The Immoral Mr Teas

Audio Technica AT822 as a starting point. Simple, reliable, around the same quality / price point as the rode blimp, and once again, simple: slightly spaced from an XY pattern and you’ll get to learn how its fixed pattern works with the recordings you make so that eventually you will have a good idea from experience what mics and patterns you want to use for what purpose. Another alternative for nature recording would be two DPA 4060 lavalier mics, just spaced to either end of the blimp (so the mics each lie centrally where the end cap starts), but 4060s are expensive.

About a year ago Michael this would possibly have slightly increased my enthusiasm of TBL’s dark web or whatever it calls itself these days. But if we are unable to second guess the RUR faction and they are happy to play the long game tantalising us with Kudelski parts then it seems Asimov was right. And we are doomed. I am now making sure ALL my Nagra accessories are wrapped up in extra thick black leather and safely zipped and press studded away. Thank you!! Jez

Or “awfultone” as we called them! Jez

Oh, this isn’t new Karl, I’ve had this technology in my kit since 1066!

Bumping this as I expect there are folks who may be able to answer ... assume Nothingham was an unexpected prediction of NAGRA, so “khaldrogo”, if you are able to change the thread title to Nagra Stabiliser Roller you might get the answers you need good luck, Jez Oh, and if it is a Nagra let us know what model (III, IV-L, IV-S, 4.2 or other). And if you don’t already know there is a very popular long running thread on all things Nagra on the Images Of Interest pages.

Ivanovich - excellent comparison; Jim, I’m with you! But somehow I’ve ended up with two sets of Genelecs, four pairs of Sonys, and not an NS10 in sight. Though I rather like another cheap Yamaha monitor my friend uses ... my cheap choice is the Fostex FM series edit (new to jw changes sorry) fostex pm

Not sure if it was because I was the last of the thread previously or because I’ve just had a few socially distant beers bought for me ... but, I’ve actually recently picked up my FOURTH set of 7506s despite what I’ve said and think about them, this time second hand because they were a cheap extra set of level limited phones which I can always use. All my sets now have crumbling pads (with new covers over them) but the “treble harsh and overwhelming “ was always there from new! For me, so far, apart from the earpads (in all cases less old than my DT phones where the ear pads a

Hi Merijn, welcome to JWS. I’ve had my stereo pair of MKH 8040 cardioids since pretty much they were introduced, 2007 or 2008. I use them with softies, homemade softies, light waves and BBGs but always cover the back end with a short cut strip of tubular foam to catch the microphony wind noise when doing so. Find some cheap (pound shop) bicycle handlebar foam strips and cut them to just cover the remaining body length and a tad more over the XLR ... it’s the body of the MXS which is sensitive so you don’t have to cover the entire XLR. I prefer using a slightly softer handlebar foam

Hmm, don’t have one (and prob never will) but is it not a question of the air around it optimising the successfulness? So a BBG or similar would be a good outdoor choice (long enough - I think so?) otherwise, going thinner, a ‘lightwave’ tube with windjammer? Yep I know this is not much help (ie there probably isn’t a ready made suspension with windshield option available) but I reckon it’s diy... possibly just a softie with a little extra foam for suspension and the softie attached somehow to the boom? Like I might do with 4060s (albeit not booming..!) ??? Jez

Hi Nicky, I filmed an octogenarian choir on the Polish Ukrainian border several years ago - a great time and a great bunch of folk and I hope they’re all getting close to or surpassing the 100 years ... Too many useful replies already to try to quote examples, but I would say this is one situation where I would try to get an MS rig in there : I am saying this as a post person and potential dubbing mixer ... 1: boom (swing boom) in mono - the S is both useless and a distraction in a non-fixed position for post and ambience can or will be added or faked e

Been away from JWS for quite some time. RIP Eric, and thanks! Jez x

I agree this is a really great thread with some good information (not to mention pics too)! To some extent I don't think it is the broadcast rerecording mixer who is to blame for the excessive dynamic range (although sometimes it most definitely is). It is usually the 'direct employer' of said mixer (who indeed may employ said mixer because they have a mutual understanding what dynamic range ought to be on a TV show)!? Have loudness standards really improved the intelligibility of dialogue ... ? Next, Izen Ears, "Those were the days" ... they're still with

Hi Dan, to answer your question to me first, as dialogue editor I would be looking for mono fill for the dialogue track(s) - being the 'fill' track which may have been recorded by the PSM specifically to help me with the edit. Of course there is nothing to stop me just using one leg of a stereo track if room tone has been recorded in stereo. If I'm handling the ATMOS tracks (which I might well do as a dialogue or effects editor on a job with a few editors) as well as the fill I would most usually put a couple of tracks of stereo room tone, although if I had a good trac

Hi Dan, I wasn't planning on commenting on your original post simply because I have no experience (nor knowledge of for many) the mics you mention, nor really the understanding of what you really plan to do with ambisonic mic technique - but As a dialogue editor, if confronted with room tone recorded on an ambisonic mic, I would: 1. swear 2. listen to decide if it was any good ... 3. if, as expected, it was no good, swear again, then laugh, then find something in my library 4. if it actually seemed useful, say "oh ok" (possibly swear agai