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The Immoral Mr Teas

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Posts posted by The Immoral Mr Teas


  1. 11 hours ago, Janik Hampe said:

     

    Hi Jez, could you explain what you mean by that? I really don´t get it. If you´re talking about the cables´ color coding, that´s red for "right channel" and green for "left channel".

     

    Left, portside, red. Right, starboard, green.

     

    As per the Nagra IV-S as the easiest to find example. Or stereo PPM meters.

     

    Yep, that was it!

     

    BTW, my friend Daniel Rosen gave me two blimp like toys for Christmas, with grommets which happen to fit both my MKH 40 and 8040s, which were dirt cheap. He wrote about it (either in DIY or Equipment) sometime since then. I've used them with success both with nylon girls socks and windjammer and will try to find the link for Dan's original source. Like my Babyball, I had to cover the rest of the 8040 body with some cycle handlebar foam to cut wind across the mic body.

     

    What I would really like to see some 3D-er have a go at would be a large blimp for a multichannel rig, accommodating at the least an IRT quad and preferably slightly bigger to handle variable 5.0 etc rigs ... obviously the second step would be to construct the inside suspension (though that for me could still use existing K&M and Rycote parts ... albeit not commercially). Actually wouldn't mind Rycote or others coming up with such themselves, if they could keep it to a non-specialist price ...

     

    Still interested what you come up with, pro's and cons, and especially if you look to develop it along multichannel lines.

     

    Best, Jez


  2. 1 hour ago, old school said:

    I look good in one.

    CrewC

     

    Well, after the mix of a friend's short in Paris a couple of years ago we were invited to a themed party, the theme being "Great Gatsby" or the like. Being similar in build (or so I thought) to my producer I tried to squeeze into her "flapper" dress but alas it wasn't to be - I did however manage to get my butt into a more flexible number. So, the three of us - myself (sound editor), director and producer, get to the party, actually around the corner from where I used to live (in an attic...) in Boulevard Courcelles, Ferraris and Lambourginis parked outside, it's a posh area. Obviously we were the only three who bothered to turn up dressed up, and as the only man in a dress I made an immediate friend with a chap who's opening line was,

    "Do you like Fassbinder?"

     

    Jez


  3. Yosuke, welcome! And I am glad that Jan was quick to reply. I would say that cold calling is probably quite normal for many of us and as such quite a welcome route. We all did it (and really still do) so we are accepting of other brave souls!

     

    BTW did some shoots at Shinjuku a few years back when my friend was directing.

     

    You've made the first move (here). Absolutely just make the effort to make friends in the industry where you are. I cannot imagine any other way!

     

    Best,  Jez


  4. 9 hours ago, JonG said:

    Ive worked on a couple shows where the DP brought his own Tentacles as an excuse for a smaller lockit and to take my rental, and I found them rather frustrating, since you need an app to run them, which means you are now dépendant on .... Etc snip

     

    The DP's equipment / rental ... why did they not deal with their equipment their self? Or at least provide the necessary phone+app?

     

    J


  5. On 19 August 2019 at 11:02 PM, andrewsbaik said:

    My main concern and something I'm debating between is potentially recording straight into my laptop with an Apollo Twin Mark ii instead of the zoom recorders for podcasts. I am also wondering if I should opt for the "f-control"? 

     

    Missed your main concern! I presume you already have this Apollo?

     

    Do you have a (hopefully nice) recording space (ie studio ... and hence editing space too) then Andrew? In a studio situation there is absolutely nothing to suggest recording to 'studio gear' is any worse than recording into location gear - in many ways it is preferable, mainly in cutting out an unnecessary transfer and dealing only with one system for the entire process (record, edit, mix, output format).

     

    Obviously you can't record indies on it and except for occasional possibilities you can't (or would be pushed to) record interviews and the like outside the studio - so, I would probably personally set up to record into the computer (so long as computer noise: fans, drives etc - are taken care of in a separate room or box or some form of soundproofing) when in the studio and use a portable recorder outside.

     

    If you have a room though I would seriously advocate monitors, even if fairly budget.

     

    Jez


  6. Aghhhhhh! I inadvertently morphed the topic into a cable preferences thread! Well to add a touch of irony I'll have to chime in that my general DIY mic cables are indeed Mogami 2893, which are thin, far less bulky as a result, still 'coil' perfectly after many years of use (my tape-op / music training ...) and remain in great shape. I tend to record FX, field stuff, multichannel and they don't get the rough treatment or hurried use they might in a production environment (heck, I wouldn't even put them away at night without wiping any mud off them) but it gets my seal of approval. I like my canare just as much though.

     

    But back to the topic - my sincerest apologies, I'm truly most terribly sorry!

     

    Jez


  7. On 19 August 2019 at 11:02 PM, andrewsbaik said:

    ...

    XLR cables: Mogami gold studio xlr

    Headphones: Sony MDR 7506 for field work, Neumann NDH-20 for studio interview

    Post production editing: MacBook Pro with Logic Pro X (right now I do post-editing with headphones...but one day hope to invest in monitors when if I get to work on post sound for the indie films) 

     

     

    Couple of comments after a quick skim through question and replies:

     

    Cables? Who cares? Well Mogami make very good cable so it's a perfectly decent choice (presuming these aren't budget-breakers)

     

    I have no experience at all with the Neumann headphones mentioned but if you are editing on 'phones rather than monitors you'll be astonished at the change in comfort by switching to open back (from closed). Of course it helps to have a niceish sounding room with half decent soundproofing against outside noise in which to work, but even if not they might help a lot (and switch back to closed for specific checks and problem solving). Nevertheless I would still look at getting a pair of decent budget monitors to start off with ... Fostex PM1 / 0.5 / 0.4 for instance could be great for the little money, or KRKs or something if you want to spend a little more. (I'm assuming you were thinking using the Neumanns not the Sonys for post mixing ... the latter are ridiculously coloured so I wouldn't go near them for such a task).

     

    Also, I'm (these days) a Protools / Nuendo user - tho' having never actually used it myself I would also suggest to have a look at Reaper as a bargain possibility. Anyone here with any experience of Harrison Mixbus btw - any use for picture??

     

    I assume you are also in a position to hire for radio mics / hypers & alternate shotguns etc (ie for those indie shoots)? It's not obvious to me whether you already own certain equipment or are thinking of buying (new or used).

     

    Best of luck, Jez


  8. Not sure I would want to put KM184s ... LET ALONE an MKH50, a CMC641 or CMIT5U ... anywhere near a racing car exhaust - not without comprehensive insurance anyway.

     

    An omni anyway is better (basically) for lack of proximity effect and low frequency roll off. There are other possibilities to try (look through the archives) but a DPA lav has become the de facto standard for many including myself.

     

    Keep those three beautiful hypers for capturing clean dialogue!!

     

    Jez


  9. Hi Simon, interesting question for the group.

     

    Like you, I am very fond of spaced mics, specifically spaced omnis. I also have friends in the conservation / environment industries and have talked over similar possibilities for sound so I think I have SOME idea where you're coming from.

     

    The chances are extremely high that there is no 'end format' in anyone's mind here and moreover that it is somewhat expected that you yourself might come up with the several possibilities of presentation since you are the 'sound expert' - and they would be right, enjoy the chance and discuss it with them!

     

    End formats could be (limited bandwidth) podcasts, full bandwidth stereo either on headphones or speakers, simple (quad) speaker arrays or OTT multiple speaker arrays. Or gadgets like VR headsets. So, without freaking your friends out with the differences or the 'possibilities', I would subtly try to ask what main end format is usual or expected, then take that as a starting point. (Maybe you've already done this re original question).

     

    What I would be most interested in as a recordist is what scientific or documentary angle they're looking at to involve you in the first place ('cause I've been through this too in hypothetical stages but not yet gone beyond). It could be they are just looking for an exhibition situation to point (known) stuff out to the public or a client. They could however be looking for something which could be measured and analysed and archived.

     

    It is the end formats probably which will answer your original question (or help you make your own decision) but the actual aim is the more interesting technical challenge! For a similar situation, not knowing either (end format / aim) up front, my gut reaction would be to go for:

     

    a 'perfect' mono omni (... for scientific use in the future if not immediately envisioned)

     

    plus an IRT

     

    plus an ambisonic.

     

     

    If I was limited to 8 tracks there I would possibly lose the Z of the WXYZ to allow a (coincident but better mic) omni to make up the channel.

    One last but important thing - you work in music so I assume you are familiar with Mid - Side in recording and mixing? (I must have worked in some degree with MS every single day I worked on music stuff, far far more so than I had to in broadcast or film). It is important to understand since you have no direct ambisonic experience that ambisonics is an MS technique, so your existing knowledge of the various techniques, problems and benefits of MS also will be those of ambisonics ... so it might help you in working out if ambisonics may be the better or worse choice at least to pursue.

     

    Good luck and have fun - wish I was doing this one!

     

    Jez "I love spaced omnis ... hundreds of them!" Adamson


  10. I am a dialogue editor and started out (like many here) when recorders only had one or two tracks to record to so whilst I can understand Derek's team's fast turnaround reality request what Philip and Constantin point out - that you can get carried away with track counts (and trying to be helpful) - rings true for me. In fact it is the (rerecording) mixer who at the end of the day needs tracks in an order which makes good sense for his/herself and I would try to make sure my edited tracks are either exactly what the mixer expects or sensibly and consistently ordered. Some mixers like to do things differently to others so it is best for me to try to find out what is expected, particularly if working on a new type of production (like moving to a daily reality show from a narrative drama for instance).

     

    By all means communicate if possible to the sound post team as they may have specific requirements which could make their life easier and which might not be obvious (or just might be the opposite of what made life easy for the last team). Aside from that, using common sense, being consistent and good labelling / notes are what we editors hope for aside from the obvious.

     

    Jez Adamson


  11. 3 hours ago, INARI said:

     

    Currently, Egyptian god of the underworld sits at my desk and controls the monitoring.

     

     

    My only concerns are when the Ra units are released - will they be compatible?

     

    Terrible joke, sorry! I must mention here that I was very interested in the Hapi when that came out. I'd be interested in write ups on any of the Merging units. Inari, are you a Pyramix user too?

     

    Jez


  12. Anyone else been really interested in watching a documentary subject then given up because the archive aspect ratio just jumped about without any correction? Fat normal fat normal fat! How the hell can people - our colleagues - working in this profession not give a damn about their craft? If you are working with picture (assistant editor ... editor ... producer ... director ...) how can you not notice the picture is wrong? Is it getting to the point that younger folks actually think that screwing up the archive aspect ratio is a visual 'language' way to tell us "this is old"? On the documentary I was hoping to get through one of the main interview subjects actually ran a major studio for a while - not to mention winning Oscars. Is HE ok with this (a fat faced younger self)?!

     

    I'm beginning to think of the 'wide/golden' visual to correspond to a 45/33 rpm sound ratio that we may start to have a little fun with our nearly blind colleagues and audience. Every time we are given a non-converted insert in a mix slow down the sound (or if obvious sync just drop the pitch half an octave). On the less common occasions we are presented with 'heroin chic' footage then speed it up or up the pitch.

     

    Let's try this without even saying we're doing it ...

     

    "Bear with me here for a second, I'm just matching sound to archive ..."

     

    If they have no critical faculty for their own expertise (picture) it will be funny to try to find out if they still have any judgement left in the subconscious for that strange, unfathomable world that is sound.

     

    If (as I suspect) they do not we can all be privately happy that we have created a new aesthetic for our apathetic audience.

     

    Jez


  13. No idea - not me (and I'm not a PSM anyway so a doubtful commentor) but they are cheaper/budget (albeit not either ...) versions brought out of what we (high end) might use to bring a new generation in (particularly project music obviously).

     

    Not too sure what they would bring above the similar spec lavs and small mics like the 4060 and (super) cardioid versions that came along. For film use that is.

     

    I'm quite happy that DPA in the last decade or so have made a very serious effort to offer products to several Film/TV uses - I think they've done it very well indeed, even with discontinued stuff like the windpac which I kind of wish they might have readdressed.

     

    It's possible the 20 series have possibilities for us but I think they were probably (well) tailored for their specific music market to bring people to the DPA sound/quality. It took DPA (a while) to take B&K away from purely omni and a long time after to look into shotguns and surround. On the other hand both companies have always been open and quick to embrace 'non-intended' use which is good. But I'd say if a budget film use mic had been intended (or considered financially viable) we'd have got it ...

     

    Jez

     

     

    Extra note Allistair -

     

    if you are intending on extra preamps (beyond the basic two for a 4017 and 4018 combo) then I would think 'why not' ... At least have a decent listen to units from the folks who are supplying the rest of the kit. You realise you won't get hypers or shotguns but as you said you could have a cardioid plant or second boom to augment the kit.


  14. On 20 July 2019 at 4:42 AM, AB said:

    I have used a pair of Senneheiser 8070s in the past with good success.  I like the long reach.  Sometimes I am recording something that is not that close in a nature reserve.  But have two mics in long blimps is not very nimble.   I like to have different options.    I hope this was helpful to you, JonG.

    Anyway, the main purpose of my post was to find out if something has emerged that outpaces the 8060.  It does not appear so.

     

    Hi AB, I also use from time to time two 805s as a shotgun stereo pair but it is always a strange reason to go for it: a reason but an unusual one! Generally using any two super-directional mics as a stereo pair is an unusual situation coming from an unusual recording purpose. Chris' advice is most probably the best here, rent 2 8060s, alongside the alternatives (specifically DPA and Schoeps as I can see - owning and using mics by all three manufacturers) and try out what you want to achieve.

     

    Generally having ONE shotgun (MKH70, 8070 or whatever) in addition to a stereo pair anywhere between omni to cardioid I would consider an ordinary arsenal for nature recording - specifically asking about a PAIR of SHORT shotguns requires understanding what is wanted to be recorded in quite substantial detail.

     

    Best, Jez


  15. 15 hours ago, joinwooHK said:

    u need dynamic mic , such as RE320 

     

    Well he says it's not close (ie high SPL) so in this case I think a condenser would be as good if not better.

     

    Though for high SPLs and transients good dynamics certainly have their place (I have an MD441 and would certainly like to pick up one or two RE20s).

     

    Jez


  16. 34 minutes ago, Patrick Tresch said:

     ... and the AD8+ module.

     Pat, I would venture that advice doesn't help (I might also go R4+ with an AD8+ over a Cantar X3 but it's not on the cards)!

     

    Dan, is the same "DOP" on this project? And more to the point are you on it because of the work you did previously with the director (or whichever lead creative) or is it something new? If it's the same DOP maybe he's an allie and will help; if it comes through previous work then they are allies (and it could be both). If neither is the case and the project is new then good luck (in the best sense!) - take your experience and previous success to the field. Talk to the main (and other major) people on the job over what is going to be expected to (hoped to be) achieved and decide beforehand to work around the limitations.

     

    I expect both the Zoom F8n and F4n might do the recording ok along with the Sound Devices MixPre 10t as well as the MP6, ASSUMING 4 tracks ambisonics only are needed not your "5 tracks with phantom power" and sorry, can't offer advice on an ambisonic mic here. But no-one can really offer non-specific advice properly when everything is about the project and script.

     

    I will say - if you have friends and supporters from recent or previous jobs they are not only your best collaborators / advice now but your future.

     

    Best, Jez

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