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Everything posted by myke2241

  1. i think you need to understand who was using Fairlight to realize it will never be at the level of Pro Tools, Nuendo, logic etc.... my first gig was at a post house in LA that was a Fairlight house expect one room (pro tools). at the time there were around 5-6 places in LA using Fairlight. all the shops were TV / Radio. The Fairlight systems where tied to controllers which made for seamless editing. the method of editing was entirely different than every DAW on the market but it was insanely fast if you were good. if your wondering where clip based fx came from it was fairlight. you could set eq and compression per clip. but the company took too long to evolved beyond this and ad meaningful features. a example was it wasn't a simple task to create a mp3. you couldn't even do it within a fairlight! i believe the company was sold twice since 2002. it wasn't until the late 2000 that Fairlight went to a PC platform with a DSP card. there are some diehard Fairlight users out there and it is a great platform for some people out there. it is powerful and fast in the right hands. it just will never have the user base to compete with the big three. Now that this has all happened i am interested to see what happens to Fairlight as a dedicated DAW. does BMD have any interest in that? i would love to see the Fairlight controllers become cross platform and come down in price. maybe the $10k market.....
  2. hey BTW anyone notice in the marketing image posted the lady is clipping pretty hardcore!!!!
  3. nuendo has more features because it is a native platform. they don't have to develop or maintain DSP cards which is a lot of work. so if you are looking for features ya sure nuendo and logic. for raw power DSP based system will better serve most people. best scrubbing on the planet is Fairlight!
  4. I posted something when Fairlight was purchased by BMD. I found it interesting and wondered what the plans were. I honestly didn't see this coming. Fairlight has a long storied past which many don't know because it wasn't a major daw or just too young etc... whatever it was Fairlight was never a huge company and struggled to grow and almost went under a few times. Which was a scary thing because there were a pretty big handful of Fairlight based shops in LA. Spares and repairs would of next to impossible. Like Pro Tools tdm/hdx it was a dsp based system. Fairlight made some changes to their platform in order to compete with modern daws but remained a small company. Here we are today. It doesn't appear BMD has ported all features from Fairlight over to resolve but all in all this is now the most powerful free daw on the market as long as you can import and export AAF/OMF. Sent from my iPhone using Tapatalk Pro
  5. if Surroundzone is AAX you could just dub your master recording (i know not exactly batch processing). other than that i think Senn has a plugin for their Ambeo mic that converts A - B format but i think it is specific to the Ambeo. You could still give it a try and compare the results.
  6. Wow I didn't see that! Pretty bad marketing. Not buying that coolaid lol Sent from my iPhone using Tapatalk Pro Huh? Canon 85mm L 1.2 is $1900 while a zeiss 85mm 1.4 Otus $4500! Although I agree Sanyang - Canon is probably more financially accurate comparison. Everything else you said was spot on Sent from my iPhone using Tapatalk Pro
  7. Well the price gap between canon L glass and zeiss SLR is jaw dropping too. I never hear people complaining in that neck of Woods. It's the same thing here. The price is justified on budget and application. Use the job calls for. Sent from my iPhone using Tapatalk Pro
  8. I wouldn't say killing it. There are many reasons to purchase a 744. No one is purchasing zoom decks for their pres or automixing, ease of use etc... Zoom is making entry products with good enough feature sets at cheap prices. It fits a lot of people's needs but not all. Sent from my iPhone using Tapatalk Pro
  9. I'm sure a lot of people saw this. Pretty interesting acquisition. I'm wondering what the direction they will be going with this... https://www.blackmagicdesign.com/media/release/20160909-02 Sent from my iPhone using Tapatalk Pro
  10. It looks like zoom purchased the os edirol is using. Sent from my iPhone using Tapatalk Pro
  11. i have a CCM 8 and CCM 41 MS setup too. i actually like it a lot. If it wasn't for cost i think a lot of people would go for the Schoeps rig. the MKH 30/40 combo is the stuff of legends! modern classics in a way at a pretty reasonable cost. they both have their place but if you could pick one it would be 30/40 for me.
  12. The AT stuff is nice for the money but i would still say 416 + MKH30 for a few reasons. the 416 is almost bullet proof in harsh conditions, works really well in a variety of applications, it will give you a decently narrow pickup pattern and it will do ok outdoors and indoors within reason. The MKH 30 is a fantastic mic and will work great with a number of options. also both the 416 & 30 have lower noise ratings then the AT stuff. I don't know what the Ambient QFL Floater is but wind protection is required and certainly a connbox would be ideal to have. If you can rent before you buy that is also a good option.
  13. It really depends on what you are doing. if you wanted to capture atmos at a football game i certainly wouldn't pick up my 416 for my M channel. the image would be narrow and have lots of proximity effect (center exaggeration). on the other hand that would be great for recording something going by quickly like a car, bike, skateboard etc. also think about down the road. MKH 30 is the standard when it comes to a MS Side mic. i rather get a MKH 30 and buy a MKHX0 or MKH80XX down the line when i had the cash.
  14. ill be interested to hear how it sounds. could be a good backup but i may rather have a used HS-P82
  15. That makes sense. Although in the real world it can be real tough to set that up in fast paced environments. i tend to go for space omni when space is permitted. Sounds like a really interesting test. could you give more details about the test, mics used, program, and such?
  16. That was the catalyst for me a few years back and i have been very happy that i invested the time to understand MS more then i did.
  17. i personally have never had someone tell " we had issues with your BG's" and i us MS a ton! additionally a lot of sound recordist built huge libraries based off of MS recordings (your probably cutting with those now) and so much as a second thought going to the stage with those. yes if MS is not setup correctly you can have major issues. but the same goes for AB, XY, Blum etc.
  18. MS doesn't have any issues as long as it is matrixed before mixing. it is perfectly fine in all mix environments when care is taken. truth be told you can have phase issues with any recording even mono recordings. personally i think MS is more useful in most cases because it gives you better mono compatibility then anything else. AB & XY recording techniques don't do this very well. Although each has their place and one is not always better then the other.
  19. Its cool but for me it doesn't replace my 788t. I was really hoping for a pure recorder to replace something in the 7 series.
  20. opps. even those who are using the BBG's with say MKH 50, CMC 641's etc. especially with the revelation that the new material use is so much better.
  21. i like the concept but i will wait. there are some of us recordist here that have questions about MS, XY and more complex rigs like DMS and ORTF that are wondering about sizing. or even those who are using the BBG's with say MKH 50, CMC 641's etc. especially with the revelation that the new material use is so much better.
  22. high frame rates have their place. I'm just no so convinced its in cinema. maybe " UFOTOG " will changed that.
  23. are they releasing their own sfx library?
  24. very nice. where did you get your BDS connectors from?
  25. Sorry but your dead wrong. DPA's main market is sound for wireless applications. Both sound mixers and live sound techs share this market.
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