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About ivanovich

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  • Location
    Washington, DC
  • About
    I have mostly done music studio work. I also do a lot of concert, orchestral, and chamber music recording. Recently I started doing more work for location sound and sound for picture. I've been thoroughly enjoying it because it takes me out of the control room!
  • Interested in Sound for Picture

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  1. The NS10 do sound awful, but I think thats the point. In the comfort of a control room, you can switch between speakers, and for me NS10’s were for checks, to make sure the mix sounds good on s$&ty speakers. Yes a lot of people put TP or napkins on top of the tweeters. Interestingly Barefoot monitors came out with a switch which allows the monitor to mimic the sound of an NS10 and other profiles. Bringing this back to 7506’s, I wonder if through recorders DSP the headphone amp could have the same processing. That is to have different sonic profiles so one could hear the “7506’s”. I thin
  2. To the OP, what do you think of NS10’s? Do you have a spot for them in your mix room? I guess they’re more useful in music since it has that boom box sound with hyped mids and highs. I guess in the control rooms that I’ve worked in one can switch between speakers and such. I believe the 7506’s are like the NS10’s. They’re the standard and everyone (or a lot of people) know the sound. I wish I had the opportunity to have a director that pays attention to and cares that much about sound. I feel like the younger newer directors are less keen to give sound a shot to get the best sound. Interesting
  3. Codyman, true that! Or go with the X3 instead of the Scorpion. A lot of options!
  4. It's a tough choice. For a long time I've been somewhat disappointed with SD's offerings. To me, on the hardware front, they seem limited. That being said, with their integration of plugins and such, I've been really impressed. I think they're starting to show some real innovation which I'm stoked about. I'll say that I've owned (and still own) SD products. I've also been working with the X3 since 2016. The X3 is simply the most flexible machine I've ever worked with. With the many configurations that you can save for inputs and outputs, switching up workflows is a breeze. To many people it se
  5. 10 is the most i’ve done. would be interesting to see how to patch in and extra rx for 12 or more
  6. I’d also recommend the Nova and the SX-R4+. The Sonosax is the most efficient and lightest. The Nova is the smallest (w/built in RX) and extremely efficient. Both allow you to turn certain circuits on and off to customize your setup. The SX-R4+ has more options when it comes to turning specific circuits on and off. That being said, you’d have to add a fader pack or linear faders to really mix since the Sonosax only has 4 encoders. If you go with the Zaxom eco system it will be very stream lined. Even if you can and want to stay with your current wireless, the fader banking feature i
  7. I think I get where you're coming from Nico. I also came from the music (studio) world and know the M88 (great on guitar cabs) very well. I think what people have mentioned here is super helpful. I understand that you're very experienced with doing live sound for bands. The way we mic these kind of concerts are very different from film/tv/video. For example, yes, the venues are crowded with fans and they are very loud BUT the lead singers mouth is practically on the capsule most of the time. This helps with the S/N ratio. In this kind of work, we might have a noisy location (street, sidewalk,
  8. Steve, you should ask John B. V. to help you. He is crazy good with this stuff. I’m thinking of adding handles on my 8020 cart. Seems like stanchions might be a good way to attach handles, wether its 8020 or not.
  9. What wireless boom solution are you using now? I do like the way the Lectro system sounds. I’ve boomed for a mixer who has them and it seemed fine. I use the Zaxcom 742/743 and its really nice sounding. Quiet, amazing dynamic range, crisp and fast. I did the SGS battery sled solution and I can go 9-10hrs on a medium battery, about 5.5 hrs on a small battery which is nice. I usually go directly digital in to the Cantar and the results are solid in my opinion. I’m sure the rest of the competitors are great sounding too. I saw that sony recently released a boom specific TX. Has anyone used it? Re
  10. not to side track the discussion but i used zaxcom wireless with my other non-zaxcom recorders and enjoyed all of the things you seek and it worked flawlessly. started with the qrx235 (block specific but gives you zaxnet to control TX’s remotely) and added rx/qrx 200’s and linked them to the 235. all my inputs left at unity (analog) or digital ins and i would just control the gain remotely. that being said, i do love the Audio Ltd 2040’s. all the high end wireless sounds pretty darn good though. you could probably pick up some used zax gear and save some $$$$$.
  11. I’ve rented the A10’s before to supplement my Zax kit. Similar observations regarding range. Is there a reason you’re not considering Zaxcom? Their solutions pretty much tick every check box that you mention: built in recorder (TC stamped), great dedicated boom TX, or phantom two which you could do both boom and lav and is small like SSM
  12. i would love if zaxcom did this. without having to send in the units back to the mothership....
  13. i think a lot of the SD stuff is fantastic but is generally built for dialogue. it was one of my frustrations with previous SD recorders i owned. i think having input trim linking is a major step in the right direction. i assume you can link as many input trims as you want with the 8 series. but haven’t used any of the 8 series/scorpio so i don’t know for sure.; i think it would be really cool if SD did something like the cantar x3 where, on top of having input linking, you can have fader 1 control the fader level for the M channel while fader 2 controls only the side channel. this way y
  14. I would contact the company/pilot and request info on what type of comm system they are running so you can have the right connectors to tap into. I always do this to make sure. Then I just order the right connector and make up a cable. By now I have a bunch that I’ve made over the years. Like mentioned above, the gating system is a pain and unnatural so having an ambience mic will be good. As far as you not being in there, its going to be productions gamble. That being said, if you’re recording at 24bits you could record pretty low levels and hope for the best.
  15. Haven’t spent much time on these consoles or tape machines. I’ve been told they’re ok. Sage Electronics up in Toronto makes two flavours of op amps that area faster and more articulate and apparently it makes a big difference. The Mara machines I’ve heard are nice too. Again, never worked on one, this is just word of mouth from other engineers. I wonder how they compare to the ATR Aria electronics that the late Mike Spitz came up with for the old Ampex ATR-1xx series. I can’t imagine paying 8-15k for one of these nowadays. Per the tape counter, I’ve never encountered an accurate counter on any
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