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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. Forgetting dialogue for a moment, the hot output and low noise specs seem pretty good. And I like SE - I have an earlier ribbon. The response chart looks nice - a nice rounded cardioid. So well worth a try especially for stereo atmos. Back to dialogue - up to you to try: the published figures kind of say what you might expect. MKH noise floors/output with a wider pattern. Could be good - in circumstances - then again, might just be a really nice slightly wider production mic. Interested to learn the results. Cheers for the heads up on this one
  2. Since it's off just take a look inside down the barrel to see what would be obscured: my guess is sellotape around the edge would do it, trying not to cover the front. I don't have a 416 nor have pulled one apart but have pulled apart it's ancient predecessor, the 805: to find the interference tube inside is in fact a tube with holes along its length (bearing little relationship to the grooves on the fancy exterior) - the important part however is not to cover the (slightly expanding) holes at the mouth of the tube. So a ring of ordinary sellotape/scotch around the side edge might well be fine making sure to not obscure the barrel front. I think the front cap of the 416 has 3 or 4mm edge to play with? Jez
  3. Hi Ollie, PM me if you want - I've recorded FX and atmos specifically for several films that I've also worked on post production for. If you're also doing production sound, and have need for two 8050s (or hypers in general), there's no reason not to use them for ambiences too. The general rule is that they need to be 'pulled further in' (towards the 'apex') than cardioids at the same angle: sub-cardioids (wide omnis) in the same fashion would need to be pushed further apart. Download the Michael Williams documents, specifically The Stereoscopic Zoom, from the Rycote website to learn to compare recording angles between several standard recording techniques (such as ORTF, coincident XY and quad IRT for example) and comparative differences between mic pattern types. There's also other useful effects from the different mic types: the nulls and partial nulls can be used to good effect with hypers and fig8 for particular mic set-ups: so if you had a primary reason to have eg. hypers (like recording production sound) they could still have advantages over cardioids. Car pass-bys for instance if you wanted the recording to accentuate the movement. If on the other hand you were primarily recording effects or atmos then omnis could be preferred in certain circumstances. There's no 'right way' and it often depends on the image and the story.
  4. Absolutely. Or your body or coat. One other point is that a tiny dangling 4060 with its own windjammer will 'ride' a light wind often rather than being hit with it. (At least in the manner of it being somewhat unsusceptical anyway being an omni). So, so long as they are shielded by objects against hard gusts, they can be rather good for 'wind ambiences' as I've already mentioned. They're also my preferred 'rain' mic: dangle them (in own windjammer) beneath a 'washing-up sponge' from tree or whatever - sponge having a thin layer of abrasive (and rain-stopping) mesh underneath the drop-catching lighter sponge material. This helps immensely in stopping rogue rain drops from occasionally hitting the capsule body.
  5. "considering the percentage" ... well it might be a while before any average manifests itself, but I'm pleased to have worked in a general area (editorial and sound - and music) where I've felt women have had a significant presence throughout my career, and am pleased to have several great friends, admired peers and respected 'more experienced' folks amongst the bunch but to defend borjam, in my experience at least, I've grown up in post with maybe more women around than I have seen (excluding make-up, costume, and indeed production) on set. Difficult thing to really argue: things do change, maybe not fast enough for statistics but if we're not all dickheads hopefully our craft will develop in an open fashion. Looking over the entire history of our craft I think we've been more open than most. (That took a little longer to write than I expected: I changed my word metier to craft ... yeah it is a tricky subject, one worth not avoiding). Jez
  6. The DPA windjammers are an excellent fit and effective. I've also used the Rycote lav-windjammers a lot with the mics. Both good - never thought to compare them. But there's nothing to stop you dangling them into a softie (as in one per mic) if you want more air, or mounting in a proper windshield (or two) for that matter. I've never bothered: my mantra is " if it's too windy to get a good ambience then don't record " ... Having just said that I've recorded several nice 'wind ambiences' with 4060s using the DPA or Rycote lav sized shields. Omnis of course exhibit no proximity effect so don't suffer from wind quite as much or in the same fashion as directional mics. I would pick up the DPA shields and try those for a while in the real world. You can always DIY or try something bigger if you don't think it's enough for your particular needs or environment. Jez
  7. Hi Ollie - two main points to make: I would personally look to get a fatter Rycote for DIY-ing stereo rigs - still not enough space for the air you need in front of the capsules but considerably more to play with. The AE is for me probably optimal for convenience but the AD and AF sizes could be better depending on needs. The thinner (normal old style) Rycote and the Rode etc certainly can accommodate some strangely 'wide' mic arrangements and 'tiny' cardioids (like cardioid lavs) but there's a lot less room for manoeuvre. The second point is the main one though: 8050s in an ORTF config is very very different to the ORTF specification, which is based on a 'true cardioid' theoretical mic pair. Two hypers, 17cm and 110 deg apart, will result in a much narrower recording angle than two cardioids in the same position (but with HF 'focus' aimed wide). So this just heightens the problem of attempting stereo rigs in a narrow windshield. (On top of that, the Sennheisers are fairly narrow anyway for their patterns). To get a nearer approximation to an ORTF config try the capsules around 10cm apart at 100 degrees: annoyingly probably taking up the entire interior space at that angle. To keep a mic angle of 110 degrees the capsules need to be even closer together, around 5cm - also impossible with the dimensions of the 8050 on the same plane. BUT - if you're not recording something involving both a specific recording angle nor on/off axis HF needs just go ahead and try fitting the 8050s in the Rycote to maximise air in front of the capsules, not caring about mic angles, spacings nor resulting perceived recording angle. You're using very nice mics and your main problem against a 'good' recording is going to be adequate windshielding which is going to mean the max possible space in front of the capsules. For ambient outdoor stuff at least you'll probably be pleased with some useful results from this. Best, Jez Adamson
  8. Yeah, but there's so much space underneath those channel strips, Allen! Seriously though, my apologies: I remember one of our techs on a film doing a TA3 botch job to make an input cable for one of our 788s: in fact, the cable being female there wouldn't have been any pin snapping involved. Maybe it was a TA5? But maybe it was just forcing it in if the spacing was 'nearly'?? I also remember a broken pin scenario: my other reason for disliking TA3 for oft-used inputs/outputs. Jez
  9. Being one of the few TA3 non-enthusiasts here (hey, they're alright but cheap=fragile and small=hard to source in emergency) ... can you not just snap one of the (easy to snap) connectors from the TA4 to make a functioning TA3? Thought I'd been forced to do that once, maybe I'm thinking of another TA... I was also personally astonished / delighted when I opened the much bulkier SQN4 to make the direct out breaker jump. Every square millimetre of these things are packed, even more so than our Nagras! (I have an SQN4 and an SD302). Best of luck (at avoiding the trip to the mothership?) Cheers, Jez
  10. Shenzhen is right on the border with Hong Kong so I would guess that you'd be able to hire from any of several HK hire places (search here for recent examples) and have them deliver into a Shenzhen address saving you the hassle. As well as Mandarin Films pindrop mentions you could give Mark Roberts a call too - a HK based mixer who also facilitates shoots in HK, China and the region. (website markroberts.hk) Jez
  11. I'm sure Dalton was taking the piss there but the response is still the admirable position! Let's not be arseholes! Jez
  12. How about a handful of (very lightweight) cotton sheets in white and grey (or light green or whatever) to stick over the cheap black blankets when required? Obviously an extra step to setting up but not a major one? J
  13. I'm kind of with Tom with this - and quite a fan of the potential of the moving camera (late 1920's before "sound" came along and triggered one of cinema's great regressions especially) - The Last Laugh, anyone? Dan, we're both of the starting out era where production would constantly talk of the NYPD look - but it was very much from the lineage from HSB started a few years before. (Being a huge fan of Hill Street Blues this already irritated me in the late 80s early 90s!) The 'handheld' within HSB was apparently intended to be the style throughout the show but almost immediately it was deemed too extreme and from then on used just for the opening scene 'Rollcall' and on odd shots like chases. Yet the Rollcall was so distinctive anyway that it made a huge impact (on the Emmys at least). . . . Actually my 'fetish era' extends across the late 20s through the early 30s - the end of silent cinema with its newly freed camera and the very start of sound cinema where sound was a great new possibility. Murnau, Lang, Pabst, Vertov, etc. Yet within just a few months after this wonderful experimental period we were churning out mediocre stage drama. Not every day I get to talk crap about not only my favourite TV show but also 90 year old cinema! Jez
  14. From a non-carter (editor/fx recordist) very nice looking. And that gets me thinking - if I did eventually construct something from a zuca bmx style or similar - sideways would be a good alternative. Something flexible enough to have 19" racks above the wheel for studio use then alternative layouts for exterior recording. Nice, cheers! Jez
  15. Dan's already said it but, Zoom F4 = 4 mic pres, 6 isos, stereo mix 2x DR680 = 12 (I think?) mic pres, 14 (I think) isos, stereo mix Just "my two percent" With Dalton too here - interested, but not interested enough to get hip with the usergroup. And codyman, my second recorder is the R4 Pro - massive for a piece of plastic, all the switches in the wrong place (didn't think of the bag), BUT tc (ok maybe not the best), AES io, and I've just thought this could be BRILLIANT for speed draining AAs for recharge ... why didn't I think of it before? Ha, cheers! I think the F8 (not the DR70/701, nor F4, nor SDMP6) was the 'last' game changer - and still wonder why the 'regression' of (none) AES io has happened and persists with the two main players - the one function that would make 'a spare recorder' a real asset. True, I may be missing the convenience/simplicity of HDMI but once again haven't given it much thought. Jez
  16. Wow, so there might not have been any hardware changes at all in: i. A headphone amp system ii. A power distribution system that allows a switched off machine (without a second dedicated battery) to keep on powering a TC clock. Impressive. But still possible (i: the noise may have been a software problem which was identified and resolved; ii: the machine now has a 'sleep' mode which keeps the TC clock going). I haven't read any manuals or updates before posting this so forgive any abruptness. Still, it would be good to hear from Zoom Official (hopefully listening here) what the actual situation might be. If the F8n was improved in hardware and the F8 ironed out in software I would be impressed and gladdened to be told it so. The F8 I believe was a game changer for lower cost quality semi pro gear (I think more than the DR680 and the Roland R44 - although both still hold the AES io advantage). Jez
  17. Is that "beautiful 'sound color'", Marc? J
  18. Damn - lost my post and it DIDN'T reappear! So in short: thanks Dan, Albert new to me, knew Schoeps (quad ORTF, MSM etc) but they used stereo rycote (AE,AF) bodies, as I have with same rycotes with K&M bars fitted. all use existing (or 'too small') shields and have v expensive mic shortening solutions inside (DIY = cheaper mic shortening solutions, like dodgy XLRs) was thinking to go bigger windshield for more air. Maybe in two semicircle halves which could be joined into a circle or backed by a plate then have relevant windjammer options. Main thing, (like the Albert) have variable bar system within to not be constrained on recording choices. but - maybe too niche? As I said, I have plenty of ideas based on my DIY crap. ...hope this posts... j Since that posted ok I'll mention my own rigs include a 2x AF for quad eg IRT and a 2x AF + smaller Rycote(s) for 5.0/5.1 (C/sub)
  19. Cheers Trey, forgot that one - relatively recent if I remember? Yep, that pretty much does what the MKH in-builts does (+ several other LCF on several mics). Just loved the variable cut of the Cut 1/2s (and always hoped that MKH would come up with a similar style gadget with extreme LCF and variable higher LCF for the 80xx series, specifically for dialogue but embracing musical instruments etc. Just liked the idea of the lower spectrum graph of the LC2 although I accept it to be more specialised. Old folk here will remember the multi-stepped EQ options on the Nagra 4 models, designed to cope for film and music possibilities (recorder cut I know, but an interesting blast from the past for completism). And Cheers Derek - online timing! J Edit - addendum! Forgot to mention I've never looked into the variable Cuts 1/2 possibly adding a tiny bit of noise which perhaps the Cut 60 or other fixed cuts wouldn't. Maybe they don't but I've often thought they might. Nevertheless, the variability is a feature I love about the Cut 1 and wanted for my other mics.
  20. Curious with all the Schoeps regulars here. I have a Cut 1 and find it indispensable but have since liked the 'look' of the Cut 2 more. Use my Schoeps so little to warrant any change but always been curious as I say if anyone doing production/dialogues here uses both or the 2 over the 1? I also like the option of cutting at the mic and for that reason like both the Cut 1 and my MKH 40 over the 8040s for much stuff, including boom. And with the excellent (Cut 1 Cut 2 LPF etc) modular accessories already in the Schoeps canon I wonder why a shotgun 'capsule' never appeared - always a single unit. (I have mics by both, and love both - but don't use them in production sound as per OP post - so apologies for more questions, no answers!) Cheers, Jez
  21. What's the graph, Ramallo? An ambient recording? It looks strangely like a good old fashioned 6dB/octave LF magnetic curve but expect it isn't. And there's two almost as disturbing peaks (or actually much worse, excepting their musical position) at c. 70 and 20k Hz? What are they?? Cheers, J
  22. Hmm, Rycote was a small company (much like Cinela) who grew from innovation, quality and (IMO excellent) customer service. There were some bad words spoken when they bought Lightwave but I think it was a more than decently intentioned buyout - if anything, as an owner of some Lightwave camera windshields, I'm sorry that Rycote didn't make (to me obvious) improvements to them. Apart from that, being 'first there', constantly listening and improving, and really very friendly and helpful I think actually set the standard that anyone else had to address. And probably did anyway through good nature, but quality against quality is always the best battle. I'm still quite surprised that nobody has properly developed a true (ie bigger) windshield for stereo, LCR, quad ... beyond fixed angles (ie ORTF) - I'm happy to help with my own ideas if any of the major players wanted to go down this route. Jez Adamson
  23. By low level you mean 'quiet' I take it? I work quiet all the time (atmos fx etc) and had heard of the good preamps. A sine wave (?) at 1490Hz over quiet atmos would be awful. First I'd heard of it. Hardware or software problem I wonder? Cheers, Jez
  24. Can't disagree - but since the PD and along the same lines the HHB 2000 were such high spec and functional they both may have at least one new lease of life as decent quality mic preamps feeding AES inputs on a cart. That is - if you have one (and have this need). J
  25. Hey, Blue, it would be good to know in what circumstances (extreme?) - I would assume all mics are somewhat challenged by humidity but having lived and worked in the 'tropics' (HK, Thailand, Philippines) I have trusted my MKH, Bruel and Kjaer, and DPA to survive and function. Cheers, Jez And having just noticed New Brunswick maybe it's an extreme cold humidity? So is that the case?
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