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    Location mixer & post. From Finland but currently in SE Asia.
  • Interested in Sound for Picture

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  1. That's so weird about the MixPre name. The original MixPre-D had completely different feature set, like proper balanced outputs and AES. I feel like the new MixPre recorders should have been called something like "Sound Devices MiniMix" or something to properly differentiate it.
  2. That's not quite how it works. From the physics standpoint you also have to consider how the wave front travels and gap refraction. You can probably figure it out yourself if you understand how wave physics in medium fundamentally work. But I'll leave you with a thought experiment: Assume you have two microphones, one omni and one that has a pickup pattern of a perfect cylinder. Except for reflection from directly behind the sound source, what other reflections would the second microphone pick up? What difference would distance make to the sound picked up by the second microphone, compared to the first microphone? (Hint: there are two key differences.) Practically speaking, as you are aware of the arguments of interference tube mic vs. not, I don't need to tread any of that ground.
  3. I think it's fine. Daniel, you came for some advice and opinions, and you got some advice and opinions. Ultimately you have to decide which pieces of gear fit your budget, requirements and workflow. I read this forum because there's people here who have a lot more experience than I do and can share what works for them and what doesn't. I value their opinions and advice.
  4. I've had this happen when: -whip antenna on either TX or RX is actually broken, always wibble your antennas if you're renting -talent has "adjusted" their TX so the whip is now wrapped around the mic cable or touching their sweaty skin (I use antenna pom poms but sometimes they still manage it) -I didn't check for interference before switching on TX or the military radio comes on while we're shooting Otherwise a G3 should give you 30-50 yards line of sight without too much trouble, unless it's very humid.
  5. Yeah, that terrifies me with all the cheaper recorders. I'm working on a solution involving a Raspberry Pi and a USB drive but I'm not sure it's going to be reliable enough. Maybe easiest just the old fashioned of running a secondary 2ch recorder? No isos but better than just a camera hop.
  6. Nice, these Yammies just keep on trucking. Great tip, btw.
  7. I have a Tascam 701d with external tc generator that I bring on budget shoots when I want something really light weight. I think a MixPre6 would probably do exactly the same thing. For bigger shoots bring a different mixer. 633, or Max, or 744t with maybe a 302. All good options. At the end of the day the recorder usually isn't the limiting factor in your signal chain, or if it is then you should have the budget to pick the right tool for the job.
  8. Ah, no worries Constantin, it's all good. I just thought the whole point of the KM184 recommendation was that you can pick one up cheap. If a modded Oktava Mk12 costs you about 250eur, you can sometimes find a refurbished KM184 for 550usd. If I was picking up a hyper, I know which one I'd pick from those two options. Quick edit since someone is going to pedant-snark me: the KM184 is cardioid, not hyper. (:
  9. Constantin, hmm? https://www.neumann.com/?lang=en&id=current_microphones&cid=km180_description
  10. Yeah, good thinking. Looks good, hope you have a great shoot.
  11. I carry a MKH8060 as main and 416 as a backup. I prefer the sound of the 8060 and it works a bit better indoors for those quick transitions I often have in my bag gigs. But the 416 is reliable and cheap (ish), so it's good backup. The MKH50 vs 8050 is a much tougher question. In my opinion the added value of the 8050 would be the AES module. But I use CMC6 as hyper as needed so it's a moot for me.
  12. Yeah, that sounds lush! Good job! I think I would have tried to convince the director we don't need to conceal the lav altogether, just with a furry in the normal bridge position but you really made that mic work. Is it for a narrative production? Could you spill the secret location?
  13. I use the Rode lavaliers with both G3 and D11 (and also V1 in the past). They sound ... ok but quite hissy and a bit nasally / congested. The Invisilav (or whatever the silicone holster is) is great. Rycote stickies on top and bottom and they're a really quite low hassle solution for new talent who aren't used to wearing lavs or having people touch them. In my opinion: G3 has better range than D11, but G3 gets dropouts / pops whereas D11 generally doesn't until you lose all signal. I prefer the G3 sound, marginally though as neither in my opinion is very good.
  14. I agree that All In shouldn't happen. I get asked for it all the time though. So my compromise is: "all in" means what I can easily carry. Boom, mixer, shotgun + hyper and three lavs. Anything more than that I can bring but I will charge rental for it. Sometimes clients think it's too expensive, but I haven't usually missed their business much. :/
  15. Yeah, thanks for posting that Jay Rose. Very interesting, and congratulations!
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