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Rick Reineke

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About Rick Reineke

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  • Birthday April 1

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  • Location
    Planet X
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    Noiseless appliances, automobiles and aircraft
  • Interested in Sound for Picture
  • About
    HELP !...... I have been kidnapped by aliens, and taken to a place they refer to as their "beloved Planet X". These beings have left behind a replica of me... BEWARE OF THIS IMPOSTER !!!!

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  1. The Zoom F8n may good for this. In the US, the Zoom is about $700usd less than the Sound Devices Mix Pre 10t. There is also a 10m intended more for music productions than movies and TV. The F-series Zoom recorders are more of a 'pro' recorder compared to the consumer Zoom H-series. The F8n has 8 mono tracks (or 4 stereo pairs) + 2 mix tracks, and has three power options, AC/12V power via a coax plug, 9-16V external power via a (pro standard) Hirose power connector, and internal battery power (8-AA batteries) along with meters for all the power sources. It also has multi-channel mic support and pro file naming options including metadata and such for sound reports. Most folks here agree, the SD Mix Pre series has 'slightly' better preamps and limiters, but the Zoom has more features which include +4dB main outputs if you need to feed a camera of other pro device a line level mix. Neither recorders have internal mics suitable for sound effects (atmosphere) tracks... if that is what you mean by "room tone" which is normally recorded with the exact same gear as dialog.
  2. As borjam stated: RF Explorer. 
  3. I have successfully used G2s and G3s outside on the street in midtown Manhattan (aka, RF hell), but I always used an external RF scanner to fined a low prx dB RF range. It's still a crap-shoot though, even with my Lectros. IMO, the G series Rx internal scanner is useless, unless you're just scanning for other G series Tx. Probably the same w/ the Sony UWP. 99.9% of the clients I've encountered in my 20+ year tenure, don't know .. or care.. what gear you have as long as it works and sounds good.
  4. The 100 series Rx are unbalanced, I do not know, but the 500 series Rx maybe have a balanced out. If so.. unbalanced v. balanced is a clue. Have you tried the 1/4" input with TRS and TS adapters? Otherwise a compromised input of the F8n. If the same behavior on (mixed & matched), I would suspect an RF issue.
  5. The only time I ever used a cardioid lav for dialog was when the mic needed to be integrated with a live system and feedback was an issue. The best Omni lav i've ever come across for isolating dialog was the Sony ECM-55.. unfortunately it's freak'n huge by today's standards.
  6. I usually use the Canare mini L-2E5 for small diameter cable, it/s about half the size of 'standard' mic cable.
  7. I have a matched pair of Oktava 012s from the Sound Room, which sound wonderful. The Sound Room hand picks and tests the best ones.The Sound Room does not mod the mics and should not be confused with the Dorsey type mods from Bill S and Mike J. which is worthwhile IMO, but they still have a very low sensitivity (10mV), and other inherent issues. Not good for inexperienced users with or w/o the mod. I use mine for drum overheads or acoustic guitars and such in the studio. I can't recall the last time I used one for dialog, since I have better options.
  8. What are "no satisfying results"?. OMF never did not transfer the plug-ins and such either.. just the timeline, x-fades and in some cases the volume & pan envelopes.. the same with AAF.. AAtranslator worked as well as could be expected with Reaper and Vegas Pro in my experience. Directly importing an AAF never worked very well with the above NLEs for me unless it was originated in the native app.
  9. I do not think it's a placement issue or a damaged mic, likely some component being clipped somewhere in the signal chain. Is the lav wireless? Over-driving a transmitter's input stage can cause that type of sound. So can feeding line level to a mic level input.. a common mistake of inexperienced folks. Is the audio from a camera?
  10. In my music recording and live sound days (daze), I had some Sennheiser MD 421s which were good on horns, drum toms and other high SPL sources. Made a decent VO and radio show mic as well if the talent was up close. On a tight budget, an SM57 or 58 would surface.
  11. For my 19-20mm hypers, I use an under $10 foam windscreen for interiors, for a little more suppression I have a WindTech US-2 Ultra Seriesl windscreen, which is double-stage foam. I have a Softie and a Zeppelin for exterior shotgun mics
  12. I have not used the microDot adapters, how much length does the add to a plug. I had a Rode lav, and their plug-adapter lasted about a week, I chopped it off, and soldered on a one-piece plug.
  13. The B6 is a great mic, however it's susceptible to air turbulence and fiddly with the fishing line size cable. Not a desert island mic though, you must have other mics must be on-hand. OST mics are highly regarded if your budget is limited. We still have to try out the Deity lavs. I don't like the idea of using adapters though (according to the NAB video)
  14. A friend of mine I help out occasionally for school plays and such has six of the BLX-4R receivers, four body-pack Tx w/ WS-93 mics and two H/H Tx w/ beta 58 heads. The BLX-4R receivers are metal and rack mountable. They have BNC antenna connectors and 12v 'line lump' power supplies. The plastic body-pack BLX-1 Tx seems pretty durable and has a TA-4 input connector. The SW93 lav mic ain't bad either, they're slightly smaller than a Tram TR50 and less than $100. I really have no sound quality or RF complaints, and they operate reliably in the northwest NYC burbs. I have no experience with the lower-priced BLX4, which is plastic and has an internal antenna. I think the SW-93 mic may be an up-grade option.
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