Ty Ford

Similar gain is NOT a good place to start. In order to test properly, you'd have to have someone speak into both mics to make sure the level of signal was the same, then listen for noise. That's because different mics have different sensitivities. If the 416 is 4 dB more sensitive, then adjusting the gain down four dB will also reduce the selfnoise. Even though YouTube's stuff, the 416 selfnoise is louder by at least several dB, based on raw listening on my MacBook Pro. There's also some spectral difference between the two, with the 416 sounding more hissy.

If you look at the field of mics, and choose only shotguns with RF biasing, you get Sennheiser and the Rode NTG-3. I don't have a milliamperage figure for the NTG-3 at the moment but have reached out to someone who should know. (New info from Rode: It requires full spec phantom power and at least 5mA.) Rode very wisely chose to use the RF biasing to decrease humidity problems. That begs the question of humidity problems. With my CMC641, which I have now owned for over 15 years, I have only had two incidents of humidity problem noise. That's back when I was overly scrupulous. I would dis-assemble the capsule and body after use and store them separately. I cleaned the contacts and stopped doing that and my humidity problems never happened again. My thought is that perhaps exposing the circular gold contacts allows air and schmutz to collect and that creates the noise. If you've never cleaned those contacts, perhaps you should. Be careful! Don't apply liquid cleaner in such a was as to allow it to drip down inside the power supply or capsule. Hold those parts with the contacts aimed DOWN and clean them (gently) from beneath. Most of my work has been done in the Mid-Atlantic US. In Summer, it can be EXCEPTIONALLY humid here for days at a time. I don't have data on Amazonian Rain Forests, but sometimes the air is so thick here that you can't see the top of a 1200' broadcast TV tower. Finally, one mic will probably create few problems other than shorter battery life, however, I have heard of situations in which multiple amperage-hungry mics could not run on a mixer or console because its amperage rating of the mixer/console Phantom Power supply was not sufficient to feed multiple "hungry" mics. Regards, Ty Ford

or.........not what you were looking for, but........https://tyfordaudiovideo.blogspot.com/2017/07/audio-technica-at8024-good-things-in.html Regards, Ty Ford

there you go!

http://campaign.r20.constantcontact.com/render?m=1103933566128&ca=5d1434fb-5f14-47bd-a601-bd8a34efbb47 Or do you enjoy making 'em yourself? Regards, Ty Ford

My concern would be whether or not you have some sort of isolation to keep structure-born noise from getting into the mics. Suspension mounts? Regards, Ty Ford

Yeah, I like the feel of that. Thanks! Ty

Not a good idea if you're trying to record true MS. The mics have to stay together so that what you get after decoding will be usable. Regards, Ty Ford

Thanks, Eric, Phil, wanna be my managers?

Hi, I have a good friend, a soundie, who has been asked to put down the boom and sit behind a workstation to post some podcasts or radio programs. He's asked me for some 1-to-1 Pro Tools training here at my studio. What do I charge the company he works for for the sessions? Thanks, Ty

Nice little addition to your gear bag, https://tyfordaudiovideo.blogspot.com/2017/12/schoeps-minicmit-small-light-superior.html Regards, Ty Ford

Eric made these adapters for me some time ago. Good work!

Cracker Jack surprise toy?

+1 for the Sennheiser for visible lavs!

Maybe this'll help. https://tyfordaudiovideo.blogspot.com/2015/09/dpa-boom-mics-4017-and-4018-with-mmp-b.html Regards, Ty

Here's my final report. Some neat stuff. https://tyfordaudiovideo.blogspot.com/2017/11/aes-nyc-2017-part-2.html Regards, Ty Ford

compared to what. Christian?

Hi, I've just published my latest review. The Aston Origin Cardioid Condenser mic. At $299....I'd say it's underpriced. http://tinyurl.com/ydy9rzlm Regards, Ty

Yes. Inside, where you may be dealing with room reflections, closer is quite often better (unless you have a weird reflection problem) and the interference tube is not your friend for that reason. OTOH, the Sanken CS3e's element is at the tip of the mic, not at the base of what looks like an interference tube. It's a completely different design. And, yes, a CMC641 supercardioid with proper wind cutter does a fine job outside. BTW, an interference tube shotgun mic can be a poor choice outside if there's enough ambient to the side. The polar pattern of shotguns is sharp for HF, but a lot wider at mids and lows. You'll hear them on a "car-by" at 90 degrees.

WHAT! You disabled the ceiling mount feature!?!?!?!? ::joke:: Ty Ford

I'm a relative latecomer to this specific arena. My early acquisitions were Astatic, Lafayette and Radio Shack and a Shure M67 mixer manufactured before the conventions of male XLR output, female XLR input. I still have the beyerdynamic M101 omnis and the M160 ribbon. About six years ago, I scored a free full track Nagra (and external power supply) for my equipment museum. It was headed for the dumpster at an unnamed network in Washington, D. C.. Not two months later, I had a friend call with a quarter inch master of two songs that were the A and B sides of a local 45 rpm record. The box was marked Full Track Mono. The transfer to Pro Tools was glorious. The mix, done at Rodel (probably by Nelson Funk) was great. My friend was happy to get an emailed mp3. The SV255 Panasonic portable DAT never got as much use as I planned, but I still have two highly functional Panasonic SV-3900 and a hardwired remote control. Occasionally someone calls with DATS and off we go. I also have a functional 8-Track player; probably my most arcane bit of kit, but I am surprised that I still hear from people from time to time. et cetera......

AT has a tendency to lay back and seldom seeks the cutting edge, but when they do, it's pretty remarkable. Their AT5040 studio mic is one example. Here's my review of it. https://tyfordaudiovideo.blogspot.com/2013/08/audio-technica-at5040-quad-diaphragm.html?m=1 Regards, Ty Ford

Jeff Wexler was talking the other day about how Peter O'Toole's voice could be heard at a whisper a block away. I was diving into old movies last night and watched part of the first Pink Panther film and then Alice B. Toklas - It was a Peter Sellers night. Via streaming over a Chromecast, I found the first film moderately unintelligible and about half of Alice B. Toklas the same. Some actors popped out a bit but half were in the mud. Too much in the 100-300Hz range, if I were to guess. Do you think that was a bad transfer somewhere up the line? We were also discussing Jim Cavizel's whispery dialog on "Person of Interest" and how difficult it must be to catch his voice. Jan McLaughlin said Noah Timan did the work on that show and it won him an Emmy nomination. I don't know if you've ever watched the show, but it's a miracle how much separation he gets given how quietly Cavizel speaks. Noah, if you're around, can you tell us how you do that? Regards, Ty Ford

Many designers could learn something from Mr. Neve.

that's what they said about VHF wireless.