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Everything posted by minister

  1. How things translate to rooms with 10,000 cubic feet of room volume and above from your room will be a bit of an art. It is hard to say exactly if it should be 76 or 79, but I would start with 79 to see how it translates. And, the reason you set it lower in a smaller room has to do with how "loud" things sound in a smaller room vs the same SPL in a bigger room, not nominal dialogue levels. What does this mean? LFE is Low Frequency Effects. It is a channel, not a speaker. Are you using a Sub-Satellite system? If your speakers go down to 54Hz, where is your crossover? If you have a Bass Managed (Redirected) system -- and I am assuming you know what that means -- you use Band Limited Pink. Otherwise, if you simply have a speaker in the front that goes down to 54 but you are not not using Bass Redirect, use full pink. What monitor controller?
  2. Congratulations! How big is your room? Why are you calibrating to 85dBC? Is your room the size of a small Theater or larger? If so, go ahead. If not, like it's the size of a typical control room, you should be at 76 or 79dBC. Good. Stop right there! The PT Pink genny is off by as much as 2dB. Download the pink noise from here: http://thedubstage.com/links/ Don't use Band-limited PINK UNLESS you have Bass Managed speakers. For Full Range, full PINK is required. Are you mixing for theatrical? Or DVD/Home? Because the cal is different. for Theatrical, the Surrounds are 3dB down from the Screen Channels (so they sum to 1 "channel" of level in the back). For the Home, it is equal SPL all the way around. HOWEVER, you need an RTA to calibrate the Sub which should be +10 IN-BAND above the Screen Channels. This ends up being around 91dBC on an SPL meter assuming 85dBC.
  3. Thanks Mike. I'll check in with the client this morning and get back to you with what I know. I'll PM you for rates so they know what we are talking about.
  4. I have a corporate client who recorded some employees at an office in Nashville. We need to do a re-record with one of them. There are only 16 lines, These are wild NOT ADR lines. It is for an audio montage over b-roll. If someone is close to that area, (and I can be more specific) I am thinking it is a couple hour gig, total (probably an hour record). Hoping to do a half day Rate, if someone is willing. All you'd need is a Lav wired to a recorder. No cameras involved. But a phone patch would be great. (I have a Cell Adapter if you don't). Gig would be soon, but need to get parties involved talking to set a date. Let me know if you are interested and I can give more details. Thanks!
  5. We've been quite busy since July producing several more libraries which left no time to post about it: A 7-channel (Engine, Tail-pipe, Interior MS, Exterior Booms) recording of a 60's era Town & Country Station Wagon - http://undertonesoundlibrary.com/product/chrysler-town-country-station-wagon/ An MS (Schoeps CMC6|MK8/MK4 decoded by a legacy Sound Devices MP2 in the field so its XY) recording of a 90's era motorboat - http://undertonesoundlibrary.com/product/outboard-motorboat/ A double-ORTF (4 x Schoeps CMC6|MK4) recording of a Small Priarie and Woods nature Reserve - http://undertonesoundlibrary.com/product/3-prairies-and-small-forests-02/ A double-ORTF (4 x Schoeps CMC6|MK4) recording of a Young Forest in Spring (great for "air" sounds and under-layers for scenes) - http://undertonesoundlibrary.com/product/4-young-forest-in-spring/ A double-ORTF (4 x Schoeps CMC6|MK4) recording of some Northwoods Cabin surrounds (with great night lake sounds featuring frogs and loons and day "air" from a pine forest) - http://undertonesoundlibrary.com/product/5-northwoods-cabin/ Coming in the next couple of days are : Winter Forest (double-ORTF (4 x Schoeps CMC6|MK4) and Lisbon, Portugal (XY stereo Schoeps CMC6|MK4). Then, later this week or early next, a MASSIVE (1200 sounds and 9 hours of recordings) of Cooking and Food Prep. This will be great for anyone posting a cooking show, be it a dump 'n stir, or in-situ. You can sign up for the mailing list at the site now...keeps me from Spamming the forums. Thanks for reading!
  6. If I repeated that I was well aware that there was no compression circuitry in these microphones, would it help? Geez. We are getting OT, but... Spend a lot of time in a professionally designed studio with very good speakers and record a lot of foley, or SFX, or voices with a MKH40, MKH50, MKH60, MKH416. Then record those same foley, fx, voices with Schoeps, DPA, Rode. and compare. Listen the what happens to the air around the object. Listen to the transient content. Listen to the character. Then do the same with voices outside and in other rooms. Then record a lot of SFX and ambiences with these same mics and compare sounds. Once you hear it, you'll know what I am talking about. By comparison, that's how they sound to me. But I spend more time on monitors (in a studio and a Dub Stage) than headphones. Mixed a film beginning of last year by a guy with a 416/mkh50 outdoor/indoor combo. Sounds good. Another film 9 months later, same production guy, I was in the dialogue edit and I could instantly hear the difference. Called him up to compliment him on the improvement (to my ear) and find out if he bought new mics, sure enough, he had purchased a CMIT and MK41. I think it is a great idea to partner with a dealer and put together some packages. Identifying some good brand and model candidates and finding used items for sale is the way to go. Either way, I feel you have some "education" to do with your superiors. Maybe some demonstrations? I have done it with some clients - convinced them to hire us for Production, then brought them into the studio and showed them the difference between not only our chain and theirs, but having a great well-placed indoor boom vs their Lavs. it was ear opening. Then again, not every client cares or has ears. They all have purse strings though........
  7. That's the key! You can't change it after the fact, you have to start with a fresh mono setting... It's weird, but, whadya gonna do?
  8. Wow! (didn't realize he was still alive...) He was in a favorite Columbo episode..... RIP Mr. Bikel.
  9. Correct! But is SOUNDS a little compressed to my ear. I have done extensive tests over years recording foley, sound effects, and dialogue with Sennheiser MKH40's, MKH50's, MKH60's, MKH 70, MKH30/40 MS Combo compared to Schoeps CMC6| MK4, MK21, MK41, MK4|MK8 MS, and CMIT 5U and DPA 4017 and RODE NTG3 and Neumann 81. Comparing recordings, there is something a bit rubbery/plastic and ever-so-slightly compressed (sounding) and lacking-in-air to the Sennheiser "sound" when compared to other high quality mics. I notice in my recordings (I own most of these mics) and in the Production sound I get. The others sound more open, more air, and more natural, especially the DPA and Schoeps. He said in the first post, "(with grip, blimp, and rycote total of over $3k), the answer I received was "You wanna spend HOW much on one microphone?!?! You're crazy! What's wrong with using lavs, we already have a boom mic!" CMIT and Piano is exactly where they DON'T want him to go.
  10. I had a VP88 for a while and MAN! that thing was noisy! Not sure about the VP89's. RODE makes an NTG3 for south of $700. But you'll need "protection". To my ear, for the money, I like the RODE better than a 416. I am not a fan of the "non-airy" compressed sound of Sennheiser, and the brightness of the 416. But I have mixed (post-audio) plenty of programs and films captured with 416's and I could make the dialogue sound pretty good.
  11. Baseball cap always sounded like a baseball cap to me. Try getting a small stack of cards, flap them in front of your mouth and blow. Different size cards, different speeds, different kinds of blowing. Feather dusters and small swatches of well worked in thick fabric. Also, wax paper or specialty papers in little holders.
  12. Joe, The reason you are seeing duplicate mono tracks is how you are setting up tracks in Premier. Set them up as MONO tracks then PT shouldn't get duplicates. I get Referenced ones now, with the Audio FIles in a folder. Then I get the ENTIRE file and no 2GB limit for the OMF. The only weird thing is in PT, you translate the OMF, it will ask you "Where the heck are those files to which this container ALLEGEDLY refers?". So, you select MANUAL find. Then point the process the very audio file folder you've been provided. Then, when the "Linking Options" Dialogue box comes up, select "Find by Name". Then be sure to DESELCT "Match Format" and "Match Duration". You'll get a warning about Linking to files which are too short which may result in Male pattern baldness and expanding midrift, but ignore it. It's fine. Select "OK" and it should all relink. Not sure why Premier OMF's work this way now, but once you adopt this workflow, it all works a treat!
  13. The K+H Speakers (Neumann) are great. I instantly related to them. I've mixed on Events, Mackies, DynAudio, and Genelecs. By far my favorite speakers. They translate well (as always, if you know what you are doing and know your room) and not in the least bit fatiguing. I have a good friend who's a Mastering Engineer, who's Mastered rekkids you've heard of and is one of the top ME's, bought a pair after hearing mine and he loves them. Couple other posties I know are now on to them and are happy.
  14. I thought I'd share a recent purchase for some of you who may want a way to carry a bag of production gear or field recording gear a long way from the car. I'd been looking for a backpack to put all my field recording gear in that was beyond throwing my recorder bag over my shoulder and piggin' stipping my cables and other things to it along with carrying my stand. This bag was originally made by Kata and ported over when Manfrotto bought them. It is meant for Video, but it works great for audio gear. The pack also comes with a cover that can reflect light (to keep things cool) and protect from rain. Below are some picks of how I packed it with a complete double-ORTF (Quad) kit. Here's the link to the pack: http://www.manfrotto.us/product/24329.8615.17668.0.0/MB%2BPL-PV-610/_/Pro_Light_Video_Backpack%3A_Pro-V-610_PL
  15. In the meantime, we released a Wood Door collection of around 200 door sounds. And, we're having a Bastille Day sale (started in the July 14) that goes until July 21. 25% off all libraries. And now there is a FREE pack of sounds that is a grab-bag of libraries released and soon-to-be released. We'll also be releasing a new library during the sale.
  16. Rode makes fine mics. I would prefer Schoeps or DPA. But, if that is what you have at hand. And, to echo many of the others : ORTF. That's my favorite way to record groups in a GOOD space or hall as well as ambiences. Spaced OMNI's take too much experience and knowledge and trial and error. You may not have time to figure out the best place to put your spaced Omnis. ORTF will give you a good center image and great spread; it's also certainly mono compatible. Find a great place to hang if you can, or a tall stand. While the Decca tree is great over the conductor, if you only have an ORTF pair, that may not be the best place. You'lll have to see...
  17. We use the Manfrotto Nano stand. It folds up easily into a knapsack or suitcase. We use it for field recording -- even double-ORTF QUAD -- and to hold a boommate on set (with a Galaxy Saddle bag). http://www.manfrotto.us/black-alu-nano-stand-64-5-sections-4-risers With the Galaxy saddle bag, you can have it empty and fill it with water at the set (if that's available). This makes it a really light weight option.
  18. Hi Folks, I post here occasionally, and certainly read a lot. My main business is scoring and doing audio post, but we also do location audio from time to time. Our work in film and TV has lead us to record a lot sounds for our work. Not to compete with our friends who also do this, but for years we have been recording things for our pleasure and use in many of the films we work on. Many of our recordings are unique to our area or unique in the world of sound library collections, so it adds to the community. Now we've reached critical mass of at least 15 libraries of varying sizes so we've built a site and prepped a few packages. Many of you do post, so maybe some of these libraries can augment what you already have, or fill a particular need. Some of the libraries are stereo only, 24/48kHz, but many are multi-miced, including cars and doors, and a number of ambiences in Quad 24/96. We have a 1967 Chevy Camaro SS recorded with Engine, Tailpipe, interior MS and Exterior booms 24/96. A nice stereo collection of Prairie and Small Forest Ambiences. A small collection of cornfield recordings. And a small collection of 3 Classic Cars that is limited in its scope, but still quite useful for the right project. We've also listed some of the libraries that are in the pipeline for release but are not quite finished, things like Wood Doors, Knocks, Locks and Latches, and a 60's era Town & Country Station Wagon. Significant things down the pike will be a MASSIVE cooking library of boils, frying, chopping, slicing, pouring, biting, drinking, set-downs etc. This will be very useful for those of you doing cooking shows. Main Page: http://undertonesoundlibrary.com/ Poke around, there are Soundcloud demos and descriptions of many of the products! Libraries that are ready for purchase: (Please note: a few of our testers had the notification email go to Spam, so if you purchase and don't receive the email, check your spam folder.) Thanks for reading! Tom
  19. Thanks! I love To The Best of Our Knowledge and Bernie Krause.
  20. And a little big! Yet, I have never seen a scoreboard near Lake Mead... I was only semi-serious. I was curious about the technology. The power demands must be enormous...unworkable in a small solution at the moment.
  21. Those jumbo video monitors at baseball parks now are amazing! Clear, full color, deep, hi resolution even in full direct sunlight. I don't know what kind of technology it is, but I suspect it is massively expensive.
  22. the CMC 4U is T-powered, not phantom. So the 13Ω is for T-Powered. Not sure why would keep looking....... You said, "CMT 441". Not sure if that is a typo or not. But if you mean a 441, then I took you to mean a CMC 4U body. Well, I did pull the information from published Schoeps specs, so I am not sure why he needs to contact Schoeps. http://www.monplandescene.com/wp-content/uploads/pdf-micros/Schoeps/CMC4U.pdf http://www.schoeps.de/en/products/mk41/specs
  23. Output Impedance of the CMC 4U is 13Ω CMC 6U is 25Ω for 12v and 35Ω for 48v Phantom.
  24. If you had the mics indoors, in air conditioning and then brought them right out to a hot day, it could be a problem. Best to get a Schoeps acclimated if the change in environment is extreme. Also, did you make sure that the capsule and body were threaded together snuggly? Recently on a shoot, our CMC6/MK41 started to sputter when we were testing for levels. Powered everything down, unscrewed the capsule, everything looked clean. Threaded them back together, no problems. My Schoeps have primarily been used for FX collection. I live in MN and have exposed them to -10ºF in a forest, high winds, and 95ºF (heat index over 100º) days in the prairie. Never an issue in over 8 years of use. I would check the threading, and if it happens again, then send it into Schoeps. I agree with the other posters, a problem is not the true nature of Schoeps.
  25. MS is a tricky thing in 5.1 post because of the down-mix matrix. I have never used it because it causes too many headaches. I have recorded some field FX, but I always print them to XY before finishing the edit. I would not be happy receiving MS files from production on a 5.1 TV mix because I would have to (waste) time printing to XY.
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