cubivore

would an HPF help with the pumping? 

loved this series, and thought the eng dub was great too! 😜 great work, and congrats matthias!

i've used shotguns to record VO for over a decade now. i've been using schoeps 641 and CMIT on hundreds of voice actors in two rooms that have been decently acoustically treated, but not professionally designed rooms by any stretch of the imagination. despite going the supercardioid route i still find the need for room treatment paramount, particularly the ceiling. half my work is VO and the other half is ADR/dubbing. i've never had any bad feedback other than a couple times my recordings sounded 'too good' and didn't match another studio's recordings. one of my main clients use a tlm103 on their end and our recordings match 90% of the time. i find that with any mic, especially shotguns, it's all about the actor knowing how to work the mic, knowing the sweet spot, etc. there's a zillion options out there for VO mics and if you're good enough you can probably make any of them sound good.

I have been doing this for the last few weeks!!! CMIT and 641 for podcasts, direct into Protools when in the studio, but out in the field with a zoom F8. They're great mics and will sound nice in nice rooms. Here's an ep I did in the studio, and here's one that I did in an office with some sort of anti-reflection panels for photoshoots (the male guest is on a wired COS11). In the last case, one of the female hosts was closer to the panels and it made a huge difference. I did some butchering with noise reduction to try to get out some reverb. But in both cases I way prefer Schoeps to lavs or even the classic SM7.  

when i got the chance to jump in to location sound jobs last year i had to get the best kit with the limited budget i had at the time. i went with the zoom F8, two wired COS11, and my existing schoeps cmc41. THAT'S IT (besides a ton of tiny accessories). i've added a CMIT 5U, but after like 15 gigs the set has well payed for itself already. i haven't had any issues besides a couple operator related bungles, but nothing job killing. i've done mostly 2-4 people interviews, a little ENG, and some on-cam shoots and my setup has been awesome. however, with all the crazy needs and expectations for film shoots you might want to look at the other more expensive recorders/mixers since they are just expected, and it seems by this thread and others i have read seeing the zoom on set would make peoples' heads explode with fear. 

however, i think in most cases, people want to hire you because of YOU and your experience. what's in your bag is of second importance.

i found these tubes and thought they might be worth looking in to. not sure how crush-resistant they are, but seems like a good shape for shotguns and such, especially with the foam tips on.

http://store.viewtainer.com/

sounds like soft clipping to me.

21 hours ago, greyfoxx said:

So am I crazy or did the earlier firmware set the safety track automatically at -12db of whatever the primary track was set? If not I would love to see that in a future firmware. As it stands dual channel mode just links two channels with the same source but leaves it to the user to set the levels for the safety track. Having to nurse two knobs for the same track seems to defeat the purpose. 

not sure if the old FW did this or not, but it would definitely be useful to at least gang the gain of the dual tracks to one knob. so that way if you manually set the gain difference between the dual channels to 6dB or whatever, then you can change one knob setting that affects both channels while maintaining the desired gain levels.