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Mobilemike

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Everything posted by Mobilemike

  1. You can get a boompole adapter for the Rode blimp to use instead of the included pistol grip. This makes the blimp noticeably lighter. http://www.bhphotovideo.com/c/product/809791-REG/Rode_UNIVERSAL_BLIMP_MOUNT_UNIVERSAL_BLIMP_MOUNT_Adapter.html -Mike
  2. Just wanted to update the thread... I talked with the seller a bit - he seemed like a genuine guy with maybe more money than knowledge, who just bought what was recommended to him and didn't really use it. So I negotiated a return policy and bought the mixer. It arrived today, and I opened it up and found the serial number inside the unit right where Ron said it would be. I sent Ron pictures and he verified that all looked good with the mixer - it is a valid serial number, it is written in his handwriting, and has his initials next to it. So it looks like I got a pretty sweet deal and I'm quite excited! Thanks for all your input! -Mike
  3. Haha thanks guys! I probably do need a drink... and a nap... but if we can't nerd out about microphones then how else are we going to have fun? Without foam they are as described above - the older one is thinner and brighter; the new one is warmer and has a bit more bottom. I've attached sound samples here. Both mics were aligned with capsules as physically close as possible, each going into a channel of a Millennia HV3c preamp into Pro Tools. The new mic had about 3db more gain than the old mic, so I digitally matched the gain in Pro Tools between the two mics. -Mike Sanken CS3e old.wav Sanken CS3e new.wav
  4. Hey all, My main shotgun mic for about 4 years has been a trusty Sanken CS3 with the mod to make it a CS3e. Recently I needed another shotgun, so I picked up a second, new Sanken CS3e. I put them up together just for kicks and there is a small but definitely noticeable sound difference between the two. It's subtle but definitely there. The newer one is a little warmer sounding, with a bit more bottom end; the older one is a bit brighter. Interestingly, if I swap the foam windscreens between the two mics I can get them to match quite a bit better. If I put a thicker (cheaper) windscreen on the old one, and a nicer, more open-cell windscreen on the new one, the sound difference is practically negligible. I know this is a subtle thing, and probably a silly question. I also know that I can send the old back to Sanken for a checkup, but I wanted to ask you guys first as quite a few of you probably have experience with these mics, to see if the sound differences are normal or if they are something I should get looked at. Thanks! -Mike
  5. Thanks guys - appreciate the advice. Ron got back to me and said that is it possible that the unit left the factory without a serial number, as that is the last thing that happens before the unit is boxes for shipping. He said that the box should have the serial number on it as well, so I may ask for more pictures of the box. He said that he has not heard of any stolen or missing Solice minis. -Mike
  6. Hey all - I've sent PSC an email about this too but since it's the weekend I thought I might get some answers here as well. I've found someone selling a like-new condition Solice Mini mixer at a great price... Great enough that it started to raise some red flags. When I asked about a serial number they sent me the picture I've attached below - which seems to show that there is no serial number on this particular unit. That seems weird to me - does that seem weird to anyone else? Could it be a fake? The seller has seemed very open and forthcoming with pictures, and all of the other pics appear to show a genuine Solice Mini (to my inexperienced eyes anyway). But this seems strange. Any thoughts are welcome. Thanks! -Mike
  7. I do mostly post work and am newish to the production sound world but... In ADR it is the standard to have the boom on the L and the lav on the R so thats how I do it when I mix on set. I've never heard any complaints as of yet, but I would be happy to switch it around if asked to. -Mike
  8. I've tried a couple of them - in my experience the cheaper ones (like the Auralex Mudguard, and the Primacoustic one) just don't work very well. I have a Cascade Iso-Panel now that actually does work reasonably well to block out reflections, but it has the kind of low-mid emphasized boxiness that a lot of small vocal booths do. The only one so far that I really like is the Real Traps PVB - that is what I use when I record VO on location and it works really well and sounds great. The disadvantage is that it is bigger than the others - a regular boom mic stand might have trouble holding it. I use mine with a manfrotto light stand. Cheers! -Mike
  9. You guys have nice kits! Sennheiser 416 (x2) Sanken Cs3e Neumann KMR81 Neumann KM185 (x2) Oktava MK-012 Sanken COS-11 (x2) Sonotrim (x2) PSC Millimic -Mike
  10. I also agree with everyone that says go with Pro Tools 10. In the USA at least the vast, vast majority of post sound work happens in Pro Tools so if you are doing anything serious you will want to go that route for compatibility's sake alone. Its also a great, powerful program. I would highly recommend getting some sort of a control surface - for me its was faster and easier to mix when I can grab faders. -Mike
  11. I'm primarily an ADR mixer, and the vast majority of ADR I've done is recorded just like production - a boom and a lav, just like production, and I adjust mic placement to match the shot. However, I have had a few editors (mostly on TV shows) ask me to record an additional track with a second boom pointed off-axis from the actor, so they could more easily mix in perspective for off camera lines, etc. It seems to work well and provide a lot of control over the sound very easily, but the vast majority of the time its that main boom/lav that will be used. -Mike
  12. I agree - that's one thing I quite like about SD/CF cards... Limited size and relative cheapness means you can swap frequently and that (knock on wood) a failure won't be as catastrophic as of it was all on one drive. -Mike
  13. Not familiar with the others, but the Apogee has front panel buttons to set things like sample rate, bit depth, which digital outputs to use, clock source,etc. You will need to set these on the converter, and then make sure the interface knows to look for the ADAT input. You can usually have the interface clock off the converter, in which cast it should recognize your sample rate settings automatically. -Mike
  14. I use an Apogee Rosetta 800. 8 ins and outs and supports SMUX for higher sample rates. Sounds great. Not made any more but you can pick one up really easily on eBay. Cheers! -Mike
  15. I think it depends on the quality of the gear too - the Sennheiser, Schoeps, Neumann,etc mics sound great and hold their value for decades... Some of the cheap knock off brands (MXL, Audio Technica, Studio Projects, etc probably won't be quite as in demand in 30/40 years... If they even last that long. Look at old Studio mics too... Stuff like vintage Neumann U47/67 go for mega bucks today... -Mike Fowler
  16. I use the 01V96i with Pro Tools and it works great. The AES cards are still available most places - Amazon has them for instance - It's called the MY8-AE96 or MY8-AE96s (with a sampling rate converter). The tricky part for me was finding a cable to connect the AES card to my Apogee converter - apparently the whole Yamaha AES standard is going by the wayside or something. I got a Hosa cable that said it was wired for Yamaha and it didn't work - a check with the Multimeter showed that it was wired completely wrong. Yamaha has a cable but it is discontinued... The only one I could find was a Mogami version which is insanely expensive but thankfully works perfectly. -Mike
  17. You have lots of options I think depending on budget. The Sound Devices Mix Pre D should be able to do what you are asking. These Black Lion Audio converters are well thought of in the music world - I've never used them myself but I have had the company mod one of my interfaces and it made a huge improvement! http://www.blacklionaudio.com/content.php?p=29 You can also find a used Apogee Rosetta 200 on eBay pretty easily - its a full rack space unit but if the size is ok it's a great converter. You can also check out something like the Lavry AD10 - a great sounding converter! In the way upper price range there are options like the Forsell MADA -2 or the Burl Bomber ADC that are top of the line. Hope this helps! -Mike
  18. Hello - I know this is slightly OT but I figured the good people here will have lots of experience with this mic. I have an ADR session tomorrow that used an MKH40 on set, and I need to match that as closely as possible. I've never actually used the 40, so I was wondering what you guys would think would match in there the best. I have easy access to: Sennheiser 416, 415, MKH50, MKH60 Neumann KMR81, KMR82 Schoeps MK41, CMIT5U Sanken CS-3e Thanks all! -Mike
  19. I'm a bit of a multi-tool geek. My main ones are a Leatherman Skeletool that I keep in my pocked all the time - its pretty small and has just the right features for everyday. I have a Leatherman Wave that I take out on gigs where I might need some more stuff. I definitely recommend the leatherman stuff - it lasts! -Mike
  20. That is a really good point - I am just wondering how likely they are to come to you at all they don't know that you are making a backup recording. If something happens and the camera audio isn't great, but they just hired you to mix, I would think there is no reason for them to think/ know you would have a copy of the audio at all - hence no reason to bother talking to you. I would guess that if they didn't know there was a backup they would be more likely to live with it or check into other ways of fixing it rather than coming to you. Correct me if I'm wrong though - I am doing a job like this tomorrow and I've been planning to bring a backup recorder just in case so this is valuable info! -Mike
  21. I thought we had the same rule in New York! I usually pack everything in a big Portabrace, strapped to a cart from Home Depot with boom pole and zeppelin strapped outside... no one has ever said anything to me on the subway. I did fly to Oregon for a wedding recently and being the nerd that I am took out my H4n on the flight and started recording plane ambiences. The girl sitting next to me (who I didn't know at the time but I later found out was flying there for the same wedding) later confessed that she started freaking out a bit when I pulled out the Zoom... Thought it was some sort of remote bomb or something haha. Cheers! -Mike
  22. Great thread! I had a dream recently where the Post Studio that my "day job" is at called me up one morning and told me all of the rooms were full that day, so I had to do the ADR session for Fringe in my apartment. The rest of the dream consisted of me frantically running around gathering gear to do the session with - mostly trying to get a bigger TV for the actors to watch on. -Mike
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