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Kevin Sinnott

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About Kevin Sinnott

  • Birthday September 17

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  • Website URL
    coffeecompanion.com

Profile Information

  • Location
    Chicago
  • Interests
    Coffee, film, radio, sound
  • About
    I am a former cameraman producer and writer, mostly in industrial and cable. I now write about coffee and do my own clips to promote my writings and traveling coffee event.
  • Interested in Sound for Picture
    Yes

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  1. Awesome link and page, Sir! This is exactly what I want to do. Thank you!
  2. Yes, after this came up, I finally got around to googling the term. Apparently the spelling condensor is common but condenser if correct, or at least justifiable. I think I even have a 1970s mic that's labeled condensor on it. Who am I to argue? Thanks.
  3. Thanks. I have the usual Rycote Ball gags, blimps and deadcat furry wind coverings. Some of my favorites are made by Guttman, whose deadcats are thorough, yet seem to let more high end through. I recently used an ADK 67T, based on the Neumann M269 broadcast version of their classic U67, and when using a deadcat, I could really detect a muffled high end which reduced that mic's magic, but I accept wind protection as a necessity outdoors. Oddly, my Pencil condensers appear to be more sensitive than large condensers to light breezes.
  4. I have a small collection of vintage mic brochures and in them it's condensor. You are correct. But, I just googled myself and found the same thing you did. Not sure why it was "updated". Hahaha
  5. Thanks, Roland. I really enjoyed listening to Magnus Bergsson's work. That fox call around 3 minutes in is really a treat. I admit I rarely employ a separate mic preamp, as my Sound Devices MixPre 3 and SD 722 as well as an ancient Fostex FR2LE (surprisingly good/quiet mic preamps) perform well enough for my recordings, at least so far. Part of the allure of large condenser mics is their increased output level, plus I actually find them less sensitive to wind, particularly in omni mode. I notice Bergsson's use of IRTF stereo; is this 120 degree akin to ORTF? Warmly, Kevin Sorry. I keep spelling it condenser. It is condensor, isn't it. Yes, I admit I have always preferred field to studio both in sound and picture. Perhaps the risk is part of my preference, should I be forced to be honest. I love listening to early 60s sound effects records, complete with mic credits, which included Neumann, Shure and Electro Voice mics. I know Jack Webb was known for collecting location sound effects and textures as far back as the late 1940s.
  6. I have been capturing some sound effects outdoors using some large capsule condenser mics. Maybe not Neuman's, but I have a couple of AKG C-414 mics and other than the need for stands, it's not that different from other microphones. I mentioned this to a studio-bound friend/colleague yesterday and he seemed mildly appalled. He immediately cautioned me about the fragility of condenser capsules. When I assured him I was using precautions like blimps, deadcats and other windscreens depending upon the wind ferocity, he scoffed and suggested the pencil condensers should be my first choice. As much as I respect my colleague and his ability to capture a symphony orchestra or music artist indoors, I wanted to reach out to professionals who are used to working with sound gear in the real world outdoor conditions for your input. I am here to listen and learn. Please share you views on the wisdom of bringing studio condenser microphones outdoors.
  7. Glad to read your experience, Frederick. Thanks for posting it.
  8. My experience is still good. I used it about a month ago. I was trying to boom rather than use a handheld x/y pair. While reviewing the clips, it sounded great. Very quiet. Nice stereo field.
  9. Have you tried a mic such as the Sony ECM-999? It's definitely mid-side, although it requires a battery, pre-phantom. Side address if that matters. I own one and it's quieter than the Shure VP-88, although you state above that self-noise isn't a big concern. For what it's worth, I think the Sony ECM-999, with dialable image width, sounds nice and warm. I wouldn't hesitate to use it for an interview or other sound capture. Battery life is good.
  10. I used to travel with lots of camera gear as well. My audio gear is, by comparison, modest. I have found TSA likes to play with it, but other than a broken AKG mic shock mount, no damage has occurred. My biggest problems have been smaller airports. Large cities seem more used to it, or maybe they're too busy to hassle me.
  11. I'm hardly qualified to be among this august group, but as a mere amateur, I discovered a good solution for myself. After hearing (however not trying) that the Sennheiser MkH 418 had noisy side mics, I found an inexpensive used Sony ECM-680s. It has a fixed Mid-side, which of course can be decoded and re-encoded in post. Meanwhile, it sounds wonderful to my ears. Quiet sides and a center mic that rivals my Sennheiser MkH 415. I use it to collect audio b-roll for my podcast, but I was surprised how good it sounds and I find myself grabbing in for a lot of things, more than I expected. Oh yes, it's very light and fits easily into my Rycote blimp and a super softie, but my favorite is a Gutmann Windshield that in all but heavy wind, does a great job and is overall transparent. I do use a Rycote holder with a boom or pistol grip.
  12. I know this thread is ancient, but I happened to pick one of these up a few months ago. I'd seen this thread and didn't expect much. I was impressed with it. It sounds very good, like I'd hoped the Sennheiser MKH418 would sound. But, the MKH418 is noisy. The Sony is quiet. The Sony's midside is premixed, which is fine for most of my use. If you don't agree, you can always decode and re-encode it. I'm beginning to think Sony is under the radar in the film community. This mike is a sleeper. I also find the ECM680s does outstanding indoor interviews, where the walls and inside acoustics are well captured in addition to the voice. SFX were also good. Again, quiet enough for ambient sound capture. A definite sleeper.
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