Ty Ford

--- 2019 ARSC CONFERENCE: PORTLAND, OREGON ------ HOTEL RESERVATION DEADLINE: APRIL 12 ------ EARLY REGISTRATION DEADLINE: APRIL 19 ---Please join us for the 53rd annual ARSC conference, May 8-11, 2019. The conference programs will take place at The Benson, an historic hotel in downtown Portland, Oregon, which is within striking distance of several of the city's many record stores and Powell's City of Books.April 12 is the deadline to reserve a room at The Benson at the special conference rate. We recommend booking as soon as possible, since the ARSC room block may be sold out prior to the deadline. Please also note that the guest amenity fee of $25 listed on other websites DOES NOT APPLY to the ARSC group rate. To avoid this fee, you must make your reservation by phone or online using the link on the ARSC conference website.For more information about the hotel, room rates, and reservations:http://www.arsc-audio.org/conference/2019/hotel.pdfApril 19 is the deadline for discounted rates for conference registration.After that date, registration fees increase.For online registration:http://www.arsc-audio.org/conference/register/April 19 is also the deadline for discounted rates for the May 8 pre-conference workshop, "All Things Digital: Digital Audio Workstation Basics." The full-day, hands-on workshop will give attendees a practical overview of digital audio workstation use for archival applications.For a complete description of the workshop:http://www.arsc-audio.org/conference/2019/ARSC2019_workshop.pdfFor the updated preliminary schedule:http://www.arsc-audio.org/conference/2019/ARSC2019_Program_Schedule.pdfConference presentation abstracts are now available:http://www.arsc-audio.org/conference/2019/ARSC2019_Program_Abstracts.pdfFirst-time attendees are invited to attend a Newcomer Orientation and participate in the Conference Mentoring Program during the ARSC Conference.Sign up here:https://www.surveymonkey.com/r/SR7RLK2Conference program highlights include:-- Opening Plenary Session, "The Music Modernization Act and You: Discussion and Celebration" featuring Tim Brooks, Eric J. Harbeson, and the Internet Archive's Brewster Kahle and Derek Fukumori.-- "Recent Developments in Audio Retrieval via Optical Methods," featuring an international panel of experts.-- Pacific Northwest-related presentations on The Wailers; Mel Blanc; Phil Moore; radio stations KBOO and KEXP; "Scandihoovian" dialect singers; Portland's DIY punk scene (featuring Mike Lastra); music of Alaskan Interior Athabaskan communities; plus noted Oregon collector John Tefteller on rare radio recordings by Laurel & Hardy.-- Topical sessions touch upon the Black Swan label; Mahalia Jackson; The Nat Turner Rebellion; Roosevelt Sykes; Twin-Six guitarist Jack Penewell; recordings of concert spirituals; rare recordings of Mahatma Gandhi; the roots of the folk music revival; Yiddish audio collections; and the WBAI show "Radio Unnameable."-- Other technical sessions include a discussion on how to leverage mass digitization projects; the preservation and playback of lacquer discs; using PBCore metadata; and recent developments in the transfer of wire, Dictabelt, and Magnabelt recordings.-- Evening sessions open to the general public, with no admission, include:Thursday: "Ask the Technical Committee" and "Q&A with Discog's Kevin Lewandowski" (tentative).Friday: Collectors' Roundtable, where local collectors are invited to bring a crate of records they would like to sell or trade, and/or a record or two for discussion (a turntable will be provided).On Thursday, the Women in Recorded Sound Social will take place from 5:30p.m.-7:00 p.m. (location TBA; attendees pay their own tab).Last, but not least, please consider making a donation to the ARSC Silent Auction.Details are here:http://www.arsc-audio.org/conference/2019/ARSC2019_Silent_Auction.pdfThe Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals -- everyone with a serious interest in recorded sound.

what about latency?

persactly

Thanks, Marc! Very Cool!

I may be helping a friend create some dramatic radio programs and Foley files will probably be needed. Any ideas on good, better, best, cheap? New/ Used? My thought is that having (or putting) them on a HD so they can be called up and previewed easily in Pro Tools would help.

Hahaha, a great thread! 😀 When I first heard the 8050, I stopped because it was more "sizzle and boom" (LF and HF) than I wanted. Maybe the response of the 8060 is different. Spekter, when you compare the 416 to the NT1A, are you doing real work or just listening for selfnoise? When doing real work, if the self noise is a problem, then move on, but don't sell your MKH416. You may come running back to it.

I've been thinking about this recently and......I think if we continue to hold onto this thought that "sound gets no respect" that it will only continue the problem. I have a soundie friend. We were talking about a local producer. He had NOTHING good to say about him, especially how he acts with him, e.g. - No Respect. I've worked for this producer and have never had a problem. So, the question is, WTF? Is it something I do or don't do? Is it something my soundie friend does or doesn't do? I don't know, but I'd like to open this up and see if we can come up with answers. It's probably two-sided. Something we're doing or saying, they way we react, and also something they are doing and saying to which those of us who perceive this problem respond. Can others chime in here? What are your experiences? What do you do if you find yourself in a bad situation with a producer, lighting person or whatever? I've done local, mostly small budget work, spots, non-broadcast and small budget narratives. No major union work. I am hired by people I know and by people I don't know. I'm not sure that has anything to do with it. Procedurally, I let the producer tell me what he/she is going after and how they would like me to proceed. If I hear something in a take that's a problem, how do I relate it to the producer? Do I say something to them, is it a look or maybe just a head shake from me that says, "no?" If it's questionable, and I'm the only one hearing the sound, I'll ask the producer to listen to the take. This gets me out trouble if someone later has a problem with the sound. If the producer says, "no, that's ok. I don't want to hear the take." I tell them that they really need to because I don't want to run into problems later. Again, most of my work is non-union so after I get set, I'll ask if anyone else needs help. Typically they don't, sometimes they do, but just asking sends a message of willingness and teamwork. Is this a problem for everyone? What do you think we can do to solve this problem?

Where are you?

Hmmm, a lav's placement can noticeably effect the sound, even on the same person. In some cases, wouldn't you be trying to improve the sound from a particular scene so that it matches "better sound" from a previous scene, or maybe the next scene? As in, not using a lav in a scene even though one was used because it definitely doesn't match the boom used before or after? Regards, Ty Ford

I suggest a change of medications? Regards, Ty Ford

They were working on this just before IBC. I don't know where they ended up. Regards Ty Ford

latency

I own some. I am sent some for review. I am lent some when it comes to making comparisons. Yes, having them in your own hands (in the flesh) is a wonderful thing. If you can get a good reputation with a retailer, they will sometimes send you a mic to compare. I mostly deal with manufacturers and distributors. If you're in NYC, B&H has a microphone room in their Manhattan store. It's a very dangerous place.

Jan McLaughlin has a good trick.

Yes, I have tested the Octava/Oktava, Audix and AT. Both of the latter are good. Not as good as a Schoeps, but better than the Octava/Oktava. You really need to hear them, including the Schoeps and DPA. Although they all look more or less alike, they don't sound alike. If you can't tell the difference, then, fine. If you can tell the difference......

Well put, Phil. Cambob, what have you been using all this time to have an Oktava/Octava be your "first real mic" and what are you shooting on? The fact that B&H doesn't even carry Oktava/Octava mics should be a good warning. They do carry the Audix SCX-1HC https://bhpho.to/2QOINcs which is a step above the Oktava, as is the AT 4053b. https://bhpho.to/2xFajjP A lot has to do with how well your ears and brain process sound. People who do sound for a living (and are still doing it) usually hear differently than those who don't. There is a learning curve, but some begin higher on it than others. Still others never get there. Regards, Ty

https://tyfordaudiovideo.blogspot.com/2018/09/deity-s-mic-2-shotgun-microphone-third.html

With the screen name "cambob3000" I guess you're a shooter? If you are a student as your profile indicates, and this is your first mic, what's your day rate? I ask because there's been a lot of talk about slipping day rates and undercutting in LA. As important as your first mic is to you, at least as important is how you fit into your market. Do you have professionals you can learn from? Regards, Ty Ford

Introduction The application of MEMS (microelectro-mechanical systems) technology to microphones has led to the development of small microphones with very high performance. MEMS microphones offer high SNR, low power consumption, good sensitivity, and are available in very small packages that are fully compatible with surface mount assembly processes. MEMS microphones exhibit almost no change in performance after reflow soldering and have excellent temperature characteristics. Figure 1 Top port and bottom port MEMS microphones MEMS microphone acoustic sensors MEMS microphones use acoustic sensors that are fabricated on semiconductor production lines using silicon wafers and highly automated processes. Layers of different materials are deposited on top of a silicon wafer and then the unwanted material is then etched away, creating a moveable membrane and a fixed backplate over a cavity in the base wafer. The sensor backplate is a stiff perforated structure that allows air to move easily through it, while the membrane is a thin solid structure that flexes in response to the change in air pressure caused by sound waves. Figure 2 Cross-section diagram of a MEMS microphone sensor Figure 3 A typical MEMS microphone sensor viewed from above Changes in air pressure created by sound waves cause the thin membrane to flex while the thicker backplate remains stationary as the air moves through its perforations. The movement of the membrane creates a change in the amount of capacitance between the membrane and the backplate, which is translated into an electrical signal by the ASIC. MEMS microphone ASICs The ASIC inside a MEMS microphone uses a charge pump to place a fixed charge on the microphone membrane. The ASIC then measures the voltage variations caused when the capacitance between the membrane and the fixed backplate changes due to the motion of the membrane in response to sound waves. Analog MEMS microphones produce an output voltage that is proportional to the instantaneous air pressure level. Analog mics usually only have 3 pins: the output, the power supply voltage (VDD), and ground. Although the interface for analog MEMS microphones is conceptually simple, the analog signal requires careful design of the PCB and cables to avoid picking up noise between the microphone output and the input of the IC receiving the signal. In most applications, a low noise audio ADC is also needed to convert the output of analog microphones into digital format for processing and/or transmission. As their name implies, digital MEMS microphones have digital outputs that switch between low and high logic levels. Most digital microphones use pulse density modulation (PDM), which produces a highly oversampled single-bit data stream. The density of the pulses on the output of a microphone using pulse density modulation is proportional to the instantaneous air pressure level. Pulse density modulation is similar to the pulse width modulation (PWM) used in class D amplifiers. The difference is that pulse width modulation uses a constant time between pulses and encodes the signal in the pulse width, while pulse density modulation uses a constant pulse width and encodes the signal in the time between pulses. In addition to the output, ground, and VDD pins found on analog mics, most digital mics also have inputs for a clock and a L/R control. The clock input is used to control the delta-sigma modulator that converts the analog signal from the sensor into a digital PDM signal. Typical clock frequencies for digital microphones range from about 1 MHz to 3.5 MHz. The microphone’s output is driven to the proper level on the selected clock edge and then goes into a high impedance state for the other half of the clock cycle. This allows two digital mic outputs to share a single data line. The L/R input determines which clock edge the data is valid on. The digital microphone outputs are relatively immune to noise, but signal integrity can still be a concern due to distortion created by parasitic capacitance, resistance, and inductance between the microphone output and the SoC. Impedance mismatches can also create reflections that can distort the signals in applications with longer distances between the digital mic and the SoC. Although codecs are not required for digital MEMS microphones, in most cases the pulse density modulated output must be converted from single-bit PDM format into multibit pulse code modulation (PCM) format. Many codecs and SoCs have PDM inputs with filters that convert the PDM data into PCM format. Microcontrollers can also use a synchronous serial interface to capture the PDM data stream from a digital mic and convert it into PCM format using filters implemented in software.

I didn't like the 8050, too much sizzle and boom (highs and lows), not enough mids, but then I like the Schoeps sound, or DPA 4017, 4018. https://tyfordaudiovideo.blogspot.com/2015/09/dpa-boom-mics-4017-and-4018-with-mmp-b.html

You say, "Sennheiser..in south Africa." Is this a dealer or does Sennheiser have an office there? What does the place say about the different length?

Don't have any intel on the 4080, but do have it on the b2D https://tyfordaudiovideo.blogspot.com/2014/02/countryman-b2d-cardioid-lav-another.html Regards, Ty Ford

Does your camera have a 1/8" stereo TRS input jack? Here's my review of the Audio Technica AT8024. https://tyfordaudiovideo.blogspot.com/2017/07/audio-technica-at8024-good-things-in.html Here's an AT8024 in use at a local Community Input Meeting. Regards, Ty Ford

Hello Mike, Thanks! I think Paul Terpstra said they redid the math on the shape of the dish about 7 years ago. You'd have to check with Chris Countryman. I suspect it was passive. Do you have any samples of those recordings up on the web anywhere? Ty

Hey, I got the 26, 16 and 9-inch dishes after NAB and have had a great time hearing what they bring to the party. https://tyfordaudiovideo.blogspot.com/2018/07/klover-parabolic-collector-microphone.html Regards, Ty Ford