engaudio

As others have said, both the F8 and SXR4+ can link input gains. It comes down to your budget, both machines do a good job and I'd be happy to use either for an ambisonics recording. ( I own both but only do production sound or stereo recording ATM. ) Grant.

I have that as well! The flat earth stuff just boggles my mind..

I did the above trick a few months ago and everyone on set was like "wow, how did you know to do that?" Yes you read that correctly, I physically did it as the gaffer couldn't understand when I was explaining how to fix the issue. (we don't have unions in NZ). Grant.

everything recorded m/s and decoded 1:1, mono your monitors to hear the difference.

Had a watch of the trailer but to be honest, I've heard all that info watching youtube videos over the last few years.. I take it this is about the fake alien invasion that's being planned according to "high level sources"? (what do I know, I'm only a sound mixer and he may well be correct). Anyway, lookup "bombards body language, steven greer" on youtube and you'll find my link. Thanks for posting, I'm interested in listening to what he's got to say in this film, hopefully expanding on the subject and changing my opinion of him. Currently I'm watching flat earth videos for entertainment.. Grant.

I've always been skeptical of Greer. Interesting speaker but never seemed to ring true to me. Could never put my finger on why till I saw this:

you have a projection problem, not a mic problem. it's common.. I grew up in a theater environment and know the difference.

If you understand how m/s works, you wouldn't ask this question.. there's plenty of literature out there, do a search and understand mic polar patterns.

really? did you not do a web search or were you too lazy? it says VERY CLEARLY, lower self noise etc. FROM THE WEBSITE: "The electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging." http://www.soundfield.com/products/st450mk2

I think the most telling thing about this device is the lack of real world results in the video.

It's up to post to use whatever tool for syncing the audio back at base. mac or pc in post is not our department and is irrelevant to using a tentacle sync unit in the field on a camera. Any issues you have with syncing are a software or set up problem and have nothing to do with the tentacles as it would happen with any brand of tc generator on the camera. Someone more knowledgable on the topic of TC and syncing in post will chime in soon to help you.. Grant.

Personally I don't like the sound of the SD633, otherwise the rest of the SD range is fine. It's more to do with your skill then the kit you use, as others have mentioned. When you state "film", do you mean all your work is traditional narrative film? If so, I would have thought a 788 with a higher track count will make more sense as often you need more then 4 ch's today. (radios on talent + boom/s)? Plus the ability to use the likes of a Cl-9? Anyway. What about the Sonosax SX-R4+ ? (mind you most of your clients will ask what it is as they are a "boutique recorder"). http://sonosax.ch/product/sx-r4p/ Grant.

I use the mkh series because they can handle pretty much any weather. I loved the sound of the Neumann but it was too noisy for a lot of my locations.. You may want to check out the AT4022 omni, very popular with the nature recording community as the self noise has been measured at around 7dB, not so good in the humidity (like most) but otherwise a great mic and cheap. some reading for you, on Facebook: https://www.facebook.com/groups/258610517559455/ https://www.facebook.com/groups/field.recording/ yahoo group: naturerecordists@yahoogroups.com DIY mics etc. http://caperteebirder.com/index.php?p=1_17_recording-gear-1 ebook: https://quietplanet.com/products/book Grant. Grant.

Yep, that's what it usually is. machinery/vehicle/city noise. You need to get a very long way, 10+ km's or more from a major highway at least. I do a lot of nature recording in my spare time, my location work covers the costs so I can go bush for a week at a time.. Grant. btw, check out Bernie Krause's books for a few tips. http://www.wildsanctuary.com/BookPage_Page_1.pdf Recording notes: Neumann RSM191/Sennheiser 40/30 mics , SQN4s mixer , Oade "super mod" Marantz pmd620/Nagra SD recorders (through the SQN). LPF @80hz, single takes/no layering. Often several days & multiple trips to get up to 10 mins of uninterupted audio. My aim is to present soundscapes of locations that anyone can visit, you don't need to hike for hours to get to these places.

Doesn't answer your question but here I go anyway... I bought 2 units recently, for the price it's a no brainer exercise. Every cameraman I've worked worth has been surprised by the size and post is happy. so far, so good! I use the old fashioned method to check sync and countdown with the cameraman at the start of the day and maybe once or twice before/after rejamming at lunch. Usually I just say can we check time code? I've got XXXX minutes and xxx seconds (and so on..) No issues in roughly 15 shoot days so far apart from a F5's displays being around 1/2 a second slower, but solid in post. It may just be this op's camera though. Overall, I'm impressed with the size/function of the product. No more "oh crap, there's too much hanging off the camera already"..

Or you could buy a used SQN mixer and pair it with the recorder of your choice.. (Sony M10 etc)

I have no experience with the Pearl range but worth checking out if you're looking: http://www.pearlmicrophones.com/products/microphones-by-type/ms-stereo-quad/pearl-ms-8cl-detail Grant.

I use bandcamp for my recordings. FYI, the domestic market is saturated too. None of the nature recordists I know make ANY money from just selling recordings, SFX libraries seem to be the way to go at the moment. Be prepared to have your material stolen too, mine are all over the web for free but that's another post.. Grant. http://naturesounds.co.nz https://soundcloud.com/naturesounds_nz

Chris, apologies, missed that post..

The 50 has more reach, basically this means you can have the mic higher with less "room" and more "voice". Go for the mkh50, post can add 'verb later if they want more room. Like Tong0615 said, this is just my opinion. Grant.

The 185 has a lower output then a mkh50, thats why. 10 mV/PA Vs 25 mV/PA , (as found by google in less than 2 seconds..) There's nothing wrong with your 633 or the mic. I used a km185 for 5+ years as my main mic, it IS noisy compared to a mkh50 and you will hear "hiss" in a quiet IV situation. edit: only just noticed the year this was posted.. but my point is still the same. Does no one read equipment specs anymore?

I sell & use the storacell range here in NZ. Remember that they are designed primarily for single use batteries. That's why they may strip rechargeables after repeated use. Also, not all AA/AAA batteries are made to the same diameter, some will shake around a bit. It's the battery, not the caddies fault.

+1

Go for the Telinga. Better build quality, been around longer and a lot of nature recordists prefer them. http://www.telinga.com/

It's a standard podium mic, (they usually sound like shit anyway). When I did AV gigs I'd often use a sm58 or 57 a bit lower on a boom arm angled up so: 1: it doesn't pop. 2: the audience can see you 3: you don't spend time mucking round with it in a nervous moment and go totally off mic 3: the cameras can see you Often a more senior tech would question my choice at first but would agree with my points after discussing it. Grant. Another thing is that if you bumped the lecturn, a podium mic (that plugs into a socket on the lecturn itself) will hear all the bangs and crashes.