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About Winter

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  • Birthday 11/23/1978

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  • Location
    Barcelona (Spain)
  • About
    Location recording and post-production
  • Interested in Sound for Picture

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  1. Well, we were talking about preamps and how similar they are; I strongly disagree with this assumption. Do you say that they are less important than a proper wardrobe on talents? I cannot agree more of course, but maybe this is another topic.
  2. I'm non saying that it doesn't work, I'm just saying that the you have to work harder to not mess up the sound. And please, let me say again that I will likely work with an F8, because is a really clever machine, but the sound you get from a better recorder is...better. How big the difference? This is strictly subjective. But difference in tone are there, you can easily spot them in any of the above clips.
  3. I cannot share raw clips of my jobs since either I have no right to do it (mostly advert.) or they are already mixed (tv shows) and of course I haven't performed any a/b test in any real job. Also I do not have them physically on my hard drives since once I give them to the client or agency I format the cards and do not have any back-up. Anyway, big differences are pretty clear in any of the clips posted above, the sound in them speaks for himself.
  4. There are people who think the Earth is flat. Since I've spent thousand of hours with both in the last year (633/mixpre6) I can firmly say that they have to be tone deaf. The difference you call minuscule is definitely not and get even bigger once you're at post stage and try to de-noise, equalize and compress. Don't misunderstand my assumption, the F8 (and the mixpre for that matter) are lovely machines, cheap and nice, but don't let be fooled by marketing and reviews (made by who?), they are not as good as other and much expensive option, specially the analog side. Maybe somebody c
  5. Really? Make yourself a favour, be objective. While being totally usable, is totally unfair saying that they are in the same category. I have used/heard extensively all them for both music and dialog recording, and they didn't sound the same by any means. It's not an opinion, it's a fact, and when you get in a studio with real monitor system you will notice it immediately. I would love to buy a 1000 $ recorder that equals a 5000 $ one, but this machine doesn't exist yet.
  6. For what you need, your best bet in town is Ovide: http://www.ovide.com/
  7. +1 on this topic, even if I'm not that lucky to have to deal with Pauline Oliveros accordions....a nice stereo pair worked best for me
  8. Lucky you Philip! I remeber some time ago you were also working with Philippe Jaroussky, very different fields, same top musical level. I would love to work with people like Bob Mould, always been a fan too
  9. The first spanish customer it's me... Very handy little product! I've spend several days working with a cobraclip on my boompole and, believe me, once you start using it you can't come back anymore. I also have to say that customer support at Cinesonics is second to no one, really impressive (thanks Pedro!!!)
  10. Another question...are the hpf filter working in the analog domain (before AD) or not?
  11. Great Philip!!! I like the music very much, not everyone's cup of tea I guess, but personally I really like it. Do you like Pascal Comelade's work? He has been probably inspired by music like yours (other than minimalist composers like Reich, obviously).
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