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About Constantin

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  • Location
    Cologne, Germany
  • Interested in Sound for Picture
  • About
    mostly cart-based, but also bag-based commercials, corporate, documentaries, etc.<br />
    To contact me away from jswoundgroup, please use:<br />
    mail {at} constantinbomers.com <br />
    (leave out blanks and brackets, and replace at with @, of course)

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  1. Are we talking about the DPA MicroDot adapter? Because I find that to be very robust. It’s not much lengthier - if at all - then the soldered version. As long as it’s screwed on tight enough. I asked the German DPA distributor which type of connector they see more of on service, and they said both.
  2. The PSC MultiSMA doesn’t have an RF amp, only to make up for its own loss. So it shouldn’t boos any signal more than if you didn’t have a distro. Nonetheless, the output from my MultiSMA is passed through a Lectro UFM50 amd then onto the receivers
  3. Why? What do you perceive as the advantage of 2.4GHz wireless? Other than, perhaps that no licence is needed. I think some features are quite cool about this system, but the 2.4GHz range of it is what I consider the biggest drawback of this system. I don’t know. There is some validity to your argument, but looking back over the years, we were again and again at this juncture. New cheaper gear entered the market and everyone decried the end of the world as we knew it. And yet, somehow, the world has been able to sustain us and the new kids (and I was once one of those new kids myself). It’s true that rental rates could come down as a result of this, but in a way that could be fair as the cost for gear would also be lower, unless you can justify the more expensive gear to the production company, which should be possible easily enough. Labor rates should not come down because of cheaper gear at all. In fact, many of us only survive because of the rental income, but that is an error if the system. We should be able to get by on labor income alone. But that might just be a discussion for another thread
  4. Then you need to learn how to import things, it needn’t be difficult. First, write to the customs office in Dresden (address on website) and get an EORI number. It’s free and you don’t need a company or whatever. Then, get an account with the major parcel services, UPS, FedEx, etc. Once they know you and have your EORI they‘ll do the customs stuff for you. Provided that the shipper has also included all info needed with the shipping docs, but a manufacturer or a shop (like Trew or Gotham, et al) know how to do this. Then it‘s really easy.
  5. What are your other chargers made of? I‘m not worried, they feel solid enough
  6. It‘s always possible that I‘m confusing things, but I don’t think this. It‘s what I had read that some new 32-bit A/D converters offer higher oversampling rates. Because of/despite their higher bitrate Not directly, no. Anyway, maybe it’s just that 32-bit converters come with more powerful chips that are capable of higher oversampling rates, I don’t know
  7. Constantin


    I was strictly commenting on your worries regarding the width of the controller. And I wouldn’t mind a stacked mixer, certainly better than switching banks
  8. But a camera like the Alexa Mini can derive its genlock from a TC stream and Tentacles are well accurate enough for that
  9. I am not the greatest expert on this, but from what I‘ve read, the higher bitrate allows a higher factor of oversampling and this eases the burden on the anti-aliasing filter, which is analog and doesn’t need to have such steep cut-off curves to bandpass filter the desired audio (because Nyquist would be much higher). Many a/d converters augment this with an additional digital filter. Oversampling also improves the SNR. Also a higher order of modulation as well in combination with a higher bitrate reduces the quantization noise of the converter.
  10. Constantin


    Yes! Like that
  11. Constantin


    How about one behind the other? Slightly stacked?
  12. Pretty all the radio stations I‘ve been at or seen on TV had a Neumann U87. Except for those that had an RE-20. The latter mostly in the US. That’s not a counter-argument, just additional info
  13. While I don’t know this with 100% certainty, I don’t think that Zaxcom have a patent on dual a-d converters per se. Neumann, Stagetec and others have used dual converters for a long time before Zaxcom came along. There‘s more to A-D conversion than just bit-rate. Most (or none) 24-bit converters don’t achieve the theoretical maximum dynamic range of 144dB and with 32-bit converters I also only know of one that achieves 148dB, although it’s not a dual converter... 32-bit converters also have lower self-noise, better anti-aliasing filters, etc., which all justify the use of 32-bit converters even if the actual dynamic range cannot be significantly increased. How do you know it was the pres and not the mic?
  14. There must be a misunderstanding somewhere, because I never intended to recommend a dynamic microphone, although there are some dynamic mics that might be suitable, like the one Werner mentioned, and I‘ve heard good things about the Electrovoice RE-20 (I think is the name). I was talking about cardioid and super-cardioid polar patterns and the corresponding mics which I think are good for both voice-overs and ADR, where you may attempt to emulate the sound recorded on set. And they are more forgiving in a less-than-ideal sounding room, where your 8060 might highlight issues rather than hide them. Also, don’t think that if you have noise sources in your room that a shotgun mic is going to be of much help.
  15. I personally believe that a shotgun microphone is not the best choice for voice-over, especially if you don’t have a nice sounding room. If it‘s really only for voice over, a TLM103 will do you very well. Also consider the digital version of it. If you intend to record ADR as well then a shotgun would be more suitable, but something like a Schoeps supercardioid or even cardioid, or the Sennheiser 8050/8040 would work better.
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