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    Mobile ADR recording, location sound, foley, sound editing and mixing.
  • Interested in Sound for Picture

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  1. You can move the Lyres closer together so they don’t cover up the interference tube and allow the foam to be used. -Mike
  2. 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.
  3. 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
  4. That’s awesome! Can’t wait for the “sounds of Mars” museum exhibit.
  5. 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
  6. Yes absolutely if at all possible. Just label accordingly.
  7. 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…
  8. Thanks for that write up @James Louis I’m definitely interested in that mic now! -Mike
  9. 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
  10. 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
  11. 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.
  12. If I had a quarter for the amount of times I thought disassembling something was going to be really complicated when “just pull it apart” was the answer… -Mike
  13. Ok this is my new favorite thread.
  14. These are by far the most comfortable (non-KN95) masks I've found: https://athleta.gap.com/browse/product.do?pid=100364062&cid=1162979&pcid=1162979&vid=1&grid=pds_7_44_1#pdp-page-content They are large enough (on me) to get the top of the mask all the way up on the bridge of my nose, so then I can get my glasses farther down on my nose so that they don't fog up. Definitely a balancing act sometimes but it works for the most part. -Mike
  15. What’s the reach and off axis rejection like on the 4097? -Mike
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