Mattias Larsen

I can only talk from my own experience. Some things that makes my life easier is some 3/4 gloves that I can make full length when needed. I like carrying some precut moleskin/kineseotape, double sided tape, stickies, a scissor, velcro. Oh and I like a wireless feed even when using a cabled boom as it makes the setuptime a bit quicker.

Sorry to hear about your knee. My knee is also bad and it is the main reason I go as light as possible. +2 for the Sachtler/Petrol bag. I believe my Petrol bag is the predecessor to that Sachtler. I have a photo of it in the show your bag thread. I really like the back pocket for reaching and changing batteries with the lmount sled. Regarding breakout cable for live event. I don't know. I have not been brave enough to try it so I rented a mixer the one time I needed it. Thinking of picking up a 302 (similar size as mp6) for the times when its needed. Maybe others can fill in if its feasible to use a DI box or something for longer cable runs from the out. But I bet you will miss the return switch of your 6 Series recorder/mixer.

MP6 user here too. I am very happy altho the latest firmware is somewhat buggy for soloing playback isos. I was perfectly happy with how 1.53 was and I hope that the next firmware brings back the same stability. I use a small petrol bag and the Sony battery sled fits perfectly. I'd say its good for 3 wireless and a boom, but I have done up to 5 wireless and a boom and its fine but the settings for 5/6 is a bit buried plus you lose the ability to read TC. The zoom/SD debate can go on forever. But for a small rig SD wins for me due to size, weight, limiters and last and not so often talked about - analog hp filter to remove subsonic rumble of some mics before the AD that can otherwise eat headroom and overload.

I think resolve can read audio timecode too

Lovely! Will there be a possibility to use gain+fader for ch 5-6 acessed via a fader control on the mp6 by any chance?

that would be amazing! But probably not

I don't know. But it would be interesting if someone could share their thoughts. I have some G3/SK2000 and I have been thinking if it would make sense to upgrade the transmitter to a MCR42 as a first step to get a dual diversity transmitter. Seeing the MPR52 is 2k euros alone new, I imagine it would economically make sense to pick up another package second hand. So if you had to upgrade from g3/4/sk2000, would it be a worthwhile upgrade with just a good receiver or is the bottle neck as much the transmitter itself?

Just got home from a shoot that is supposed to take place in the end of the world. On the first day someone was cutting the grass close to the location. They got convinced to turn it off and they took a break and started to blast music from a radio instead. I told the producer that we had a problem. - Can you really hear that? - Ofcourse. - Well can't you just filter it out in post? - No not really. It's a broadband sound and I don't think they listen to Rihanna and then Beyonce from the other perspective. Not when they don't even have electric left. - Is there some way you can get rid of it? - We can ask them if they are willing to shut it of. - That's not possible. I know this might seem like going behind someone's back. But I really didn't want to ruin the sound becouse of a stubborn producer so I asked a girl if she could convince them. And she sure did in exchange for a pack of cigarettes to the guys at the radio.

Nice bags everyone! Here is mine:

Ok, I feel like the OP can still be wanting to do sound for picture, but more from a post perspective. From what he is asking about I don't see the reason to pick a zoom over a mixpre unless you do 192 recording at the moment. The mixpre is half the weight, sounds slightly better, got a better hp amp (compared to the f4 at least) and for field recording or sfx collection there is no need for TC. If solo monitoring is needed - that can be done via the touchscreen and while it is more akward.. It will actually make no sound. You can too have a set of different hp presets on the mixpre and also routing/setting presets for all the things you can change about the channels, recording and name settings all accecable 3 clicks from the metering view.

I was tempted to pick up a pair pf cm3s as they get a lot of praise. I went for audix scx1c in the end as I got a good price and they are listed with lower self noise. The Cm3s have the advantage that they are really short and some people 3d prints parts for ortf or nos mounting in blimps (correct me if I am wrong, but I think they can fin in a rode mkii blimp). If the wind is not too bad, you can have a look at using rode WS8 and a stereobar on a mic stand. The problem as always will be really quite sources, then the cm3s wont be enough. Neither is the Audix btw... The selfnoise starts to kreep in on quite forest recordings etc. Mixpre6. This is what I use and I am really happy with it! For the moment it sounds like overkill and a dr100mkiii might do it just fine, but if you want to expand and record two stereopairs, log metadata, use markers, analogue limiters etc (and I imagine even ambisonics) its a worthwhile investment. If you ever go for a tiny MS setup, you have got the possibility to record MS on LR mix while leave the isos raw, superhandy! For long sessions the L sled is a nice addition and for not intrusive recordings I use a binocular harness and AA batteries which makes it small enough to wear under a shirt and not call any attention. Something to be aware of is that the people have reported some noise in the infrasonic spectrum when using 192k. They are working on it, but who knows if and when there will be a fix. 96k works fine. I hope that helps!

Thank you for shiming in Mike! This is exactly the kind of experience and advice that I was looking for. Would you only put in the capsules in the oven or also the mic preamp?

Hello fellow soundies, I have two Audix SCX1 since a while that I really like (one hyper and one card). My idea was to get extra capsules to be able to cover two booms or be able to do ORTF with either card or hyper. I was not able to source the separate capsules and I recently picked up a defect pair (preamp and capsule) for a very good price from a live sound engineer. To my surprise one mic was a hyper and the other one a cardioid which could perfectly complement what I already have. Hopefully I can be able to salvage something from them, or in the best scenario it would be amazing to get them to work. The seller said he had clicks every minute, but I could not experience anything wrong with them to start with. I run one hour of recording for each mic and there was one superloud click on the first mic (card capsule attached) and there was a similar bang on the second mic (hyper capsule attched) one time. What would be the next steps to take in troubleshooting and what can be made in various scenarios? Does anyone know someone they could recommend for doing mic repairs in Berlin (or well, I can send them too) if in need of more cautious hands? I am thinking of switch the capsules of the two for me new mics with the two old ones to rule out weather it is the capsules or preamps. Can that potentially damage my old mic preamps or capsules? If it turns out to be the capsules that are faulty, is there any steps I could take easy at home such as submerge them in distilled water or something? Here are audio examples of the mics noise hits that occurred in an hour of recording: Mic2 rustle.wav Mic2 rustle2.wav Mic2bang.wav Mic1_click.wav

Oh really? I thought that if you calibrated with lets say a tone that is just hitting 0 on the TX, you could calibrate the RX af out and recorder gain (not fader) to hit just below that to get the optimal performance on the receiving end and then it was about getting the TX at the right level for the performer.

I have seen someone else say -20 on the ek100 reciever. I have used a range from -20 up to 0, but would too like to know the optimum setting.

Now that is quite cool. I heard something about that the frontpanel was removable, but did not think of this. I would still prefer something a bit lighter for a stealthrig.

Not every situation calls for a cart. A Deva 24 weights more than 5 mixpre3s and doesnt hide well under a jacket for stealth recording.

I am using a millibo something 901. 0,5kg 3m carbon boom pole for 80 euros or so. I did some greasing, added washers and a plastic chair feet cover to protect the end. The adjustments added around 5 euros, but brought the feel to be quite good. It flexes quite a bit and is no ambient, but is lightweight and cheap.

But there is some truth to it. I currently use a combination of Sk2000/G3 and while they get the job done on the indie low budget productions I often work with, I have rented lectros a few times and they have so far been sounding a notch better and been way mot reliable. I dont own higher end wireless for the moment, not becouse it is not better, but becouse I can't afford it for the time being.

Limiters and for me the actual sound of the recorder. I enjoy sound design and field recording as well, and to my ears SD sounds better without any additional EQ and the limiters gives me a bit more peace of mind. I frequently use a wireless keyboard for notes, tracknames If I was only doing location sound (without mixing) with purely wireless I would consider a zoom. In reality I did not get the F4 even before the mixpre was out for a few reasons, but one of them was a salty feeling from all their handheld recorders from them that has given up on me and friends. Unfortunately neither Zoom or SD is flawless and it seems that both companies does a pretty good job with FW updates. Zoom managed to have a FW update that made the tc bleed into the audio of the recordings and SD have had some unstable releases too (1.53 seems to work fine). If you record any MS, SD will give you more options as well. Ultimately it is all about compromises but that there are a lot of abused 10 year old SD recorders that still does the job should give you some confidence in the brand. (my friends TC out on the F4 recently started to act up)

I just got BWFmerge after trying the demo before a production and figuring we could use mine and a colleagues recorder instead of renting a bigger recorder with more inputs. The merging seem to work very fine, but I cannot figure how to get the naming right. Right now it renames for example: SCENE 11-001.wav, SCENE 002.wav, SCENE 003.wav to SCENE 11.wav, SCENE 11_new1.wav, SCENE 11_new2.wav. The take information is still correctly embedded (checked with waveagent) but I would simply like to keep the names, is there a setting that allows me to do this?

BH did a comparison inbetween a 688 and a F8. Listen and judge for yourself. I feel like they wanted to pitch that the F8 sounded as good as the 6 series (and I really wanted it to when I heard the test as I could not afford a SD recorder when the mixpre was not out yet, but I would be lying to myself if I did not think the zoom sounded a bit more brittle in the upper midrange so I held of getting the f4). Curtis Judd did a comparison later on when the mixpre series came out, inbetween mixpre6/633/f8 and to my ears f8 had once again a more midrangy sound. The best bass response was probably the 633 and to me the mixpre6 was on par with the 633 with slightly less bass and felt almost more natural. So for me, I prefer the preamps on 6, 7 and mixpre series compared to the zoom. This is ofcourse my own opinion, but it is one of the main reasons I picked a mixpre6 over an f4, which in other respects makes more sense. Interesting to see automix on the new f8 and better hp amp sounds like a good addition!

Depending on the framing ofcourse, but I would maybe go for a card if the talents are close to each other and you can get close and the room is very live. Mkh40 would for example be worth considering (or oktava mk012/ Audix scx1 on a budget) Skip the shotguns in the setting you are talking about most likely.

Many different ideas of mics here. All of them might be good, but there are some variables to take into account. Things that you can ask yourself in deciding which mic or mics are the best can be: How is the framing like? How close are the talking persons eachother? Outside or intoors? Stationary or moving?

I prefer the Lmount sled over an usb battery since it feels much more secure.