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About haifai

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    location sound
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  1. Welcome Ira, as someone how from time to time is confronted with making recordings from classical orchestras, choirs or festival music for cinema and tv i think its good to have you here...
  2. mmh, i have experience with their figure 8, its a little bit better then the emesser but not at all comparable with km 120 or schoeps ccm 8, the sound is miles away, the kortwich fig. 8 is made of two back to back electret cardioid elements from the cheaper sennheiser lines. For cardioid / omni or hyper mics i would look at a used neumann km 140 , 130 or 150 or at the microtech gefell m300/m310, better sound for not much more money...
  3. Good choice - very natural and reliable mic, just was shooting with it in a hamam, a very humid and reflectiv space, worked like a charme... bought mine from mes germany two years ago
  4. here in germany its a common standard, from practical side for documentary shots its unbeatable, no mic swapping, gathering ambience and dialog at the same time and the advantage that you have a dedicated mic mid are big pluses. anyway if you want to deliver xy for whatever reason you can matrix while recording in nearly every modern recorder, but then you loose the easy control of the center signal in post.
  5. mine is working fine since years with an neumann cable. you can use any 7pin cable, just solder an 7pin xlr at the mic suspension side. i like the soundstage of this mic alot, in comparison to sennheiser 418, the at bp4027 and sanken css5.
  6. i would try and compare the other options before buying- neumann rsm 191 ca 1500€ used, Audio-technica bp4027 1000€ new, to name some good alternatives...
  7. you may find a used sennheiser mkh 416 for around 400€ - 500€ with a little bit of research, this mic is very reliable. if you want to buy new i would buy a sennheiser 8060, its a more modern design, lighter, shorter and has a better sound of axis and indoors, here in germany its 1000€, i think that is a very reasonable price for a high quality robust and professional tool...
  8. if you like mkh40 you should try a 8040 before you buy, i find the mkh 8040/8050 for dialog/filmmaking more practical behause there are so small
  9. at the post houses here in germany its mostly pro tools and some nuendo. some freelancers use reaper ore a mix of all. i think codymans idea is good - to have knowledge in Pro Tools is pretty important if you want to work in postproduction...
  10. todays gefell mics are at the same level as sennheiser or neumann, its the former east german neumann part of the company - todays production is still in germany and they are high quality, not like telefunken or grundig that are owned by chinese - where you got this information from - it sounds like fake news!!! the mics are used a lot for theaters, studio, music and movie recording here. i had more trouble with cmit and ccm8 then with my m310...
  11. i used a mkh 8050 and my m310 in parallel for a interview last week - my observations- mkh 8050 has mouch more deep bass, for booming sometimes to mouch and the typical sennheiser eq - ed sound that is working good for some voices for others not... m310 is mouch more neutral, i like it a lot but its also a little bit more open with the pickup, its also working better in my ms rig with a neumann kma 120. the m310 i used as a spot mic for orchester recording for the bass section, it was working good, better then the km 140s that i had for the rest of the orchester... the bass response of the gefell is nice and tide, mkh 8050 gets boomy very quick...
  12. there is no 5pin tc in at the fs7... only bnc, so if you want hardwire you have to use TC Lemo out from 744t to bnc in of the fs7, better would be to use 2 sync boxes like tentacle with their cables... if you go hardwire you need to split the bnc cable for your 2 cams, i think (correct me if i am wrong) that the fs7 can only do tc in or out with the same connector
  13. @Mattias Larsen i used dms until now only for ambiance recording, i only have a stereo connbox in my windshield and took my km140 with an „active“ cable for the rear channel, next project is to make a connbox for dms... a friend of mine is booming dms with a schoeps setup, cmit and two ccm in a cinela, i had his files for postproduction and sometimes it was good to have.
  14. 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...
  15. @pillepalle regarding monitor options - what recorder do you use?
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