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About pillepalle

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  1. Nice recording! Usually I'm not a big fan of added reverb but with your flute sounds it fits well. I guess you recorded it quite dry. Just for curiousity... do you know what kind of reverb was used? Greetings
  2. The bass response is quite good in my opinion. But this might not be an advantage for booming dialog, Surley in most cases for musical applications. Also the rolloff seems smooth and the off axis sound not very colorated. but I'm not an expert on that. I'm just starting out with sound. You might hear some differences in a direct comparison with a schoeps or a sennheiser, but even then it's hard to tell wich one is which. There are only a few comparisions between the Schoeps Mk4/MK41, the Gefell M300, and the Neumann KM184 online, and I don't find them very helpful. To me the sound of the Gefell is rich and natural. Here's a link to a guy who compared them: Greetings
  3. I also use the Gefell M310 (you can see it in my avatar) mainly for indoor booming but also for outdoor booming of small groups of people, or soon ambient recordings (in a stereo setup) but I have no comparision to the Schoeps or Sennheiser. But I love the sound. For me it was a no brainer, costing about half of the price of a Schoeps, or a Sennheiser. In the future I want to use it also for music applications (mainly on acoustic guitars). I had the AGK C480 with a couple of capsules some years ago. For booming they have the disadvantage to be very sensitiv to handling noise. Much more than the Gefell I use now. Greetings
  4. Sweat is salty and maybe the salt conducts... you might try this: Greetings
  5. pillepalle

    Wireless GO

    I can imagine to use them just for monitoring my lavs. I use the small Tascam DR-10C recorders instead of wireless systems (so I always have clean audio) and one disadvantage is that I don't monitor them. Putting a Rode Wireless Go on the output of the Recorder would enable me to hear at least possible rustling or wind noise. Greetings
  6. Ciao Giuseppe, I guess the problems you have with your sound are a result of the wrong microphone placement. Therefore an upgrade to a MKH416 won't really solve the problem. Even the best microphone sounds bad if the placement isn't right. That's why I would think about changing the recording technique instead of just replacing the gear with more expensive stuff. Greetings
  7. @ Jim Feely Well... I'm surely the last person to ask what is comon on sets *g* But all the sound guys that I've asked recommended M/S. With every other technique you have a fixed recording angle, that might not be right in that certain situation. It's super flexible because you can use it with nearly every microphone as Mid-Channel, depending on what you want to achieve. And it's super compact and easy to use. If you have little time to setup it might be the best choice... Greetings Ps: Interesting Poll, Vincent. So most people go for an 180 degree recording angle and good localisation of the sound sources.
  8. Thanks for the suggestion, borjam. I'm sure it could work like that but it looses it's practicability. One reason why M/S is so popular in documentary is that it's a very compact setup that fits in comon windschreens and suspensions and has a fast setup time. You don't have to think about recording angles and how to position the mics, because there's only one way to use them. The whole point for me was, that it's difficult to boom dialogs in a documentary and you have to find a way to get them nevertheless. I'm not so interested in having stereo recordings of dialog as you usually pan them in the center anyways. For the stereo recordings I do (mainly ambiece), I'll use xy (when localization is important), or spaced supercardioids (in various angles) when I want to get more envelopement. Greetings
  9. Thanks Constantin! Yes, maybe you're right. For now I have to work without M/S anyways in lack of a figure eight capsule. When you start (usually on a small budget) you have to make some compromises regarding the equipment and the tecniques you can use. There is so much gear one can buy, but only a few things you really need and use later on. So I have to start simple and improve on time. But it's good to know what options are available and to talk to experienced people. Greetings
  10. @ haifai actually I use a Zoom F4. I didn't check the manual in detail regarding M/S Options because I've never recorded in M/S 🙂 I could try to use an y-cabel to split the M/S Channels. So I could record two isolated tracks and two matrixed to M/S... have to think about that. First I will try out how it is to monitor a non matrixed M/S signal. I have no idea how that sounds. I wanted to get Y-XLRs anyway to use it for saftey channels. The recorder has a function to record saftey tracks simmultaneously, but makes this on all channels. So you have two mains and two safeties. With an y-cable I could coulpe only the first two channels and use the other two channels seperately. Greetings
  11. @ sinnlicht Thanks again. Yes, I guess I have to practice it a couple of times before using it on set 😀 Greetings
  12. @ sinnlicht Thanks Your monitoring tip surprised me. I didn't even thought about that. So it might be useful to matrix the monitoring headphone signal directly in the recorder? Greetings PS: ...not even shure if my recorder is able to matrix only the monitor signal. I guess it will matrix also the recording channels 😕
  13. @ sinnlicht Thanks for the advice. I've already speculated in my post that it might not be good to move the M/S mic around and you seem to confirm that. One question I have is this one - do you record the ambience sound always seperately and when? During the take, or afterwards? Greetings
  14. I use the rycote baby ball gag with or without a fur: http://mymic.rycote.com/products/windshield-solutions/bbg-windshield/ works great for me. They are similar to the cinela leo ball but they start at 20mm diameter. You might put a piece of tape on the mic to make it fit. Not sure if you will have enough room for the suspension. The mics I use are about 5 inches long. For two onmis you need a certain distance, otherwise you get a true mono recording up to a certain frequency. So you have to use two baskets when you go out with omnis. Greetings
  15. @ haifai Yes, Neumann actually has the KK120 figure eight capsule together with the analogue output stage KM A. But it's about the same price as a Schoeps CCM 8... something I could afford to buy only on a later date this year. Funny that you also have a Gefell M310. There are not too many around. I love it and will surely get a second one for stereo use Greetings
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