Mattias Larsen

Wonderful!

Sure, it's okish. But makes me giggle at "Exceptionally low noise floor" when Sennheiser or Nevaton cuts that selfnoise in half in some sdcs.

Wow, that's a bit to bold and too wide to take them serious.

Thanks for the insight, gives me good faith in the Mixpre

I thought that the bigger one had a limiter and also the possibility to provide phantom power with the right adapter?

There are a few topics about this if you search around on the forum. From what I recall 4061s are quite popular (alltho they can't take more spl than a less gained 4060 if I recall correctly) along with some dynamic mics. If you end up with a dynamic mic at some point, the h4n would maybe be a bit noisy, but since we are talking loud noises anyway it may be OK. I just did a recording where I had a plant mic under the hood of an old Mercedes with a 4060 in overcover hardwired to a Mixpre6. It was what I had at the time and it sounded quite good to me. It probably helped that it was not a super loud car and that the mic got some air shelter. Close to the exhaust will probably introduce much more wind, so consider that.

Interesting. I have been thinking how good the microdot system holds up. A resaller advised me to go with LEMO3 and even offered a retermimstion for free if buying new. They had their full line up of in-house made converters from lemo3 to everything else that they seemed to believe in better than microdot. The pair of 4060s I managed to get was terminated to LEMO3, so I went that path. What sucks is when the connector breaks, it's quite costly to repair and it can't be done yourself. I wonder how a microdot usually breaks and if you need a specialist and how the repair cost compares. Is there any experience whether a Lemo3 or microdot can withstand more abuse in terms of pulling the cable?

Thank you Constantin! Good to know that they have a place in Berlin. I will give them a try once my schedule calms down

Wouldn't the mkh60 be the quiter shotgun? I doubt (in terms of selfnoise) that I would hear much of a difference on a DPA 4017 or a 8060 to the MKH416, but I could be wrong. The selfnoise is not much of an issue in reality though, if the selfnoise of the mic is what bothers me with a shot outdoors, then I have been extremely lucky. I can notice it quite present on outdoor "room tones" but I think it's the combination of the tight pattern and that the mic is tilted down as while booming to capture the same timbre. Maybe someone has an alternative strategy when capturing ambiances from outdoor, angling it towards the soundsourse? Sometimes I do a bit of both. For indoors or ortf I am mainly using the Audix which I am happy with but considering trying out Nevaton MC59 for really quiet spaces when I save up some.

Yeah I am aware that Cs3e was never low noise in that sense 15dba and the Audix and Sennheiser are a few dbs lower than that (but should be in the same ballpark). It's my favorite shotgun as it is really a problem solver, the lack of proximity effect is super. If common sense is that the mic is within spec I guess it's fine. Or is there a way to have it checked by Sanken without sending it to Japan?

That was earlier before the release, now they are claiming 4 channels if I recall correctly.

Maybe it works as expected. I went to Kortwich to get some things for a last minute shoot tomorrow and they had a listen to the mic. They had no other Sanken cs3e to compare with, but thought it sounded normal.

The mics were plugged on 3 different inputs on the Mixpre6 with phantom engaged on each input. The gain is adjusted individually on the inputs to get them close to level matched (not perfectly ofcourse, no tone generator on a speaker - was just quick and dirty).

Hi Soundies, I have recently been thinking of the selfnoise of my CS3E and I am not sure if it was always this high or if it has raised over time. I want to know if this level is normal, maybe someone can chime in or know where I should turn to if I live in Germany? I did an unscientific test of lining up my SCX1HC and MKH416 trying to get claps and my voice in the same ballpark on the meters with 80hz hp engaged on the MP6. The difference is quite noticeable, but given that the other mics are lower noise it may not help much. If anyone is interested to listen to the polywav anyway, i have attached it. Maybe someone have a feeling for if its way out of spec or as it should be expected? SelfnoiseTest-002.WAV

Thank you for sharing this. Seems like there are some kinks to be sorted out. Wonder if it's Zoom or Deity that is to blame in this particular scenario. I have a friend with a F4 that thought of getting deity to replace his G1/2/3s so I wonder if this can potentially affect him too. And just out of curiosity, Borjam - I would be interested to hear the results from your Mixpre torture.

Have you got another TC clock that you can test with? I have had zero issues with Tentacle (100% Volume).

Hmm, the MP6 autodetects FPS. Are you using the same cable? The MP6 can stop recording if it doesn't detect TC for a few seconds.

Interesting. Do you ever boom with double Ms, or is it strictly for ambiance? I often work with probably a not so common combo, Cs3e and Ate208. Saves time for setups, and allows to get some ambiance or stereoimaging of action. I have a cabled Ortf rig at times, but more often than not, there is not much time to set it up and I imagine that an ambiance recorded with the same shotgun mic makes sense if the ambiance is used to fill in gaps of the dialogue if needed. All tho I really prefer AB if I record ambiance outside of set for an immersive experience.

Can NLEs export 32 bit aafs/omf/xml? Can all of them import 32bit even?

Thanks for sharing, that is too bad. It seems as Michael Wynne had a similar experience in a post that is now deleted. To be honest a G3 system might also fall short in 7 feets at Nab. But it is worrying with the 2.4 band with everything that is already crammed there on a shoot and hearing these testamonials makes me confident in staying G3/2000 a bit longer.

It's interesting. I can see potential issues in the editing stage tho. When editors print a 24 bit omf/aaf without adjusting the volume. Looking forward to a new F8 that incorporate this. Then I could happily switch to that as a recorder when many channels are needed if this dual adc trickery is as magic as they claim.

That's brilliant! Wish my Mixpre could do this. For me it makes sense to have gain for hardwired boom and faders for anything wireless. Still having to flip through is not always ideal, but with the integration of zaxnet for wireless it makes sense to have 'some' knobs multipurpose.

Hmmm, okey. I would love to have both fader and gain accessible at the same time thought.

That looks very well rounded! 1.6kgs for a package with 4 stereopair of wireless and this functionality is really something. I would be lacking hands on gain knobs, but maybe I am missing something.

Yeah I remember reading that one! Big up to you guys at Wavereport! Since that article they are also offering a Boom transmitter and a smaller receiver (alltho the display will be upside down for bag use). I think it would be really nice if they offered a 2/4 ch receiver in a small package. Andrew is mainly listing specs in that article thought. If someone can share their real life experience with them compared to maybe G3s and LMBs, that would be interesting.