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Everything posted by minister

  1. I too prefer a larger, more wind protected rig. But, whatever works!! I have been doing FX collection and editing (and then mixing those sounds into films and shows) for many years and I keep growing my rig. Options are a good thing. Sometimes the stealth way is great way to go and can sound really good. For instance, I am sound super and re-recording mixer on a film now that needed ambiances from an urban Super America (or any similar convenience store), a tiny stool and counter Vietnamese Restaurant, and a tiny stool and counter hot dog joint. No good places to set up stands, or, even stand there with an MS or other single stereo mic in a Zeppelin. So, I sent one of my assistant editors out to collect these sounds and it was much much easier to rig him with a stealth setup. It was faster, easier and sounded great.
  2. Do you record public ambiences? Restaurants? Parks? Malls? State Fairs? Ever done that with a stand, a stereo bar, and 2 Baby Ball gags and Windjammers? Not very fun to set up. Not fun to edit out all the questions like, "what are you doing? You're recording? For what? Hey Martha! he's recording sound for a film!! Which film?...." etc. Stealth is a great way to go in many circumstances, and a perfectly valid way to capture stereo FX.. I use a set of DPA 4061's, clipped to a hat, a coat, a shirt, etc.
  3. I do the audio post on Diners, Drive-Ins and Dives, and sometimes, "it is what it is". For the host and the chefs, it is always Lav's (COS-11). Kitchen's are too small to be able to swing a boom properly behind the camera man. Boom (mostly CS3 and occasionally the CMIT-5U) gets used in the restaurant on patrons being interviewed about their experiences. The field will also put a Lav on any other principle -- waiter, owner's spouse, partner etc. We add a TON of stuff in post. We never get room tone or extra "sizzle" as the show is cut too tight, and we have a gigantic library of it (custom and commercial). Hardest thing is to get "non-talent" to project enough where you don't have to turn up the gain. And of course, where possible, shut off any noise makers in the kitchen. The guys who do our audio do an EXCELLENT job in very tough and fast-moving conditions!! As I said, it is mostly LAV's for us, though, we do get PFX from the camera mic as it gets closer than the boom. Surprisingly, from time to time, it is usable. Also, on our show, I established high music levels early on to drive the energy, so, the shifts in BG noise is somewhat masked. I also have a lot of NR tools at my disposal. That is what works for us. Have you sat down and talked to post?
  4. I have a brand new (1 month old) 552 and the fader pots feel fine. No bounce back. Maybe they made a slight change at the factory? SVEN takes getting used to, in that I had to know what he was going to say (what options were) before I knew what he said. I wish it were better, but, as was said, most of these options are set prior to the shoot and likely won't be needed as an on-the-fly/on-the-set change. Certainly not a deal breaker given everything else that is cool about the unit.
  5. I listened quickly, but there is a difference in quality between the left and right. I hear more detail in the mids, upper mids and high-end on the right. The left sounds muddier, and a little more closed. However, the difference could be attributable to the actors voices, could be placement, could be orientation in the room. Same mics I assume? (If not, that is another big factor) I'd say that the wireless is on the left and the wired is on the right.
  6. This is my suggestion as well. At the very least, you should one (or more) of these anyway. They are useful for the studio and taking your stuff to other facilities.
  7. http://www.filmtools.com/pensandmarkers.html
  8. It has tripod mount on the bottom! This will help. I am thinking of attaching an adapter to an arm attached to the cart. It also has a little foldout leg for sitting on a flat surface.
  9. Thanks for the great tip! Yes, the online price is $79.99 and the in-store is now $99.99. But I found them up at the clearance table near checkout. I asked the price, and they said $39.99. I got the last 2 from DT Mpls Office Depot. So check the clearance bin, or ask if you don't see them in the regular spot.
  10. I was thinking of the CS-3. http://sounddevices.com/products/cs3master.htm Are you using this with a mixer? I take it, no? The front pouch does collapse. I think it fits the 702 better than the Portabrace. But if you are looking at the Filmtontechnik bag, yeah, it does not have a front pouch.
  11. I think the best bag for the 702 is the Sound Devices bag.
  12. This is what Schoeps recommends. I did it and have not had problems....other than finding the NC3FXX-EMC-B in stock. They were back ordered for a few months and finally got a supply.
  13. Ah! Oops. Sorry Peter. Does it say somewhere in a sticky that you have to actually READ posts? Oh well. This is still pretty small, I feel.
  14. If you are talking the B5's [or as I call them, "Clown Noses"] that come with a set in a box (or sold separately), I have them in a Pelican along with my other windscreens and such. In a way overkill, but they had to go somewhere such that they don't, as you say "squish". Each nestles into its own hole. I had "Pelican-Room". They only get used on the CMC/41 or CMC/4 indoors.
  15. Peter, It sounds to me as if you have figured it out. I run a 30/40 MS on a Rycote Mount with ConnBoxes and a 3-pin-->5-Pin adapter in a Zeppelin with a Hi Wind cover with no problems what so ever. It is nice having one pistol grip or mounted on a stand as opposed to 2 separate mics in Baby Ball Gags.
  16. I'd look at a Sanken Css5. A lot of FX recording guys use them and the results are good. Best thing about them is they are incredibly durable and reliable. And it is only around $2k. The 418s sounds like a Senn, but is MS -- if that is a consideration. The Neumann RSM 191, I have not heard, but I bet it is great. But at $5300, I'd probably pass if FX collection were not my main gig. If I had only one, and it had to be stereo, and I were a production guy, I would look seriously at the Sanken.
  17. Thanks again! Here is what I ended up doing :
  18. Correct. But I do mean loud AND fast. Dynamics are good for high SPL noises. Things with slower transients are a different matter, however.
  19. Thank you for all the helpful posts. I'll look into tackle boxes and pick out one I like. And yes, over-under here too.
  20. Here's a short clip. Yamaha_Exhaust_Clip2.mp3
  21. How did you deal with the exhaust?
  22. Here is a bike setup BEFORE I put on the Rycote Furry. Who says it has to LOOK good? Spoon is for extra extension over the goose neck zip-tied to the frame. Again, the tailpipe is what you want and the engine is just whiney and "unsatisfying".
  23. We recorded the car moving into a "staging area". 1 SD recorder in car wired to the tailpipe and engine mics. a 2nd SD for the external mics -- stationary and one on a boom. The secret to vehicle recording is the engine sound is pretty metallic and whiney, what you want is the tailpipe sound and to a secondary degree the external sound. You have to give the mixer options for perspective. The engine mic is used sparingly, but it does add some nice metallic high end. For high speed stuff, you can use a tin can on the tail pipe mic and other external car-mounted mics.
  24. Forgot to attach 2 to the one message.... Here is an example of a Heil in action. I have also use 57's in this capacity. It does not damage the mic, but it does get hot. I would not put my more expensive mics in this place.
  25. Dynamics are great things to have along for an FX session. I think they are especially suited to loud sounds, metallic sounds, banging, and things with fast transients like gun shots. Not all dynamics are the same. The ones I like are the Senn 441 (not the 421, which i do kinda like on kick drum), and the Heil Mics. The Heils are great and very affordable. And of course, a 57 is useful too, especially if you get the Oliver Archut transformer mod. Another thing about Dynamics is if they get damaged, it is less of a big deal then if my Schoeps get damaged. Oh, also, a Lav (MKE2) on a tailpipe.
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