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About haifai

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    location sound

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  1. working in berlin for different doc productions tv and cinema its mostly ms or double ms, its practical for booming, very compact, no problems with windshields and you always have a dedicated mid mic of your choice...
  2. @pillepalle regarding monitor options - what recorder do you use?
  3. its the kk120 and km a that i have (it was cheaper then a ccm when i bought it),together with the gefell its a fantastic true stereo impression, nothing hyped just like you hear it with your ears, its a pity that gefell dont make a sdc fig 8...
  4. i use gefell m310, mkh 416 or kmr 81 for the mid depending the location and distance from subject, for the side i use a neumann km 120, before i have been using neumann rsm 191 exclusivly...
  5. @pillepalle thats why ms is very handy, you can choose the mid mic (from cardioid to shotgun everything is possible) and you capture ambience while rolling... if you have a group of people you will get the sound of them better because you will capture a wider field cause of the stereo recording...
  6. My favorites; izotope rx massey limiter uad pultec, fairchild avid tl space
  7. You could buy one more speaker for the center and you are done or use a downmix plug to listen to your stereo setup, leave the rear channels and the lfe empty... the center is realy important because it is bringing the dialog upfront where the Movie plays... i find it more easy to mix with a dedicated center track even if stereo is the final delivery, you gain easier a balance of dialog, fx, ambience and music. if you have to make a dcp for festivals then a 5.1 mix is the most secure way for delivery.
  8. Stable but no genlock, so long takes like concertrecordings may have a small drift...
  9. I agree with Werner... As working in location recording and sound postpro i have experience with sd and zoom recorders... for me the pres of the sd gear (specialy new mix pre Series and 788) are the better sounding ones. Zoom F8 is good for its price but in post you clearly here the difference at the studio room. For me the more important part for sound quality is the analog side of the machine, i think zoom is jumping at the 32bit waggon because its cheap to implement as its mostly a digital software thing...
  10. I would not grab a shotgun for voice over work, specialy not a Sennheiser as they tend sometimes to sound very sharp on „s“... with some voices this can be unpleasent, also the small sweetspot can cause a problem... using a shotgun makes more sence if matching the sound of a Location Recording is the goal, like for adr. if the room is basicaly threaded i would prefer a LD condenser, me personaly i like the neumann sound, but there are others with a more neutral sound...
  11. At some of the projects i worked (documentaries for cinema/tv) we used audio tc for some reason, either recording to a dslr/gimbal rig or for small sets where mobility is important - Sony fs without the v-mount/tc plate or dslr... absolutely no poblem... files are synced by the videodepartment...
  12. if there is only the header broken/ not written, there are some software tools you can try, some years ago there was a pro Tools version that left you with unreadible wav files after closing the session, there was a smart little app that repaired the header... i think it was wav fixer, maybe this one: http://www.railjonrogut.com/downloads/WavFixer.dmg.zip worth a try with a copy of the file
  13. If its for dialog i would not worry mouch, for music or soundscapes its another thing.
  14. Depends what you want to record...
  15. Do you want to record long takes - concert or something like that? mix pre is only able to tc sync, means timestamp at the beginning of the take, no sample sync posible, so after certain time (longer takes) the takes will drift. simple tc sync is no problem, you will loose 2 inputs of the mixpre - connect the tc out of the 788t with the aux in of the mix pre and you are done, no need for external syncbox
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