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Everything posted by sinnlicht

  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 demo or test a complete system. No distributor/retailer in the US I have spoken to knows anything about this system. The system is not discontinued per se but rather on a production on demand basis, as well the existing new and demo stock. They have all the parts and have no intention of abandoning support. The whole point of starting this thread was to make people aware of the fact that they could speak to Medzid at Neumann Berlin directly and he would organize both sales and support, technical or otherwise. Our m/s experience has proven its advantages and we would not go back to analog for our purposes. Someone else will have to chime in about the R4+, as I have no familiarity with that. Richard
  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 group (including things like the facebook reference above) in order to discredit or malign them that earns the forum its mixed reputation, despite its vastly knowledgeable and experienced professional members. At any rate, I look forward to any further useful information/experiences that come to light through this discussion.
  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 support to interested mixers is information that would have saved me a lot of time and effort.
  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 allow for signal that would normally be well beyond recovery to be reproduced. This can be further augmented by the limiter to basically mean that that no normal signal will be unrecordable. (ii) The de-esser is an option of the compressor, hence the de-esser aspect is just there additionally if one cares. (iii) The fact that you can effectively program the mic to move its native dynamic range before the use of pre-amp allows the (i) noise floor to adapt the (ii) maximum volume range that one expects to confront. (iv) The different mics were used in the same suspension. Every report on mic practice will depend on a myriad of factors that cannot be listed here. We needed the quietest M/S setup we could find, after testing a variety of mic combinations, this was the quietest in terms of handling noise transmission. YMMV. (v) While working from a bag the DMI-2 is only needed in some configurations where you need to send an AES3 signal to the recorder (M/S for example). Otherwise the mics can be programmed and then used with AES42 without the DMI-2. if you do need the DMI-2, It is not heavy or wider than a pair of wireless receivers and is powered by 4-pin hirose. The DMI-2 has a series of programmable "slots" where you can store and recall different parameter setups. We find this useful, but here too, YMMV. Richard
  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 addition, handling noise was significantly lower in m/s in comparison with our reference cmc6mk41/mkh30 setup. Richard
  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 coordinate with Gotham and Neumann to make it available for a demo at Gotham in New York. If anyone would like to see the complete system work as it was intended PM me. Medzid Vesili is offering direct product support from the engineers who developed the line and special package pricing to sound mixers. Richard
  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 tech person could switch out easily. Thanks to all responders you were amazing help in solving this.
  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), yes I have tried to google prior entries on this topic both on and outside the platform. Please spare everyone the repetition of any part of the RTFM liturgy here ..
  16. Its complicated, you need to know whether the recordist monitors M or matrixed signal, and then what are you sending to your boom op? Then on top of the that you have to decide if you are sending a matrixed signal to your cameras for guide track or just use M. M/S requires planning and discipline otherwise you have a mess on your hands because of the unnecessary complexity. If you can only record your matrixed signal and not M/S isos, this feels like a recipe for disaster.
  17. Basically, (the purists will rightly chime in and protest) we use an M/S boom most of the time (with the right Mid for the situation) discard the S when unneeded and often just use M/S signal for room tone from a quiet moment in between takes. We also take ext. atmo, and stereo wild tracks on the fly by having the M/S configuration on the boom. All of this takes a quite M/S aware boom operator and recordist, simply to know which signal to monitor in which situation, otherwise your recording will suffer. This takes quite a bit of practice and routine to do well. Another thing, also mentioned, is that handling noise on an M/S boom is a BIG problem when moving around. That is why if we know its really run and gun, we switch to standard one mic boom scenario by having a second pole and windscreen ready to go for this purpose.
  18. Couple of things to remember that have been said before. You really can't use the advantages of M/S unless you have a static camera position(s). Following behind moving action or booming moving action will not be usable in post (obviously mid will always remain useful.) Also ideal mid booming may not be the same as ideal M/S booming even with a static camera. We use M/S for documentary all the time time, but always lav and switch to the Cmit or 416 for moving camera or dynamic situations. The other thing we found is that the pickup pattern used for the mid mic can have a significant impact on the final mixed stereo signal. We use the AT 4051 Mid for interiors with the Cardioid or Hypercardioid capsule, depending on the situation along with the MKH-30 for Side. For exterior we use the 416 or Cmit for mid. Also very important, sometimes overlooked, is that the mid and side capsules must be directly on top of one another.
  19. Hi Craig, when I called Lectro they could not identify them by my description other than being VHF antennas unsuitable for UHF receivers. Could you confirm that you think that they can be used successfully with 205D/201D receivers? Thanks for your help. RL
  20. Any help in identifying these antenna would be much appreciated. Thanks RL
  21. IATSE WAGE SCALE – TIER ONE PRODUCTIONS Microphone Boom Operator 2nd 2nd $23.73 Hour Minimum Call 8 Hours
  22. Experienced Boom Op, with some lav micing experience required for live you tube non-profit art event NYC in Chelsea Sat. Dec. 15th 2-6pm, actual shooting 4-6 pm All equipment will be provided. Budget is USD 200 cash, but must provide invoice. Please PM for further details.
  23. Dear Jim, of course. But if someone had already done it and posted that work here, all could be saved time who are looking for this. RL
  24. Hi Eric, thanks I know where to find the frequencies. I was hoping that someone had converted them to a table that can be programmed into a scanner. RL
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