Jaymz

ah, I understand what you mean.

I mixed a feature-length drama last month. The shoot was 4 weeks long, budget was approx 300,000 USD. Production wise, I'd only done shorts until then. I do want to avoid pretentiousness, but being able to say I mixed something that was feature-length is very helpful. So am I able to say I've worked on a "Feature Film"? Or should I always specify it was low-budget?

If it's for effects recording, then there's another reason for 192khz. It allows effects editors to alter speed/pitch with less digital artifacting than 96khz. Though 96khz is still a good resolution for this imo.

PM sent.

I've found my Petrol Bag (602) is easy to quickly detach from and set down somewhere with the boom resting across it. Leaving the harness on, of course.

It's possible, I've thought about doing this if I ever need extra ISO's. 4 x ISO's on the 744, 1 x extra ISO on 552 Left channel, then the mix on 552 Right channel.

Thanks, mate. Appreciate it. For the final (with the orchestra) the main stand you see in the video has a pair of Schoeps MK21's (sub-cardioids) on it. To the right of the piano from that same perspective (so opposite end from the player) was a pair of Schoeps MK2S's (omni's). For the winner's encore (solo piano) the stand with the MK21's was up against the stage wall. MK2S pair was in the same place as the final. Recorded on a Sound Devices 552/744t setup. I certainly can't take all the credit, that mic placement was suggested to me online by a wonderful veteren classical recordist in Georgia (Rich Mays).

Interesting....a similar problem to what I described? Both my MKH8060 and MKH8040 just arrived back. The 8060 is a brand new replacement, the 8040 is the same one I purchased as far as I can tell....which is interesting. So far they seem fine, but time will tell, since the issues I had in the first place only occurred on occasion.

I'm in the 4th week of my first feature using a 744t/552 setup. Pretty much everything you've mentioned is how I've done it. Top-Level is "Name of Film", then mid-level is set to "Daily" which automatically creates a daily folder each day (when the date changes, it will ask you if you want to make a new one). Recording to the INHDD and a CF card, which I give to the data lad at the end of each day for transfer to the company HD's.

A few different Sennheiser USA repair reps told me on the phone during the last few weeks. I've called a few times to check-in and get an update on when I'll get the replacements, since I'm currently working on my first feature film.

It's hard to explain. For me, a static noise would quickly fade in, followed by a loud "pop" every now and again. I was told that it was a manufacturing error with the XLR connecter (specifically, the proprietary screw-on connection used in the 8000 series). Most users don't have this issue, it's limited to a certain number of 8000 series mics. By all means, don't take my word for this. Call up Sennheiser for confirmation.

I recorded all the interviews in this mini-doc with an MKH8060 : (offtopic, I recorded the orchestra/pianists as well using 2 x shcoeps stereo pairs). Be aware though, some people have been having issues with the 8000 series randomly clicking and popping. Both my 8060 and 8040 suffered from the issue and have been sent back for replacement. The 8060 started doing it after 2 months, the 8040 after 1 week. Apparently it's a manufacturing issue that only affected a certain number of mics, but still something to be aware of.

As far as I know, the orchestra itself won't have any solo spots. It's focused on the pianists (finalists) with the orchestra accompanying. I'll know for sure when I receive the program and will have to adjust my renting accordingly if required. For now, my plan is a main XY or ORTF pair overlooking the pit and a spaced or MS setup on the piano itself. For the clients expectations, I've discussed it with them. They'll get a basic stereo "mix" of everything for reference (or however they want to use it) and access to the raw files if they want to take that to a studio for a proper mix and master.

I spoke to audiorent in California, I'll probably go with them. I'll give Masque a call too, thanks. Of course, one of the reasons I need to rent some stuff. But I got picked up to do it and figured somebody here would know more rental places in my area (I've only been living in the US for 4-5 months).

Next month I'll be recording for the Florida International Piano Competition. 5 days (1st and 2nd rounds) are just piano. 1 day will be accompanied by the Orlando Philharmonic. My mic collection isn't suited for this, so I need to rent a decent matched stereo pair and an MKH40 (or 8040, or 50, or 8050) to go with my 30. Dates are 6th-11th Sept. I've tried TAI Audio for an MKH50, but they don't have one in currently. Any other places in Orlando I can rent from?

Just saw this posted on facebook a few minutes ago, figured it was worth posting here in case anyone is affected and needs an early heads up...... http://www.sounddevi...al/cl-9-notice/

I know

Have an 8060 myself and this is the exact setup I use going into my 744. Or on the 552 I have the HPF at the initial 80hz position, or slightly further at about 9 o'clock. Using a Rycote Lyre mount.

The specs/dimensions on both product pages are identical. http://www.petrolbag...ags?q=node/1170 http://www.petrolbags.com/PEGZ-2 Great product btw. Had my PS602 for about a month now and loving it.

I just purchased my first wireless kits the other week, got 2 x G3 sets and Tram lavs. I've done some tests and am very happy with the sound. Not so much the range, but that's to be expected. As much as I wanted to go Lectro, I just couldn't afford it at this stage.But as has been mentioned already, I'm sure they will serve another purpose down the road if, and when, I do.

I've never used one, but it's rated for 132db SPL. I've used (and been part of teams that have used) mics with lower SPL's on extremely loud weapons. A 120mm tank gun and 30mm cannons about 40m away for example, none of them were damaged. But as has been mentioned, being covered for damages would certainly be good.

Don't worry about gunshots hitting the limiters, even hitting them hard. If you adjust gain so they don't, you'll end up with popcorn sounding gunshots in many cases and dialogue close to the noise floor.

So I've had my new MKH8060 for about two days now. Certainly like what I'm hearing so far, very impressive imo. The only other short shotgun I own is a Rode NTG-1 and this is both lighter and shorter (and, of course, far superior sound wise). Packaging wise, it doesn't come with a hardcase so that's something to be aware of. The foam enclosure is simply inside the box it comes in. Unlike mics from what Sennheiser are now referring to as the "classic" series, which come with their own hardcases. As promised, here's some samples at 48khz 24-bit. Young female outdoors in a suburban environment. 8060 is about 1.5ft above in a Rycote blimp without the jammer on. Recorded straight onto a 552, HPF on the channel was at about 9-10 o'clock. http://www.realityst...Female_Test.wav A thunderstorm also rolled through today so I decided to try it out in MS with my MKH30. For reference, I'm at the edge of an open garage holding the blimp out as far as possible without it getting any rain contact. http://www.realityst...hunderStorm.wav

Thanks for the link. I actually ordered an 8060 yesterday and will be picking it up on Wednesday. I'll be sure to take it for a practice run and upload some lossless samples for everyone to check out.

Hey Ken, I'm in a similar position here in Orlando. I have professional experience in sound effects recording, but have only mixed 2 x 35mm student shorts so far. So definitely looking to get more experience on-set. If, by any chance, I land something that lets me acquire an extra soundie, I could give you a shout?