jdutaillis

I had a little trouble with my CMIT once and turned out one of the screws was loose and causing a weird grounding issue. Try tightening everything.

Too much drums?

I'd recommend a 788t-SSD for certain.

There's a few great articles over at designingsound.org on recording cars: http://designingsound.org/2014/07/a-brief-tour-of-automotive-sound-sources/ http://designingsound.org/2010/08/rob-nokes-special-guide-to-recording-cars/ http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/

Thanks for the mini review! My windshield kit is getting a bit rough around the edges so was thinking of getting a new one when these were announced. Keen to hear more about the differences, pros/cons, etc. before I decide and update.

I'd put in a vote for the 702. It was the first recorder I bought, just over 3 years ago, and since then I've taken it throught Nepal, India, Cambodia and across Australia and never had a problem with it! As people have mentioned it only records to a single CF card but that's never proven an issue for me (yet!). The sound quality is fantastic. That being said, I'll be scooping up a Sony D100 as soon as they are released for a more portable, carry everywhere, alternative.

I'm often using my 702 or 788 purely as a mixer on shoots. Of course I record everything myself as a back-up but they dont know that. Should something go wrong (which is thankfully yet to happen!) I've got myself covered. If they want the files or iso tracks I can pass/sell them on. As is being said above, it'll only become an issue if we make it one.

I didn't even get an "it depends". I'm disappointed!

That's what I meant by "more detailed information" above. You've explained it much more eloquently though. As JackHenry reiterated, I really just want something to thrown in a bag and carry with me all the time. A point and shoot device if you will. If I'm actually out recording I take my SD and Schoeps MS rig.

Exactly. You get added information (provided you're using a mic that can capture over 20kHz) and you get more detailed information in the regular higher frequencies (20kHz and below). When slowing down these recordings you get a better result.

For recording SFX you plan on pitch shifting down, the added resolution gives better results. I understand the limitations of internal mics but why not still record them in the highest possible quality?

It definitely seems that the Nagra SD and Sony PCM-D100 are the two main options here. Anyone have any experience with either or both?

I'm looking to purchase a portable field recorder to keep on me at all times, in order to capture those golden sounds we all come across day to day. I'm well aware of the usual suspects (H4N, M10, etc.) but what would you consider the creme de la creme, the absolute god of the portable field recorders? Some more background info: I want a recorder with built in or small attachable microphones. External mics and pres are a no go for this one. Has to be a single handheld device. I currently have a beautiful location rig consisting of sound devices recorders and schoeps/dpa mics, etc. This would be purely for spur of the moment capturing, not planned recording sessions, something I can whip out at any moment and start recording. 24/96 is essential, 24/192 would be ideal. We'll pretend that price is no object just for arguments sake. Cheers! Jo

Nah, Hoyts Extremescreen. I've gone off IMAX a bit lately. Its just a bit too big! Wish there was a cinema with atmos in Australia though! Even NZ have one

Definitely check it out guys. I saw it last week in 3D and loved it. The sound is incredible as are the visuals. Be warned though, it is an exhausting experience.

This guy knows what he's talking about. A well placed stereo pair will always sound better when recording these kind of performances that a bunch of spot mics. I highly recommend Schoeps or DPA. Personally I like and ORTF configuration as well.

Funnily enough I stole the idea from John of acoustic light as well!

You're very welcome! Though it would help

Check out the bag I use for my MS rig. I did a blog post on it two years ago: http://soundrelated.com/my-rig/ I've traveled Nepal, India and Australia with it and it's still in top condition, and works perfectly for my set up.

Ah, but the shot was from the other side.

Here's a spot mic I did using a cos11 on a short last year.

Thank you to everyone who has contributed to this great thread, especially Chris Newman. It has been informative, inspiring and, as someone who works on location and in post sound, very reassuring.

So much awesome in this film. Dave Grohl did an amazing job. Can't wait for the album to come out and the Sydney tour!

Agreed on all points

I find the posts in this thread so interesting. It seems there is a huge difference in the budget expectations of film making between the US and Australia (which is no secret), especially in the indie market which we're talking about. I've worked on over 20 short films in my very limited career so far, usually doing the location and post sound work all myself. Not one of the films I've worked on had a budget anywhere near to $30k and of course a lot of them leave a lot to be desired once finished! However a lot of them are also amazing films and have played in festivals across the world. Budget isn't everything and certainly isn't required to produce a professional quality film, especially if you have a passionate and committed crew.