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About osa

  • Birthday January 1

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    sound mixer in the midwest region
  • Interested in Sound for Picture

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  1. I personally have had the most success with the invision lite 19 mm But it’s a combination of the pole and mount that I think might help with my handling noise. I’m using a loon boom pole which unfortunately they don’t make any more. When it comes to Zeppelin‘s I had to go back to older ring style and a con box to find the right mix of rycote bits to help with handling noise and that seems to work well for me.
  2. If you want a good m/s solution check out the sanken cms-50. It is great but it does roll of some of the low end that would be captured with the 8040’s
  3. I recently purchased the cms-50 and I quickly found I love it. For stereo sfx I have been gathering lately with it, I diy’ed a Zepplin rycote no10 with older style suspension and i paired it with a dpa 4015 wide cardioid capsule. The newer lyre clips positioned the mics too high in the basket. The wide stereo image is amazing in this configuration and also the low end from the 4015 makes it a really unique, well balanced stereo sound. I took a dremel tool to the rycode piggyback clip to help it clear the basket inside. I know not the best zeppelin for this purpose but this particular combo of light weight and beautiful stereo sound of this rig is now my goto for sfx. i did compare the cardioid in an interview recently using a stereo pole and a csm1. I used the same rycote rig and did a bunch of interviews all female voices outdoors. While I plan to continue doing these tests with multiple mics in different situations in the future, this shoot in particular I found I ended up using the cardioid mic for every single interview except for one. While I love the csm1, In comparing the two microphones the CSM1 I found to be really lower-mid range heavy during these particular interviews and was actually picking up the lower mid range rumble of traffic in the distance. The cardioid of the CMS-50 was the winner with less of that lower mid range and an overall well rounded natural voice sound for these particular female voices, and just enough directional reach for these interviews with the mics positioned directly overhead and tight framing. The one interview where I felt the CSM1 was the better choice of the 2x mics was someone who was very soft spoken. The csm1 did a good job of filling in the audible missing pieces. Ultimately I predict the cardioid of the cms-50 Will come in handy in a lot of situations especially being able to A/B in real time on a stereo pole. As far as Midside mics this one is a winner and I highly recommend.
  4. I did confirm officially now that i own a cms-50 both mid and side require individual phantom engaged to work properly
  5. Have heard back officially from DPA and mine is an older design not compatible with current modules. However I suspect there might be an adapter ring solution diy if crafty enough to allow you to use these older 4017’s with newer preamps but not the older preamps with newer capsules. They appear to line up the same and pin makes contact inside.
  6. Did DPA change their thread size for preamps and capsules over the last few years? I own a 4017b That I bought when they first came to market. Just bought a new 4015 capsule to swap capsules and the thread sizes don’t match. Looking at current preamp’s available they all seem to have a smaller thread ring than mine. Expensive way to find this out. Currently working with a dealer to find a solution
  7. Going over the project again, it’s possible it may have been on the talent and performance to the playback track. i think our talent was not as “in sync” as we had thought on set which is much easier to detect critically in a post environment. Multiple sets of eyes watching and listening during the pressure of the shoot can be easily deceived. Also less forgiving with long takes of spoken word poetry versus singing music video style with a lot more opportunities for cuts. In hindsight i think it was important to print playback audio and cam mic with camera regardless of it being a gimbal rig and enforce watching lip sync during the shoot. Even though I was close to her with a speaker, another thought is an earpiece for talent might have been beneficial
  8. Yep cam mic was on, it was a gimbal rig and def 48k the whole way thru without the typical 44.1 pitch differential. The editor and i typically work in 23.98 but our client for this project has been in business for a long time and likes to work in 29.97 non drop a ton for what ever reason (a comfort zone?) so my guess is this is the culprit. I will talk more with the editor to see if we can trace this down as a possibility
  9. I worked on a spoken word playback video recently that had what seemed like odd timing issues with playback, and with myself doing the post i was able to correct. Trying to troubleshoot for future reference. Our workflow was: - spoken word poem was video recorded in a local recording studio with a u87 for that “studio look” on canon camera 29.97, sep tascam recorder was used for audio recording, 16b 48k and all was in sync when editor put both elements in premiere timeline - files were sent to me via omf export, i opened in pro tools in a 24bit 48k session, played out different clips with 4 click count header on each to a different tascam recorder, recorded at 24b 48k - tascam recorder from above was used to play back multiple audio clips with 4x header click counts thru a remote audio 9v speaker in mulitiple locations like a standard music video. Video was shot on a sony fx6 at 29.97 when same editor brought new material shot into his timeline, it was as if spoken word audio was 5% faster on these shots vs the original studio recordings (I might need to double check with the session to see what my time compression settings were). But because it was spoken word i was able to fix, not a big deal and in the end the client was happy with how it all came out. Had I not been involved in post, this might have turned into somebody else’s nightmare… I have been involved in quite a few music video playback sessions and never had this kind of issue, from Timecode driven sync to boombox playback. Curious as to where playback speed might have shifted in the process of it all? I was in charge of watching her lip-sync to speaker and all of it was spot on during the shoot of the pick ups, and they all had to be decently long continuous takes so no option for cutaways.
  10. Well my bad completely. even if I wanted to give you the files under the publishers proper authorization, I unfortunately was thinking of the wrong Jay Rose book that i had the cd for… when you mentioned the audio files I remember Jay himself telling me I’d be lucky to find this book in print with the CD still included. Sorry about my mixup
  11. I have the disc that came with the book! Assuming that has the files you were looking for? I will gladly digitize them for you and send, assuming thats ok since you purchased the book and they were listed free on the website at one point if i am not mistaken
  12. I have an older PSC boom pole where I plan to do exactly that, I was just curious though about the option with a stereo pole. Perhaps there is coiled cable appropriate for seven pin connectors that I am unaware of, but I feel the cabling for my seven pin PSC rig will be relatively cumbersome but manageable. I did end up ordering the Sanken stereo and plan to test at some point once I get the opportunity to.
  13. Looking to see how 5 pin stereo mics are powered, and more specifically, if a Y cable could be created to piggyback a m/s mic with a different mic to replace the "mid" center. I am looking at getting a CMS-50. if i were to only cable the "side" portion of the mic with appropriate 3 pins soldered/ 2 pins blank on one of the Y splits, would the mic still receive power?
  14. Whoa! Small world BIG TIME
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