, but (i) it is a firmware mistake to have the unit default to needing the built-in batteries to work before accepting ext power, (ii) not having an easily replaceable battery pack with a connector that they could sell that any normal t
  14. Thanks for the quick response. That was my fear. I opened the unit and the battery back is not a common type to me. Have you replaced your own batteries in the past? RL
  15. Hi all, Just received a new old-stock Betso TCD-1. Attached it to a fresh vmount lithium battery and provided it with TC from time code buddy minitrx+. When I try to turn it on, it simply states battery low and turns off. https://www.dropbox.com/s/9dxfkjhj05837y3/IMG_0018.MOV?dl=0 I cannot get into the menus to change any setting and the internal battery is not charging. Anyone have any experience with this problem? Thanks Richard Disclaimer for the usual suspects, yes I have read the manual, yes I tried calling the manufacturer (no answer),
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