Mobilemike

Bumping an old thread! 

Just wanted to run this by other 4017 users... I just picked up a 4017C and it sounds really nice, but I've noticed it has significantly lower output than the Sanken CS3e I normally run. Is this normal? Obviously not a huge deal, but for some quiet lines I end up stretching the preamp gain a little more than I'm used to with the Sanken. 

Thx!

-Mike

I'm pretty bummed about the ports on the new MBP too. I also think I'll miss having a dedicated escape key, but we'll see...

OWC has this doc that looks pretty nifty for the new computer:

https://eshop.macsales.com/preorder/owc-thunderbolt-3-dock/

More $$ though of course...

-Mike

I'm curious why A1's hate the HMD-26. No pony in the race here - I've never used either the 25 or 26 - just curious for learning's sake. 

-Mike

On 10/31/2016 at 10:36 PM, Jimmygilmore said:

As far as gear. First we tried to go cheaper with a cheaper kit. Example being a Tascam HD-P2 which was one ill-fated purchase. In the end, after a couple poor choices dumped on the auction site, we invested in a 633. There's nothing like a Sound Device for dependability and clean preamps. We also own some older Lectros, a couple C460b's (CK61 caps) which is an awesome but not well known cardioid solution, Sankens and a 416T, plus a bunch of other single purpose mics and misc lavs. I also recommend buying industry standard gear on everything. That way, anyone with experience can use it.

A big +1 on this from a sound mixer perspective as well. When I first started getting production sound gigs (I'm mostly in post) I tried to cheap out with lesser quality gear, including both the HD-P2 and the DR-680. I got by with them for several gigs, but I always felt like I was just "getting by". Inevitably, something would go wrong and I'd have to scramble for a backup (always have backups!). The cheaper gear just was not reliable enough for professional, paid work. It was actually in the middle of one of those gigs where my HD-P2 failed yet again and I had to resort to recording on my backup DR-100 recorder that I finally said enough and called up Trew and ordered the SD 633. I have not once ever regretted that decision - now I can go on gigs with full confidence that my gear will not only be able to meet the needs of the clients, but also that it won't fail on me in the middle of something important. 

Moral of the story - buy once, cry once, and enjoy that gear for a very long time!

-Mike

4 hours ago, Sprotnik said:

No powering?

I didn't try that, thougth it wont work.

 

The article I posted above describes building an external battery box powered by a 9V battery. That's what I did and it works well. 

-Mike

I made a couple of mics awhile ago with the Panasonic omni capsules and based on this article: 

http://tapeop.com/tutorials/16/how-build-microphone/

I built them right into the end of an XLR connector. They work fine - it's nice that they're so small. I think they sound similar to a lot of the electret condensers built into recorders such as the Zoom H4n or Tascam DR-100. That is to say, not bad, definitely usable, but not really something I would choose to use if there were other options available. 

It was a fun project to play with and learn with though!

Mike

I would be all over something like this if it had digital INputs... Nobody makes a mixer this size with digital ins. Looks nice but I would definitely prefer to use my own preamps and converters. 

-Mike

28 minutes ago, JonG said:

Don't take baby steps

Agreed. The NTG3 would be a baby step from what you already have. So would the CS-1. 

Save up some more and get a 416, or a used CS3e. 

You already have two cheaper shotguns that could be used as backup or "battle" mics when you upgrade... Why get a third? Upgrade instead to something that you'd be proud to use at any stage of your career and don't look back. 

-Mike

44 minutes ago, MartinTheMixer said:

John, I have had this conversation with PayPal and they have no objections to someone sending money however they want to send it. You made an assumption that PayPal considers this cheating. I'm not sure where the double standard would be. So, PayPal has no belief that they've been cheated and if not for finding the other buyer that had a similar problem I would have remained cheated. And let's not forget I'm still out $55 and a very large chunk of time, because of a dishonest seller.

Thank you, Martin 

PayPal may be ok with sending money through Friends and Family, but they also make no guarantees of anything being resolved if the transaction goes wrong. 

So you chose to use a method with no guarantees of dispute resolution, then you are on here complaining that the situation was not resolved to your satisfaction. That's a bit of a double standard. 

-Mike

I saw that as well, it does look cool!

My only reservation would be its size - I have a regular Zuca Sport bag and I like it, but it's pretty small. I have to do some creative packing to fit everything I need in there. The all-terrain version is even smaller I believe, so I'm doubtful it would have enough room in it for me. 

-Mike

Has anybody else been watching The Flash? Anyone notice the microphones on stage when they go to what has to be the most posh karaoke bar ever? 

Just made me giggle a bit when I saw it...

-Mike

Hello! 

That was my posting. Link is here:

And just to clarify, the Solice Mini does have a serial number, written inside the unit, it just didn't get engraved on the outside at the factory for some reason.

-Mike

I feel for you but like Wandering Ear I can't imagine the Maxx has anything to do with that headphone adapter breaking. That would have to be an insanely strong headphone jack to break the tip of your adapter off, and realistically I'd think the headphone jack itself would break long before the adapter. 

I also can't imagine it would be that costly to have Zaxcom repair the headphone jack if you're already having them work on the CF release. They already would have the machine open - should be quick for them to just get out the tip of your adapter. 

-Mike

When you import the files into Pro Tools, spot them to their original timecode position on the track. This will place the files at whatever timecode position you recorded them at. 

Then you can decode as you wish. If you use a plugin to decode, route that track's output to a new audio track. If you decode old-school with aux channels, route those outputs to a new stereo audio track. Then simply record the decoded files onto the new track at the same timecode position. This will create new audio files in the same position on the timeline (with the same timecode metadata) as the originals. Make sure your session is set to use WAV files of course.

Unfortunately this will need to be done in real time - offline processing and bounce to disk will not preserve the timecode metadata. 

-Mike

I feel very lucky to be able to pick the brains of all of you talented people. 

-Mike

Very cool!

-Mike

Thanks so much everyone for all the input!

I'm not terribly worried about a voltmeter here - its only for a backup rig after all - but the RF interference thing is a bit more worrisome. Rich, how close is "close by" where you noticed interference? Like does it have to be touching, or is it still interfering if its even in the same bag as the regulator?

Thanks!

-Mike

Cool, thanks Jeff! 

The only reason I'd  want to feed everything regulated power is for simplicity's sake.  The Tascam DR 680 needs to receive regulated 12V power ( I fed it unregulated power from my BDS in the past, and ended up frying the power supply board which then needed to be replaced… Oops),  so in my mind it seems simpler just to get a BDS that produces regulated power  rather than dealing with a special cable just for the Tacsam. But maybe I'm crazy

-Mike

Hey all - 

Sorry for the amateur-ish question  but I was wondering if there's any downside to feeding regulated power to devices that don't necessarily require it. 

 I'm planning on picking up a Hawkwoods 12V regulated NP1 cup to power my DR680 that hasn't been getting much use lately. They have a version that has multiple Hirose outputs, so I could also use it to power my SD552 or Sonosax mixer as a front end to the DR680. Neither of those devices require regulated power like the Tascam does. So any downside to feeding them regulated 12V power anyway? 

I know Hawkwoods also has a DR680 power cable that has a regulator built in so I could power it from any BDS but I like the idea of not worrying about special cables  

I know that excess power in a regulated system will be dissipated as heat, but I assume that would apply no matter how I choose to regulate the 680 power. 

So any downsides to feeding everything regulated 12V I'm not thinkin of?

Thanks!

-Mike

This may be obvious but: whatever day rate you decide on make sure that it is in the contract that they will cover the full replacement cost of the III should anything happen to it. Most rental places insist on the renter either having insurance or authorizing the full replacement cost on a credit card before they pick the item up. 

-Mike

Edit: Pro Sound has the Nagra IV-STC listed for $125/day if that helps at all. 

Yeah this is something we do all the time when editing ADR - speeding up and slowing down lines for sync. 

I prefer using elastic audio in Pro Tools to do this. You can set warp points in the audio and move them around to match whatever you want. As long as you don't go too crazy with it it sounds quite natural. The X-Form algorithm seems to sound the best to me. 

-Mike

I'm mainly a post production guy that dabbles in production sound from time to time, but in my world this is called "loop group" and is usually done in a studio with a trained group of actors who are very good at improvising. Doing it in the same locations is interesting, but may present a few challenges. 

In the studio we record walla a couple of different ways depending on what the supervising sound editor or the re-recording mixer want. Usually we use a single mono boom about 4-5 feet away from the actors and have the actors stand around it in a loose semicircle. We will do several passes for each scene so the mixer can layer as needed. Sometimes the mixer will want stereo tracks so we use two large diaphragm condensers about 5 feet from the actors. I've even had a few occasions where the mixer requests a very diffuse sound, so we use two shotgun mics aimed away from the actors, into the corners of the room. 

On location, I would be careful of getting too much noise and too much room sound into the recording. If you're too distant with the micing, there's going to be too much room sound to blend in easily with the production tracks that are already there. Keep in mind that this track will be very soft in the mix, and if it is too roomy once it's turned down too much it will just be unintelligible noise. 

If it were me I would probably try to get options for the mixer. I would record an overall room pickup in stereo, and a third mono boom track that's a bit closer to the actors for a better level and less room tone. Communication is key though - if you know who the sound editor or re-recording mixer is on the film, ask them how they want these tracks. I'm sure they'll be happy to offer opinions. 

Hope this helps!

-Mike

4 hours ago, allistair said:

I've used all of the mics you listed other than the Sanken, and I've found the DPA to be the most versatile. I'm less stressed out if I have to move from outdoors to indoors without swapping to my 50, because the DPA is more resistant to reverb nastiness than the others to my ears.

I owned and liked the 8060 and the 416, but eventually sold them both and now just have two 4017Bs for shotguns. I'm in Brooklyn if you ever want to try one out.

Interesting - the way you describe your DPA is exactly how I feel about my Sanken. I'm in Queens but work in Brooklyn a lot - would love to do a DPA/Sanken comparison sometime if you're up for it!

-Mike

Personally I love the CS3e - I find it to be probably the most flexible mic in my arsenal. Works great for me indoors, outdoors, and in situations when I'm not sure which mic is best the CS3e comes out and always performs excellently. If I could only have one shotgun that would be it. 

-Mike

 If it's audio only, I would probably use your 414 and your Bluebird with reflection filters behind them, and get them up close to each person radio style. That'll give you a much more present voiceover type sound than a boom will and be easier to record too. 

-Mike