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jhharvest

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Posts posted by jhharvest

  1. 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.

  2. 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.

  3. 31 minutes ago, Daniel Ignacio said:

    I used it in a park area, and it started breaking up after at most 15 feet away from my talent across an empty grass field with line of sight. Then I used it in a narrow hallway with concrete walls, and it started breaking up 10 feet down the corridor and two steps around a corner. Mixers I’ve worked for had similar complaints about its range.

     

    Perhaps it was a bad rental?

    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.

  4. On 8/21/2017 at 3:23 AM, Peshawar said:

    3) No redundant recording to a mirror card (going to do a big shoot in December and didn't like the idea of handing over the ONLY memory card to a producer and not having a backup in case human error occurs during transfer, thus losing the day's material).  

    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.

  5. 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.

  6. 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. (:

  7. 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.

  8. 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.

  9. 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. :/

  10. I think the MKH8060 has higher sensitivity than the MKH60, so having the same pre-amp gain doesn't mean it's apples to apples comparison. Is your 8060 a black banded version, or an old model?

    If it's an old model, I'd approach Sennheiser directly and ask for their opinion.

  11. 2 hours ago, Herbert Verdino said:

    I am disappointed, that there is no scratch mic build in the nano lockit. One of the main reasons to go for a relay small timecode device is, that you do not want to put more stuff on the camera, than needed. For me it is a reason to go for a tentacle, which is very sad, because I have 2 tiny Lockit's and one ACL 204. A nano lockit would fit very good in to my timecode family. 

    Maybe a good business idea would be to sell a cable with a small scratch mic built into it...

  12. In my experience better jobs come with better credits and contacts, not with better gear. But I'm working in niche markets so it might be different where you're at. 

    That said. Out of your kit I'd first pick better lav mics (while the G3 radios aren't great, I feel the biggest constraint is the stock mics, replacing those with DPA or something will see an improvement), smart slate + sync box(es) and a good indoor mic.

    Do you have a rental source for comteks and other situational gubbins? How's your situation with sound blankets and stands and miscellaneous? 

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