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

4,116 profile views
  1. Ok this is my new favorite thread.
  2. 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
  3. What’s the reach and off axis rejection like on the 4097? -Mike
  4. The device you linked looks like it'll work fine. The AES output is on the XLR connectors, not the BNC, which is for sync. You can see a diagram of the breakout cable here: https://www.aja.com/products/ada4 So you'd just need to adapt XLR outputs A and C to TA3 and you're good to go. -MIke
  5. I am not a software programmer so take my advice with a grain of salt, but I believe one of the caveats with using an ambisonic mic is that for the best results, the software you use to process the files after recording and turn them into something listenable should be calibrated for the exact microphone you’re using - sensitivity, distance between the capsules, etc. just something else to think about if you’re thinking about going the DIY route - even with a great mic you may get less than ideal results unless you invest in a custom software solution as well. -Mike
  6. I just discovered these... they are hilarious! Another fav: -Mike
  7. You really only need 2 channels of preamp for ADR/Foley, so I wouldn’t worry about the 4 channel Millennia. Your interface will likely have some built in preamps that can be used for utility channels like talkback mics, saving the main preamp for talent duties. Also I don’t know the pricing in India but check out the Neumann TLM107 - it’s cheaper and sounds a lot more similar to the U87 than the TLM103 in my view. -Mike
  8. My fav too!! IMO Mic Pre matters more than audio interface. -Mike
  9. I agree. If the LTC gets mangled somehow by a bad cable or by the camera's audio settings you won't find that out until you are trying to get it to sync up and then you are SOL... Clap will get you there every time. -Mike
  10. Turn them all on point them all at you and clap. They’re probably gonna drift but at least they’ll be in sync at the start.
  11. It’s the initial A/D conversion step where 32 bit float recording would make a difference, not at a DA or subsequent AD stage. In order to take advantage of 32 bit float, the very first analog to digital conversion in a signal path has to use it. If that first AD stage is “only” 24 (or 16) bit, then you have permanently lost those other potential bits from the signal and no amount of conversion will get them back. Keep in mind there’s nothing at all “wrong” with 24 bit recording - with proper gain staging it’ll be perfect. And the best way to learn proper gain staging is to mess it up a few times... -Mike
  12. I don’t have any experience with the SX-ST but I have an SX-S and an SX-ES84. They are both in the same sound world for sure. The newer model (SX-ES4) is a bit quieter, lower noise floor. The SX-S seems a bit slower, and maybe a little more richness in the lows. The newer model is a little leaner sounding. Not big differences at all though - these are just subtleties. -Mike
  13. I played with one at the Gotham Sound Expo last year. It sounded pretty good in the few seconds I spent listening to it. I was very impressed with the complete lack of cable noise too, even when I whipped the cable around and purposely tried to get it to make noise. That was one of the major selling points the Sony rep talked about too. It is a fairly large lav - larger than COS-11, DPA, or Countryman. -Mike
  • Create New...