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mano

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About mano

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  • Location
    Austria
  • About
    Sound Engineer
  • Interested in Sound for Picture
    Yes

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  1. Eliminating the BDS would be great. I have a DADM226DT, so Im very interested how the rf filters turn out on the SL2. Digitally tuneable 25-30MHz window would be perfect and definitely doable for the price I think.
  2. Not exactly ambience, but I regularly throw two A10s with 6060s in pianos or stick them to the back if its one of thise small home-pianos. Its super fast to do on doc shoots! Invisible to cam, and you get incredibly good stereo signal which is also great to use in the mix as original music (if the player is good). Much better than just booming it, and really fast to set up. You can hear a short use of it here (also on the Rebecca Bakken IV): https://musik2020.wien.info/de-de/yuja-wang
  3. I use the Cineeye all the time for doc shoots, so I can see the frame on my phone mounted on the bag. Happy DPs are noticing the difference cause I rarely get my boom in frame anymore, even when they quickly change from tight to wide or difficult shots. Also for them to change stuff in the picture and not having to run back to cam to check. So they allow me to mount it on cam. But on the samsung tablet, connection has been very unstable, I am also looking for a more stable alternative thats affordable.
  4. I have swapped to a brand new set, and after 6 days of shooting in different situations I must say it is a amazing microphone! Really good, impressed and I start to understand the legacy!
  5. Thanks for the answer. I was interested in this after reading DSatz's comment. It is a sweet sounding mic, indeed, bought it for an upcoming 3 week documentary shoot, can't wait to put it to the test.
  6. Generated by the Spectrum plugin in iZotope. This is not a professional test, as I said. I just like to find out if it is normal for MK41 capsules to have audible noise floor, comparison to the other mics was just to have a reference, not for really comparing these models to each other.
  7. I may have made a seperate post about this, but how would you guys consider noise floor on older MK41 capsules compared to new ones?
  8. Hello, I have been testing and experimenting with my new CMC1 + MK41 mic setup. The capsule is not a new one, as mine is still on the way and I got a old one from my supplier until it's arriving. I also own a MKH50 and a MiniCmit. I put up all three mics, same capsule distance, and matched gain on my recorder while speaking, until it was nearly perfectly the same on all three. I noticed a significantly higher audible noise floor on the MK41 than on the other two mics. The MKH50 was the best, which did not surprise me, second came the MiniCMIT (they were very close to my ears) and lastly the MK41. My room was not completely silent (computer noise) so this of course is not a professional test. I did maybe give the MK41 1-2 dB too much gain, but even then I can see and hear that the noise floor is up to 6-8dB louder then on the other two mics at around 1K. Also one can see the high end noise boost on the MKH50 and the MiniCmit, which look very similar in that manner (also sound more similar then the MKH50 and the MK41 compared to my ears), vs the flat top end noise on the MK41. All the noise seems to be in the audible spectrum on the Mk41, and seems to be "shoved upwards" on the other two mics. On the pictures (one speaking, the other one silence/room/noise only): Yellow: MKH50 Green: MK41-CMC1 Purple: MiniCMIT Does anyone here have some insight on the noise floor of a MK41 and what its supposed to be? Is this by design, is it the older capsule (I will test again with my new one when it arrives)? What experiences do you have on recording very silent sources (whispering, etc) with a MK41? Every insight is helpful for me, as I am only trying to find out if my stuff works correctly ( for the price I like to check stuff 😉 ) Thanks and stay safe!
  9. If you need something midrangy then the Ns10mm (the miniature ones) are very cheap used. I use them not in mono but in stereo in combination with other speakers or course. Still, you will have to learn how those speakers sound on good material and what to listen for, to be able to judge your own mixes, as with any other speaker.
  10. mano

    Camera hop setups?

    Sennheiser G3 set with SMA mod and Phantom power blocking cables here. No issues and very cheap
  11. mano

    scorpio!

    Blue means it's a Send. So you can define a value of how much is sent to the bus. I think this is controlled in the channel setup screen of the specific channel. Manual page 8 CHANNEL TO BUS ROUTING Determines to which bus or buses the channel audio will be sent. When a channel is routed to a bus as a Send (bus box highlighted blue), the Send Gain value is used. When a channel is sent Pre (green) or Post (orange), the Send Gain value is ignored. I hope Im right and this is helpful.
  12. It seems to have an RF loop out!
  13. mano

    DCHT & M2R

    How are you feeling about the high cut at 11-12kHz?
  14. Im looking forward to be in the same situation in some weeks when I have to mix a documentary with 80+ interviews, and editor did not sync my isos to the scratch audio track from camera. It was all timecode synced.... I don't get it really why they did not do it. He thought it sounded good enough with just the cam hop sound (although I told the director and everybody that they have to sync everything up before editing.... ) So I will be missing all my hidden lavs and extra mics, as I normally only send one mic, mostly the boom to the cam. Now reviving this thread, has there been any solution to have pluraleyes like functionality in ProTools or generally for AAF/OMF based projects? It should definitely be part of every professional DAW imo!
  15. Thanks Nathan. I made sure I have the "D" variant - my Cos11's are very new. Thanks for the wiring tips. I will go back to the shop that wired them and at least I have something to discuss about. Do you have a wiring scheme or more information on the correct wiring for maximum RF rejection?
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