Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won


Profile Information

  • Location
    New York City
  • About
    Mobile ADR recording, location sound, foley, sound editing and mixing.
  • Interested in Sound for Picture

Recent Profile Visitors

4,961 profile views
  1. That’s fair, but once you have initially set it up with the computer, you can disconnect the computer and just connect the two pieces directly to each other. If you’re using the switch only for the initial setup then the kind of switch or features on the switch shouldn’t matter at all since you were just setting it up and not even having any audio flowing through the switch. -Mike
  2. I’m confused I guess why you need a switch at all. If all you are connecting is the Sonifex and the Cantar, just use a CAT6 cable and plug them together. You only need a switch if you have three or more devices that all need to talk to each other.
  3. Like everyone before me, I gave my old fixed channel lectro units away to a mixer who was just starting out. I hung onto some other stuff though like my first mixer - a Wendt X4. It actually came in handy just last week when I needed a way to get a bunch of talkback mics into my main mixer. -Mike
  4. My worst investment(s) we’re all of the pro-sumer recorder/mixers that I bought to try to avoid shelling out the big bucks for a professional recorder. I had a Tascam HDP2, a DR680, and a couple of others I’ve forgotten about or blocked from my memory. Every gig was a struggle with those. Trying to make them work and do what I wanted consumed way more mental energy than actually recording. Conversely, I think my best investment was when I broke down and ordered a Sound Devices 633. I remember the moment well - I was actually on lunch break at a gig that I had been “using” (read: sweating and struggling with) the HD-P2 on and I got so frustrated that I sat there at lunch and called Trew Audio. I’m not saying that that the 633 solved all of my problems forever but once I got it I could finally trust my recorder to do its work and focus my brainpower on other aspects of the job. -Mike
  5. You can move the Lyres closer together so they don’t cover up the interference tube and allow the foam to be used. -Mike
  6. Your audio files are not playing for me, but I’m on my phone at the moment. The 416 is a fairly bright microphone so it makes sense that the hiss you hear would be concentrated more in the high frequencies than for a flatter mic.
  7. Is handling noise really a concern for ambiance recording? Normally I would set the mics up on a stationary stand somewhere and let them roll for awhile, if possible after walking away (so you don’t get human breaths or movement in the recordings). For recording ambiance’s I’d also recommend spaced Omni’s instead of a cardioid-based stereo technique. Techniques like ORTF, MS, and NOS are fantastic if you are focusing on a source that is in front of the mic, like recording a musical ensemble, or recording sound effects. However for ambiances your source is 360° around you, so omnis will give you a more spacious, enveloping sound IMO. MKH8020’s are fantastic, and I also really like the Sony ECM100N at a lower price point. Both have extended high frequency responses up to (I believe) 50kHz. You’ll definitely need to invest in good wind protection too, so figure that into the budget. Omnis are a little more forgiving than cardioids in that respect but still need good protection. -Mike
  8. That’s awesome! Can’t wait for the “sounds of Mars” museum exhibit.
  9. IMHO the MKH50 sounds “better” than the CSM1 in ideal conditions. however the CSM1 has better rejection than the 50 and still sounds great. For me when I don’t know what kind of environment I’m going to be in, the CSM1 has been my default. -Mike
  10. Yes absolutely if at all possible. Just label accordingly.
  11. This is my favorite I’ve seen recently, from Apple TV’s Mr. Corman. The classic mic technique of an SM7 aimed at the ceiling while you play a recorder in its general direction…
  12. Thanks for that write up @James Louis I’m definitely interested in that mic now! -Mike
  13. IM(not so)HO, if there’s a production which hires a sound mixer who is so inexperienced that they need to use the MixPre’s basic mode, and they also expect the audio to be delivered “finished”, then they deserve whatever they get. -Mike
  14. If this is a consideration I would definitely recommend the MixPre 6-II. It even has a basic mode that makes operation incredibly simple, and with 32-bit float recording there is very little that can go wrong. It’s about as dummy proof as I think a professional sounding recorder can get. -Mike
  15. Sucks this is happening to you but thank you for bringing it up here so that other people can avoid dealing with him in the future.
  • Create New...