Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won


Everything posted by Mobilemike

  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
  16. 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
  17. 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
  18. I just discovered these... they are hilarious! Another fav: -Mike
  19. 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
  20. My fav too!! IMO Mic Pre matters more than audio interface. -Mike
  21. 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
  22. 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.
  23. 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
  • Create New...