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About EmRR

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    Music recording, corporate webcast, live event productions, occasional sports broadcast.
  • Interested in Sound for Picture

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  1. Right. I meant maybe they fed mics into multiple mult paths, and now they don't.
  2. It may have to do with the requirements of the press splits.
  3. I've come to the inescapable conclusion that it is a sound that is expected in some situations, regardless.
  4. Comparing a few similar spots, on first impression, the lows seem to image more in the center with the Neumann, and slightly more with the corresponding highs with the Sennheiser. That may entirely be pre-bias on my part.
  5. Consider the Pearl and Milab mics that have rectangular capsules, which have different patterns vertical versus horizontal. The same is true for ribbons. The differences with both relate to off-axis sound pickup. Anything on axis 0º will sound the same with either orientation, it's the sound of 90º/etc that's going to change.
  6. Great, thanks. Yes, I did sniff a bit of that little clear bottle as a kid.....and built some Godzilla models!
  7. Asking as I encountered someone who was using the grommeted sides of two BBG's, taped together, to make something that would cover a pair of Sennheiser MKH 800's for DMS or Blumlien use. It struck me one could possibly use a single BBG and mount a second grommet, and I wonder how treacherous an operation that might be. I don't know what happens when you pierce the internal fabric, nor how fragile the frame is under cutting pressure, getting the grommet mounted, etc. I'm told Rycote won't sell a version like this, likely doesn't meet their desired protection spec. You could of course do this with a standard longer mono windscreen, but I'm thinking about something with a smaller visual footprint that wouldn't require another specialized conn box. Thanks for any thoughts.
  8. EmRR


    RIP Don, glad you are remembered.
  9. Maintenance with anything like this is best applied as a ground up rebuild, if you really want to use it and have reliability. Do that comprehensive rebuild before installing, then it's not hard from then on. I've countless pieces from the 1940's and 1950's I rebuilt right away, which have run flawlessly for two decades since. Nice pics guys! Looks like they used to have sort of the right stuff in there before the changeover.
  10. This ^. Maybe not by much, but it really doesn't matter. It really didn't matter going to vinyl. The capture and distribution mediums were always the bottleneck. I have a friend who's restored 1930 era RCA and Western Electric film sound capture systems, and their direct output sounds thoroughly modern. Anything with multiple audio transformers in series (probably 4 minimum here) will be band limited to a degree. Many will also have 'air' presence bumps in the 15K-20K range from transformer resonances, so upper treble is frequently the most boosted portion. I make records with 1930's and 1940's tube preamps and ribbon mics on a regular basis, and no one ever complains about limited bandwidth. This console certainly should exceed a lot of what I use. I also run an early 1950's RCA BC-2B console that I restored, it's manual states +/-1.5dB 30-15K, and it beats that according to Spectrafoo Complete and an Audio Precision test set. The problem with a console like this (outside of maintenance) is the very limited set of routing and control options. There are studios that exist purely in that niche market, selling nostalgia, and some are busy.
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