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haifai

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Everything posted by haifai

  1. 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.
  2. 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...
  3. 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...
  4. 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
  5. 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...
  6. 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...
  7. 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...
  8. 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
  9. @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.
  10. 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...
  11. @pillepalle regarding monitor options - what recorder do you use?
  12. 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...
  13. 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...
  14. @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...
  15. My favorites; izotope rx massey limiter uad pultec, fairchild avid tl space
  16. 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.
  17. Stable but no genlock, so long takes like concertrecordings may have a small drift...
  18. 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...
  19. 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...
  20. 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...
  21. 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
  22. If its for dialog i would not worry mouch, for music or soundscapes its another thing.
  23. Depends what you want to record...
  24. 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
  25. haifai

    Schoeps CMD

    Combination of digital and analog mics for ms is tricky, i tested it with supercmit and neumann kma 120, apart from the latency problem of the digital mic it was not possible to use a 5pin cable for the boom because of a hefty noise at the side channel introduced by the digital signal of the supercmit, i did not mess around too mouch with that setup as it was in a difficult documentary shot at the phillipines and i did not found the supercmit so mouch helpfull for isolation that it would be worth the disadventages...
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