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EmRR
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Posts posted by EmRR
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Curious what basic alignment/maintenance costs these days. I wonder if alternate rubber parts have surfaced, or if there are basic things no longer available.
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Just now seeing this quote. I'll add I've had to do several outdoor free-sync recordings with the F8n since then (ambient concert pickup ,hour-ish blocks), in some cases the files aligned well enough to use without time editing, in others I had to re-align about every 5 minutes.
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Yes, I've read many times they don't service these anymore, with many stuck in one pattern. I think maybe within the decade they were still servicing these.
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The audio is likely asymmetrical in the first place, human voice generally is. Perhaps the clipping is your concern?
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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.
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Boy that's something.
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Sad to see him go. I got to work on an ex-BBC console from the mid-70's in music production for awhile.
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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......
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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'.
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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!
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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!
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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.
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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.
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Quote
He broke both hips and injured his left hand in the 2011 fall, but said: "There's nothing sad about not playing any more. The thing I feel a little annoyed about is that I know I'm a better musician than I was at 70, but I can't prove it."
RIP
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16 hours ago, Valentine said:
Not quite what you're looking for but years ago I cut a Rode blimp apart and glued it back together to make it much smaller. I basically got the idea from this:
Thanks for that link.
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On 7/29/2020 at 12:39 AM, soundtrane said:
also consider DMS. i set up an MKH8040 matched pair with an MKH30 last year. initial test recordings resolved into surround using the Schoeps plugin sounded fantastic.
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.
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Good catch! Initially i was thinking 642, but that didn’t add up visually.
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On 7/21/2020 at 12:25 AM, CineW said:
Wow! Thanks for sharing!! Looks like EmRR is right. The mic appears to be an RCA KU-3A. I can't believe how far it is from the talent and still sound so rich an full.
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.
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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.
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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.
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Sorry to hear, RIP.
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22 hours ago, cmgoodin said:
No, the 3 or later 2, mics were summed and fed to Press Box distro amps for the Media Pool Feeds.
This has been done since the mid 60s. White house communications did this to prevent the forest of individual mics by all the media.
And to provide backup in case there was a mic failure. That almost never happened since these mics are dynamic and have no power requirements or active components and the only failures came from broken cables or Rain damage.
There are many manufacturers of Press Boxes now but Opamp Labs had been making them since the late 60s
Right. I meant maybe they fed mics into multiple mult paths, and now they don't.
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29 minutes ago, cmgoodin said:
You know in the past (1982) they used to use 3 Shure SM57s in windscreens on the Presidential Lecturn (See Picture Below) Now they are down to 1.
Is it budget cuts or are they just now comfortable that these dynamic mics never fail.
It may have to do with the requirements of the press splits.
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2 hours ago, tourtelot said:
I, for one, still think a 57 sounds great as a top mic on a taut snare drum. Lots of crack! And pretty immune to drum-stick hits as well. Go ahead and put your U47 up there. I dare you.
D.
I've come to the inescapable conclusion that it is a sound that is expected in some situations, regardless.
32-bit for Dialogue: Yay or Nay?
in General Discussion
Posted
Real world example/warning - I was mixing a classical guitar orchestra piece recently and did the mixes as 32 bit floating point bounces, no plugins on the mix bus, and I found that +3.5dBFS was still a clipping point. Latest version of Digital Performer. I have no idea why. I did get some 32 bit floating point masters back that were hotter, but did not show clipping.