John Blankenship

It appears you misunderstood my comment. I have no issue with this or other manufacturers discussing their products. I embrace those discussions as beneficial to our community. I do, however, strongly disagree with his posture that a “clapper board is outdated by 20 years.” I own, use, and thoroughly appreciate a wide variety of the latest technology and a slate is also a standard, frequently-used part of the kit. Likewise for other pro mixers I know. It’s misleading to any newcomers to characterize a slate as “outdated.”

If you lack the experience to make a decision as to what tools you need, you're not ready to buy either. Get something less expensive and use it to learn to listen, then, when a better tool is needed, you'll be in a position to make a decision that is yours and yours alone to make. You won't go wrong owning a 416 which is a legendary professional mic available at an easy price. Many of us started out with a lesser mic than that.

Top Ten Reasons to Use a Time Code Slate: #10) It is still the single most foolproof method of syncing #9) Great backup to avoid worry that camera may have accidentally disconnected the time code feed #8) Is a way to diminish phone calls from semi-competent post people #7) Aids production in the notation and organization of footage #6) Can offer the sound mixer a visual confirmation of scene and take number #5) Formalizes the (increasingly chaotic) production process which helps everyone be on the same page #4) Informs the (increasingly chaotic) crew that a take has started and to quiet down #3) Discourages the "Oh, just let it roll" mentality that is permeating much of the industry #2) Looks darn cool ...and the number one reason to use a time code slate... #1) It gets us rental fees! Don't get me wrong, I'm not saying a slate is the "be all -- end all" for production. I am, however, railing strongly against the posture that a slate "is outdated by 20 years." Perhaps celluloid is too, but it still looks better than digital.

I disagree big time! It's been around so long because it's still the single most foolproof method of syncing there is. No, of course it's not my prime choice, time code to camera is, but also, slating takes has big advantages in workflow and can prevent some issues further down the chain, especially useful if one doesn't know how post will be handled. The above comment is the kind of thing I'd expect from a manufacturer trying too hard to promote their product.

I, too, do not agree with "normalizing" them. Different systems handle peak excursions differently (key test, anyone?), so adjusting the average, or nominal, level to be the same is the way to compare. Nonetheless, thanks Constantin for doing the test.

If the pots, switches, and connectors don't have issues or appear worn or loose, if it ain't broke, don't fix it.

While you may have a valid point to some degree, based on my experience, you're exaggerating in the other direction.

Along with Schoeps, Rycote, and many other brands, Redding Audio is U.S. distributor for Ambient.

Click below to check out a JWSound write-up I made a couple of years ago.

With thin, tight shirts it depends a lot on how you run the cable.

For those who don't know the old joke: A tourist walks up to a New York local and says, "Excuse me sir, can you tell me how to get to Carnegie Hall?" The local replies, "Practice." And thus it applies to soldering technique. Diagonal cutters. For this kind of work the best choice is the thin version called "lead cutters" or "flush cutters." I call them "nibblers" but may have made that one up.

Pretty much what Glenn and others have offered. I will add that the critical element that makes one good at this echos the well-known response to, "How do I get to Carnegie Hall?"

Nail gun

Absolutely agree with JonG in that if you undercut current rates you'll not only make less income, but worse yet, you'll damage one of the best methods of getting established and that is via referrals from other mixers in the area. Undercutting rates, or trying to steal clients, is a steep path downhill. You are much better off making friends with as many of the other mixers as possible.

Yes, the K-Tek Suspenders! I've used them in all manner of mounts and even stretched them over large diameter mic bodies. Since the Suspenders were released many years ago, I no longer use individual bands in any of my basket mounts. TIP: If the mic diameter is small enough that it slips a bit, simply add hardware store O-rings in front of and behind the Suspenders opening.

"Madness"? Use hyperbole much?

Agreed. Note that when Pete updates a Schoeps preamp from a CMC4 to a CMC5 he adds improved RF filtering, which makes it better than an original CMC5 (IMO).

Unless Texas has seceded from the union and established its own RF rules, the 600mHz frequencies (up to 698) won't be illegal in the U.S. until approximately July 13, 2020. However, before then you might be in danger of T-Mobile testing their formerly "public owned" frequencies.

Yes, it's a pressed in ground plane. Scott (Redding) said they're not separately available.

That's not dynamic range; that's frequency response. Keep in mind that specs are created so you can admire the handiwork of the advertising department.

Price point? Thanks.

Great quote!

This doesn't surprise me. The construction quality and sound of the Oktavas vary widely. My advice is to give this one a critical listen. If you really like how it sounds, keep it. If you get a replacement, the odds are high that it will sound different. You may, or may not, notice the difference if you're not comparing side by side depending upon your Sonic memory (which can be a fickle thing).

I agree with Philip. The big thing is that you're working to match your style of recording with the style of playing.

A producer's job is challenging -- and it's certainly not simple -- but the operating principle is: Bad producer: "That's not possible." Good producer: "We'll make it happen." Quite frankly, that's the main description of their role and what what they're there for -- to overcome the challenges and pull things together. A good producer not only makes the possible happen, they find a way to make the impossible happen. And the best ones make it look easy.