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Janik Hampe

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About Janik Hampe

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    Member

Profile Information

  • Location
    Arnsberg, NRW / Germany
  • Interested in Sound for Picture
    Yes
  • About
    I do work as a production sound mixer and boom operator in Germany.

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  1. Janik Hampe

    Choosing boom pole

    I mainly work with Ambient poles. The Ambient QXS series uses quite thin walls (1 mm) which work well up to ~2.5 meters. All above that and the pole is going to bow like hell (depending on the mic). In 2016 I did a TV series and our long pole was a QXS 5130. Fully extended I had to move the pole almost a second before the CMIT in a basket with fur would move. Quite unprecise. I now own a Ambient QP 480 which uses 1.5mm walls instead of 1mm. It is a huge difference in terms of stiffness and precise movement. If someday I need to get a very short pole (< 2m), it´s going to be a QXS. Otherwise QP or QS.
  2. Janik Hampe

    MixPre knob

    Thanks for sharing. Inspired by your idea I created my own knob design for my MixPre-6. I has rounded corners and fits to the MixPre´s fluent design. It allows for super easy control of the headphone encoder and is a huge improvement compared to using the tiny original HP encoder knob. I attatched the .stl file for everyone to download and print. Commercial use not allowed. Have fun printing! Download .stl file: MixPre_encoder_knob.stl
  3. Janik Hampe

    Zoom F8n OVERWRITES TAKES

    On my last feature film the production sound mixer (I was the boom op) experienced exactly that issue two times through production over one month. We couldn‘t believe it when it happened the first time and thought it might have been user error - until it happened again. It was the reason why I afterwards chose to invest into a MixPre-6 as my first recorder. As far as I know the lost takes remained lost and weren't restored.
  4. Janik Hampe

    new low cost radiomic

    Well sharp "s" sounds in the human voice can reach up to 16kHz. Okay, it´s not much to be missed but you don´t capture the whole thing this way. Also I like the thought of having a little bit of high end frequency headroom to not technically limit what you record. Okay, didn´t expect that...
  5. Janik Hampe

    new low cost radiomic

    ...not very usable, to be honest.
  6. Janik Hampe

    Sound Devices Mix Pre-3 and Mix Pre-6

    I contacted Sound Devices and asked for the allowed voltage range when using the battery sleds. The answer was: Since the AA-sleds do have the batteries wired in series, we get 6 - 7,2 volts in total. And the L-Mount batteries beeing hot swappable indicates that the two slots are wired in parallel. To sum it up, the unit takes 6 - 8 volts. I´m thinking on soldering a hirose jack to the 4AA battery sled and using Sony L-Mount batterys to remotely power the unit.
  7. Janik Hampe

    Sound Devices Mix Pre-3 and Mix Pre-6

    Not having the MixPre-6 in my own hands I thought it would be interesting to visualize which bag might be a good fit for it since there aren´t any recommendations out there yet. So I roughly modeled them in 3D using the correct proportions. Here are the results - it´s a pretty small device!
  8. Janik Hampe

    Sound Devices Mix Pre-3 and Mix Pre-6

    What about using something like the Palmer PLI-02 ( https://www.thomann.de/gb/palmer_pli02_trennuebertrager.htm ) on the unbalanced stereo out of the MixPre-6 to get a two channel balanced line level signal? For what I can tell, the impedances do match (Palmer i/o: 600 ohms, MixPre-6 stereo out: 500 ohms, transmission ratio: 1:1). You might loose a few dB of gain but still remain with a line level signal. Any opinions on that?
  9. Janik Hampe

    Sound Devices Mix Pre-3 and Mix Pre-6

    Totally forgot to say hi - hi all of you! I´m a new member to this forum and I´m very thankful for so many professionals sharing their experience. :-) I´m doing ENG, reality tv, documentaries and sometimes some industrial work. I´d like to slowly move away from ENG and reality tv towards musical recordings & scenic film. But at the moment the single system work still makes for my main income. So ideally the kit I´m planning enables me to work double system while mainaining the option to go single system and maintain a professional workflow (balanced signals), although it is not completely built for that. Yeah, the 3,5mm has to be secured to not unplug in some way. But I´m not planning to do any unbalanced cable runs longer than 30cm. Why would the output be lower? According to the sounddevices website the stereo out outputs +7,8dBu, that´s professional line level. Which is why I´m thinking about balancing the signal by using a two channel DI box. Probably an active one to maintain the levels. I´ve been using a F8 for a documentary and while it worked out I don´t quite like using it. It´s things like the fader knobs beeing small and unpleasant to use. Or the headphone preamp beeing way to noisy. So before the announcment of the MixPre-6 the F4 was top of my list - but not anymore.
  10. Janik Hampe

    Sound Devices Mix Pre-3 and Mix Pre-6

    I guess I´ll have to wait until EU prices are getting announced but the MixPre-6 seems like the perfect piece of gear for my first kit. The only relevant downside I can see for my work would be the lack of symmetrical outputs. Question to all of you: would it theoretically be possible to go from the 3,5mm stereo out through a 2-channel-DI-box (inside my bag) and from there into the camera? For the return audio, I´d use the aux input. All in all I´d have the same kind of security that I´m used to working with. Would it work? Would you recommend it or not and if not why?
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