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Doug Osborn

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Everything posted by Doug Osborn

  1. I have a brief exterior shoot scheduled this week. It's an exterior courthouse interview so I only have one chance to get it right. My "go to" exterior mic is a Schoeps cmit5u. Humidity for this shoot is predicted between 54% to 40% so I'm not worried about any sort of humidity issues, and the weather forecast is around 20 degrees. I'm wondering if anybody has experienced any issues with their cmit 5u in cold temperatures. I also have a Sennheiser MKH-50 that I normally use for run 'n gun situations or higher humidity environments. Which mic would you give the nod to?
  2. I used the K-Tek K-SSM mount with a Sanken CS-1 for 7 years without any issues. It came as a combo package with the then totally brand new Fuzzy slip on Zeppelin (I got the third one off of the production line) with the soft rubber mounts. That being said it was used almost exclusively for interior and exterior locked down interviews, rarely any run and gun work. You can use the softer suspenders but you might encounter support issues depending on your choice of wind suppression. Here's Manfred Klemme's personal response on DVInfo.net in a 2005 post: "Hi... Hopefully I can shed a bit of light on the subject. When I decided to design the "perfect" shock mount I had it in three models. The first model was the K-SM (K-Tek Shock Mount) .. This was sized to fit most microphones (4073A, 416 etc). I also had a short version K-SSM (K-Tek Short Shock Mount) and a long version K-LSM (K-Tek Long Shock Mount) The K-SM was the first one introduced and fit the bill for most customers. It has been a very succesful product. The K-SSM was shown in prototype form to the Sonodore people in the Netherlands. It was put into production as an OEM shock mount for their very high end microphones. When Sanken introduced the CS1 I felt that the K-SSM would make the ideal shock mount for it as well. So we also manufacture the K-SSM with the Sanken logo for them. These shock mounts all use the same rubber which was very carefully chosen to support microphones securely while providing superior shock isolation. Glenn Trew suggested that a softer rubber (Shore 30 rathet than 40) would provide even better isolation for the Sanken CS1. As this microphone is very light it made sense. Tne soft rubber in the K-SSM does in fact provide better shock isolation for the CS1. BUT it is at the expense of support!! A heavy wind screen such as the Lightwave or the Rycote will cause too much sag in the mount and it is possible that the windscreen will bang against the front of the shock mount. SO.... For most microphones .. use the K-SM For short microphones such as the CS1 use the K-SSM We have not yet introduced the Long Shock Mount.... and we might not need to. If you are willing to put up with the sagging microphone to achieve the best isolation specify "SOFT RUBBER" on your order. We supply normal rubber unless requested. Now that we are manufacturing ZEPPELIN Fuzzy windscreens it is possible to have the best of both. The K-SM or K-SSM with soft rubber is much more useable with the very light weight K-Tek ZEPPELIN fuzzy slip on windscreen. Our Fuzzy windscreen shock mount combination unit uses the soft rubber as standard. Hopefully this will not be construed as commercial, but I thought that it was time to relieve some of the confusion." Thanks, Manfred What sort of wind suppression system do you intend to use on your CS-1e? That may have more of a bearing on the suspension mount you choose.
  3. Short list is: A second Schoeps cmc641. Cinela Pianissimo Zeppelin with cmc641 and MKH-50 suspension mounts. Cinela PIA-1 for cmit5u. Another Loon Penta boom pole, probably a 15-footer.
  4. My vote is for the SGS-Boom QR system (newest generation). I ordered one and used it for a week. So pleased I put their QR system on all my boom poles and suspension mounts.
  5. Just curious if anybody here has had hands on time with the new Cinela Pianissimo. What's your take on it? Thinking of getting one for my MKH-50 and an additional mount for my cmc641.
  6. Resurrecting this thread to respond to Bob's post. I've spent some time using the Sound Guys Solutions second generation quick release system. It is friction based so there is no damage to the threads on the boom pole tip. I like it a lot. It is rock solid with my cmit5u inside a Rycote WS 4 Kit. Attached photos show their QR system with a Cinela OSIX mount. If you're thinking of getting a QR system definitely consider the SGS system. Just be sure to get the second generation model with the lever.
  7. Thanks to all for the great input. I've had both the MKH 50 and the cs-3e on my short list for the past five years and I decided to pull the trigger on an MKH 50 today. Next purchase will be additional sound blankets and room treatment options. David, thanks for the suggestion of the talent giving themselves a beat in-between lines. Duly noted. Much appreciated guys!
  8. I've been using a Schoeps cmc641 and a Schoeps cmit5u as my "go to" mic's for the past four years. Great sound and happy clients. This week I've had two back-to-back jobs with rooms with lots of echo. One was a large storefront with concrete flooring, 24-foot high metal ceiling, and all glass windows at the front. It sounded like a cavern. I hung half of my sound blankets and put the other half on the floor and ended up using a DPA 4061 lav for most of the shoot, then used the cmit5u and DPA 4061 lav for one segment. Today I had an interior shoot in a house with 9 foot ceilings and hardwood floors. I got to hang a few sound blankets but could not place any sound blankets on the floor due to the wide shots. I tried both the cmit5u and the cmc641, but both were too "boomy" for the producer. He had a Sennheiser MKH 60 on hand so I threw it up and I was surprised at how much of the ambient room noise was tamed. I know there are no easy answers for this situation but does anyone have experience with particular mic's that have helped out on interior shoots with excessive ambient noise and echo? I've researched as much in the forum as I could locate as well as contacting some trusted colleagues. I'm really not in the market for another mic. I'm a firm believer in not buying anything until I need it. But If I had to pull the trigger on a mic today--if it would help in this sort of environment--it would likely be a Sennheiser MKH 50 if it performs as well (or better) as the MKH 60 performed on the shoot today. Would like to hear of any mic's that have performed well for others in this situation.
  9. Thanks for all the input. My seven year old Samsung flip phone just had it's last leg kicked out from underneath it this week. My daughter's dumb phone is giving up the ghost. Mother's Day is on Sunday. Headed to the Apple Store first thing in the morning for three new iPhones. Time to bite the bullet and to pay the piper.
  10. I've put off getting a smartphone for the past seven years for most of the reasons listed here and then some. My old flip Samsung has been totally adequate for my needs. Why buy the entire Snap-on Master Mechanics tool set if you only need a screwdriver and a hammer? But technology has caught up with me this week; I'm starting to miss emails/texts. I have to recharge a new OEM battery several times a day just to keep my phone operable. My daughter's four year old dumb phone gave up the ghost today and Mother's Day is on Sunday. Going to the Apple Store tomorrow for three new iPhones. Time to bite the bullet and to pay the piper.
  11. I remember seeing some of Dean's cars on the Autorama circuit. A true craftsman. RIP.
  12. iPhone 6 was supposed to be released in July 2013. From what I'm reading it may be bumped back to mid-2014.
  13. Thanks Jeff. That's exactly what I'm hearing from most of my co-workers here. I don't mind springing the extra cash for the iPhone 5 if it is really worth it compared to the iPhone 4S.
  14. My six year old dumb phone may be on it's last leg and a replacement looks imminent. I've held off purchasing a smart phone for years because the last thing I want is a "yuppie status badge" and a carrier holding a gun to my head with their data package. Ahhh . . . I feel better getting that off my chest. That being said I know smartphones are a great tool and the time has come for me to maintain better contact with my crew members. Should I get a new iPhone5 or the iPhone 4S? Features aren't super important to me, but best value-- not necessarily cheapest cost--for technology and ease of keeping in touch are what's important. Any input greatly appreciated.
  15. I purchased a RODE NTG-3 primarily as a back-up mic for extremely wet or humid environments. It's really impervious to the elements. No RF issues with it where I'm located, but it rarely comes out of my bag. It's not my go to mic. My two cents if I were in your shoes is you're a step ahead if you duplicate your mics and go with a second 416 (used or new) and get your current 416 repaired. If you ever need two identical mics then you have immediate access to them. If your second mic choice is strictly a back up mic only that will rarely leave your bag then the NTG-3 is a good option. Not the equal of the 416, but similar. If you're after an alternate mic altogether then let your own ears and budget pick what works best for you.
  16. Not the most portable but definitely the most comfortable for my back: a Ford Smart Ass drum throne. I may add a back rest at some point down the road. This thing rocks.
  17. I can offer some input to partially answer your question. At my last production company we used the Porta Brace sling for occasional run 'n gun assignments with either a SD MixPre or a Shure FP33. Very comfortable and easy to slip off and on. It may be a good choice if you don't need to constantly monitor settings. We ultimately used the sling more for one man shoots to carry two Sennheiser G-2 RXs wired to the camera and a Panasonic FireStore unit. For that purpose, the sling was great. My old boss actually preferred it to a traditional audio bag. Nowadays I'm using my SD 302 in a Petrol 601 bag and I would always prefer to have my mixer/recorder in front of me. But hey, give it a shot and see if you like it. Would like to hear your feedback after you get a chance to work with it.
  18. John is absolutely correct about technique. For me I've used a number of soldering irons over the years, but few have ever lasted all that long or they became prematurely obsolete because of lack of parts availability. For me it all comes down to cost versus value. I don't mind paying more for a tool if it means that I can grow old with my equipment. If I'm only going to use something once or twice, I pay as little as possible. If I'm going to use something on a regular basis, my preference is for something that will last.
  19. You might consider the HAKKO 936. It's been discontinued but has a loyal following. Can't say enough good things about my 936. You should be able to snag a new one for under $100.00.
  20. I've used both the Sankens and the Schoeps. Both are great mics and have their respective merits. Outside of that which mic do your ears prefer? Once I used the cmit5u it was over for me. Love the sound. In post I can close my eyes and it's as though the person is there speaking in the room . . . really natural sounding. I also love the fact it only weighs 3.13 ounces when I boom. Both are great choices, you really couldn't go wrong with either for a first mic. But the cmit5u gets my top vote hands down.
  21. +1 on Eric's recommendations. The Rode NTG-3 has a slightly more forgiving pattern than the 416 and is nearly impervious to humidity. The Sanken CS2 is also a great call. Agree with John to get wind protection.
  22. My favorite new trouble makers: Vintage Trouble, tearing it up on Letterman. (Song begins at 0:19) http://www.youtube.com/watch?v=ThZZnS4Jvwc
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