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About haifai

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    location sound

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  1. haifai

    Favorite Mic to use for Interior Situations?

    Gefell M310, i prefer it over the sennheiser 8050 and Neumann km 150...
  2. haifai

    MIX and ISO Tracks levels

    Here in Germany most mixes for TV are done in Post with a loudness of -23lufs, for cinema release its even less, so no need to smash the sound to the limit while recording... compression/ limiting and distortion at the recorded files are not reversible. I prefer to have the limiter at my recorder acting only if absolutly needed. The companies i am working for often dont want a mixtrack at all and work with the isos. In Pro Tools and Avid MC its no problem to add gain in post, we have 2018, times of analog tape are over...
  3. haifai

    RRC Power Solutions

    Hello, i am using 4 of there batteries since more then a year, no problems so far... 2 of my friends use them too, same there. There is a discussion at the diy forum: https://jwsoundgroup.net/index.php?/topic/29497-diy-smart-battery-solution-dc-for-audio-bag/
  4. haifai

    Oktava MK-012 testing

    You may always buy a better quality mic second hand, the build quality of audio technica, neumann, gefell... is good enough for years of hard use in the field. I have some 20years old mics like neumann rsm and a km 140 that i use regulary without problems
  5. https://www.texim-europe.com/products/RRC battery
  6. haifai

    Next level on-camera microphone in M/S

    shure for the weight the schoeps ccm and sennheiser mkh series are hard to beat... but the price is reflecting this and schops are to sensible in climate conditions for my taste and sennheiser unfortunatly refuses to make a figure eight in that shape. emesser i only know the old version (very noisy...) and the kortwich figure 8 is somehow okayish but coming from neumann kma 120 i here a big difference in audio quality. good hypers/cardioids in small condenser shape are gefell m310 (hyper) ore m300 (cardioid) 799€ or a used neumann km 140, rugged and nice sounding 500 - 600€. the neumanns you can use with a remote cable between capsul and body, making the mount very light - like a ccm combination. as for ms recording using a shotgun as mid is always somehow compromised and often translates not in a "nice" soundstage my combi for general ambiances is gefell m310 for mid and neumann kma 120 fo side signal. if i need a more direct mid signal i reach for dpa 4017 with the neumann as side mic or a neumann rsm 191, one of the short shotgun ms solutions that deliver a good soundstage, - miles better than the at, but lurky for camera mounting because you have to use a matrix box.
  7. haifai

    A question on MS recording for film

    One more fan of ms recording here... i am doing mostly soundrecording and sounddesign for documentaries (cinema and tv) and record nearly everything in ms. The big advantage is that if you work in a rush - no time for recording dedicated atmo/ambience sound or change the rig for different stereo recording sets, with mid side recording you always have your matching ambience track alraedy recorded... Even for post pro its better to have a choice of available room and atmo sound at your fingertips without messing around in searching for sounds from libraries, that often do not match neither location nor the sound of the mics originaly used... The last documentary i worked on was shot in manila city, bangladesh refugee camps, us, turkey and london - at manila, bangladesh and london i did the job, everything recorded in ms stereo, no problems to cut a nice ambience floor and it woold have been nearly impossible to rebuild everything from library sound... us and turkey were made by local soundman - no ms recorded, mostly lav recording and mono boom - big hassle for creating a deep local soundscape! post pro had to be done quick as the film was taken by a big festival and the sequences from the states and turkey are not the ones that "pull" you inside the movie. Even for noisy locations i prefer to have a ms recording for post, because often a lightly spreaded stereo signal is sounding more pleasant than a noisey location sound compressed through a mono shotgun that jumps you right at your face. some of my collegues here work even with double ms rigs if the goal is a surround mix for the same reasons.
  8. haifai

    DPA 4017 c vs b preamp

    Hello everyone, i am about to buy a new shotgun. Recently i rented a DPA 4017 mkII with the b-preamp for a short docu shut and liked it very mouch, i want to buy one. Now i have to decide - c-preamp or b-preamp? I gonna use the dpa 4017 in an M/S setup - so less weight is better.... My recorders are SD 744t and 788t - so i could use the lowcut there (as i do if i have to use sennheiser MKH 8050 or 8060 that have a very boomy lowend too...) At the specs it seems like the preamp in the c-version even provides better dynamic range and less noisefloor... So for real field use - do i have to have the b - preamp? Thanx for sharing your experiences, Karsten
  9. haifai

    Best mic for specific location

    As i almost work with a m/s there is nothing special for me to work with 2 mic array, better them switching mics in the middle of a shot
  10. haifai

    Best mic for specific location

    What i do in situations like that is to take my M/S stereo mount for booming and put a short shotgun and a hyper (in my case a Gefell M310) in it, you record both channels and can decide later which works best, most times in reverberant rooms the hyper wins... on a third channel i record a lav mic, so you got 3 choices. mkh 416 i would not use indoor with a lot of reverb, thats the place where it shows an ugly performance, fart away from ear-candy...
  11. haifai

    M/S mic for documentaries

    My RSM 191 is housing in a standard sennheiser mzw 60 windshield, no problem... If someone prefers the muffled sound of the rycote windshields it gonna fit there too, anyway its shorter then a mkh 416. If you want to go rolls royce solution - cinela has suspensions for the RSM too.
  12. haifai

    M/S mic for documentaries

    Another rsm 191 fan here... I have experience with sennheiser 418 (not worth the money) audiotechnica bp 4029 (better then the sennheiser in my opinion) and rsm 191 (very nice soundstage). Here in Germany you may find a rsm 191 used for around 1500€ in good shape. I use mine often for documentary stuff beside my two mic combo gefell m310/ neumann km a 100 with kk120. The rsm has a very smooth stereo image and good "cinema" sound. I use it often for location and studio music recording too. As windshield i use a sennheiser mzw 60, for my ears is sounding a lot more transparent then the rycote ones. The rsm is used a lot in all weather conditions, from cold winters in germany to locations in india, africa and asia. In some really rar cases i had problems with RFI.
  13. haifai

    4-pin Hirose

    the audioroot cable you can order at there ebay shop, they are from france. at the website http://www.audioroot.fr/ there is a direct link to the ebay site, they ship worldwide. there is a right angled hirose 4 pin too, seems interesting for small bags, i am waiting for the delivery of cable and that plug and gonna post when i checked it...
  14. haifai

    4-pin Hirose

    i ordered this one from audioroot: http://www.ebay.de/itm/321742821380?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT it did not arrive yet, so no experience if its good. normaly i take rests of microphone or patch cables - mostly sommercables (not the best solution, you have to take care with the shield) or old cables from dead powersupplies and heatshrink, so you can use cables with thiner diameter.