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EmRR

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Everything posted by EmRR

  1. After doing a bunch of MS and dual MS nature recordings, I've started mixing it up with a pair of spaced omni, which is useful for ultra low frequency events like thunder. I can get a pair of MKH 20's pointed in opposite directions in the older model Rycote medium MS blimp, FWIW, so that makes it good for both MS and AB omni. It'll also hold a shotgun (I have a KMR 81) and an MKH 30, for length reference.
  2. EmRR

    BALANCED RCA

    Boy that's something.
  3. Sad to see him go. I got to work on an ex-BBC console from the mid-70's in music production for awhile.
  4. That must've been something.....it's hard to even relate to what those PRICES must've felt like in inflation adjusted dollars. That doesn't do it justice compared to now; $29.75 for The Who. Does not compute......
  5. I've done a lot of corporate event work with one, and more recently have been using one for the broadcast mix on a live music show webcast, taking Dante feed from a QL5 FOH mixer, Dante to multitrack record also. Like anything, there are strong points and 'gotchas'.
  6. Gotta be this, late 1930's RCA line amp, chassis and front louvres chromed. Has front door that folds down to access tubes, and the chassis is hinged at the rear so it can fold open for service without taking it out of the rack. I have a pair that I use as mic preamps or mix bus amps in R&R recording work. Definitely NOT for field work!
  7. I have a pair that Sitler modified, and another pair that are stock. The mod cleared up the top end, but somewhat to the detriment of the low end. I will pick one or the other type depending on what I'm after. In comparison a KM184 is better balanced across the full spectrum, having the good bass presence of the stock Oktava and the good treble of the modified. The HPF barrel is useless in my opinion, it raises the noise floor far too much for most work. Related to that, I still haven't seen anyone say they've tried the updated UP-012 preamp, which puts pad and HPF on body switches, possibly a totally different improved design. Been out for years too. They are definitely the most microphonic mic type I own, just try holding one in your hand as still as possible and listen to it!
  8. Oh yes, another DR701D note: NOT designed to monitoring during playback! Just record! If you set it up to print a mix to tracks 5-6, you can monitor that in playback, otherwise it's an undefined mono mix of the raw tracks. It's really just a capture device.
  9. All reports are that the DR701D sounded massively better than the 70. I owned the 701 for a year, then moved to a F8n. Wouldn't kick the 701 to the curb, but wouldn't go back either. Options and operation seem antiquated in comparison. If you only have $200 to spend, and can wait for a deal, a used 701D isn't a bad option, but there are probably also better ones in that range too.
  10. Yes! I use an MKH 800 Twin with an MKH 30 and the post options are great. Very much like horizontal only ambisonic native array.
  11. Good catch! Initially i was thinking 642, but that didn’t add up visually.
  12. The magic of proximity effect in ribbons! I was stunned the first time I used an RCA 44, the manual isn’t kidding when it says you need to use the low cut filter when closer than 3 feet. Maybe not the built in ‘voice’ filter, but some sort of compensation. A friend who obsesses over Columbo tells me the KU-3A was Peter Falk’s preferred mic.
  13. I know little, but it seems RCA KU-3's and EV 642's were in heavy usage in the era. The Sennheiser MKH805 shotguns showed up somewhere at the end of the 1960's, and Langevin in LA rebranded them.
  14. Look at the used market for Wohler rack mount broadcast monitors, they’re usually pretty cheap. I have a 1RU and a 2RU, the 1RU is usually more revealing in comparison against my other 2 speaker sets. They have multiple input switching, and a phase meter.
  15. Sorry to hear, RIP.
  16. Right. I meant maybe they fed mics into multiple mult paths, and now they don't.
  17. It may have to do with the requirements of the press splits.
  18. I've come to the inescapable conclusion that it is a sound that is expected in some situations, regardless.
  19. 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.
  20. 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.
  21. Great, thanks. Yes, I did sniff a bit of that little clear bottle as a kid.....and built some Godzilla models!
  22. 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.
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