rafaeldelauz

I'm wondering if something as simple and affordable as a Rycote tac!t would take care of the problem, without needing to use the B version.

Sanken cs2? It's more natural than cs3, less dramatic side rejection, and give you more bite than the mkh 50.

Cory, I just charge them if I use the BU gear. It just happened to me last weekend, a 664 gig and in a moment of total production madness they wanted to split crew in two, for some B camera stuff in a taxi scene. I was the only sound person. So I rigged the taxi with my 552, a Cs1e, two lavs for the character and the taxi driver, pressed record and crossed my fingers while I stayed recording main scene in Central Park. The sound recorded in taxi was OK, definitely usable, on the other hand my check was way thicker. And i got to give it some work to my 552 too.

Cory, I spent 15 years hauling gear around in NYC ( I always leaved in Brooklyn, never manhattan) for me the important part was always to discuss the back up strategy with production before the shooting day, by email, of course. Sometimes they understood the importance of extra gear and I was jumping from taxi to taxi, or my pelican was going on the camera van. Other time they didn't want to deal with the cost, and they agreed to back up just in camera if something went wrong, a Mixpre with a breakaway did the trick them. On the other hand there were times when production would say "we don't care about back up" and I will carry a pelican plus my full rigged petrol on the subway. Those were just miserable days, specially leaving Brooklyn at rush hour. On my last shoot in NYC, I was doing Uber all the time. Production didn't like the cost of reimbursement but they understood that i wasn't going to deal with a pelican, a boom case, and a petrol rigged with a 664, waiting for yellow cap that look at me like the ET trying to get to JFK under snowing condition. They settle down with reimbursement. I miss Brooklyn a lot, but not the subway ride with gear.

There is an avalanche of used Sd552 in the market right now at very good prices. Those are very powerful back up machines.

Thanks for all the answer. I can't use a small sound studio, the DP use long lenses plus there is a big backdrop to be set up too. Cory, it's funny you mentioned Bravo, that's one of the studios we used, and the management company decided to have a party on their offices (down the hall) from 11 am to 6pm, while we were recording. it was an insane day. As I said there it was a moment i didn't need to stop recording because the noise, the interviewees did it themselves, because it was impossible to miss. The director face was deep red of anger all day. But maybe I should give it a try, if there is no party of course. I will scout Atlantic Tv and see how it goes. Thanks again

I need a recommendation for one. I've been recording this historical Series for PBS and we are doing dozens of interviews. We have used like 5 different studios and they have been extremely noisy. The director is mad at production and ask me for help for a better stage. I live in DC, so I'm not that familiar with NYC studios. Any recommendations? BTW, I know Manhattan is noisy, I'm talking about crazy loud studios where you can heard the high hills of women walking on the top floor. It has been so ridiculous that it becomes more than a sound problem, the interviewees can't totally focus. Thanks in advance.

Are you powering the mic with the mixer internal phantom power? There is a well documented issue with high rejection mics and the phantom power of some Sd mixers. The solution is using an external phantom source. When I had this problem, a while back, the issue was a crazy motorboarding, but I was able to hear some sound, maybe this is not the problem you are having.

Glen, I own a 5d mark iii and the tascam and I've been using both, screwed to each other without issues, but after reading your article I realize I always use the line ouput instead of the tape out. Did you try different outputs on the tascam? BTW, and I know this is no the issue you are talking about, I'm pretty happy with the quality of the internal recording in the d60

This is the second mic I buy based on recommendations found in this group, the first one was my beloved Sanken Cs2 My son doesn't know how to write yet, but he wants me to say thank you to everybody that contributes in this thread.

I own both the 81 and the Cs2, I love both and they both come out in different situations. Generally the 81 on quite situations, the cs2 when I need more side rejection or when I'm working in Rf charged environments. For me there is no such of a thing of "one tops the other". Phillips screwdrivers are no better than flat head screwdrivers. I don't like the NTg3, I call it that mic a 416 without personality, but that's just me, a lot of people love them.

Hi Andrew, in case it happens to me. What camera would you recommend then, Epic or Alexa?:-)

Thanks Jesper, I've done different experiments with different mounts, besides Cinela, and nothing has really worked . I used black lyres, K-tek mount with soft rubber, with hard rubber, classic Rycote mount, with different elastic rubber, and the results have changed, but no to a point where I can really hold the boompole with one hand while adjusting levels on the mixer with the one. I got to a point where I was able to pan the boom around a room without major issues, but I couldn't spin it, no even a tiny bit. I work just in documentaries, so i have no script or rehearsals. Being able to spin the boom to get other person sound is vital, I can do it with every other mic I own, Sanken and Neumann, but no with this one.

Before filling divorce, my usual set up with the MKh 40 was, the Mic low cut engaged, mixer Low Cut engaged, grey lyre mount, Softie, and K-tek cabled boom pole, and a dedicated phantom power for it. I use Neumann Km184, and 185 too, I don't need to use most that stuff with the Neumann mics, just engaged Low Cut on Mixer and enjoy the ride, but sometimes I would love to use the extra punch of the Mkh 40, these days the only thing I can use it for is sitdown interviews. I haven't tried Cinela mount and I haven't tried the Tac!T Cable either, maybe I should. I'm curious about something. Why the Tac!t should make such a difference, if I'm already cutting out most of the offending LF, using the Low Cut in the mic and in the mixer?

I had a very frustrating experience with the MKh40 too, it was impossible for me to use it because the handling noise. It's a real shame, because it's perfect for my work, it is rugged, has a great pattern, nice round edges and quiet. We don't talk to each other anymore.