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Herbert Verdino

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  1. well... on the Schoeps site is the following written: Sensitivity ca. 0.6 times the value as measured with a standard CMC microphone amplifier. For example with the MK 4 cardioid, the sensitivity is about 8 mV/Pa, the maximum sound pressure is 130 dB SPL and the equivalent input noise is 29 dB CCIR or 18 dB A-weighted. ....and here are the normal values from a MK 4 capsule: Frequency range 40 Hz - 20 kHz Sensitivity 13 mV/Pa Equivalent noise level (A-weighted) 15 dB-A Equivalent noise level (CCIR) 24 dB Signal-to-noise ratio (A-weighted) 79 dB-A Maximum sound pressure level at 0.5% THD 132 dB-SPL Length 22 mm Diameter 20 mm So my question now is, how this value changes have impact in real live location recording. Since I want to buy such a solution, maybe it is better to go for a DPA, which are electret mic's and are better suited for low voltage? I use Lectrosonics transmitters, by the way.
  2. Hi, did any one do a comparison of this two? In both solutions it is possible to connect a normal mic capsule from Schöps or DPA to a wireless body transmitter. On the Schöps page is written, that you have only 60% of the normal dynamic range, using the CMR, which concerns me a bit? Does the same go for the MMP-G...?
  3. Hi, did any one do a comparison of this two? In both solutions it is possible to connect a normal mic capsule from Schöps or DPA to a wireless body transmitter. On the Schöps page is written, that you have only 60% of the normal dynamic range, using the CMR, which concerns me a bit? Does the same go for the MMP-G...?
  4. I am disappointed, that there is no scratch mic build in the nano lockit. One of the main reasons to go for a relay small timecode device is, that you do not want to put more stuff on the camera, than needed. For me it is a reason to go for a tentacle, which is very sad, because I have 2 tiny Lockit's and one ACL 204. A nano lockit would fit very good in to my timecode family. The thing is, that not all post pro people can handle audio timecode well. As far as I know, and pleas correct me, if I am wrong, only Avid can read Audio Timecode. If you are working with Adobe or Final Cut you need additional software. A lot of editors prefer a reference audio signal instead of audio timecode to sync it later with plural eyes. And since the post workflow is not always clear, and full of misunderstandings it is always the best, to give them both opportunities.
  5. Yes... I know. I have build a bunch of different y cables to use my tiny lockit in combo with a rode video mic or with sennheiser evolution receivers, etc... Most of my client's always want a reference audio track on every camera. And since this dslr cameras are often used in gimbals or other small rig's, it is not always possible to mount a extra device, like a video mic on them. Since the nano lockit is clearly build for dslr cameras, I do not understand, why ambient gives no build in option to feed a audio signal on the second audio track? I know, that the audio quality from the tentacle is not good. But good enough to use as guide track. The lanc logger had some cool audio timecode features, by the way. At least you could pass a audio signal threw, without using a y cable I still love my other lockit's and acn is great!!!! :-) Gesendet von iPhone mit Tapatalk
  6. Hey. Is there a build in mic, like with tentacle? Or a possibility to connect a video mic? Most dslr cameras switch of there internal mic, when you connect something to the mic input...
  7. Thank you very much for all your input! I think, I will do the Job with the 688...
  8. Hi, I am looking for a solution to record up to 10 tracks on a portable audio recorder and was thinking to use a 688 or 644. I am a little bit concerned, about the long recording time and the high numbers of tracks. Because these recorders do not have a build in hard drive and record only on SD/CF cards, I am not sure if they are capable to record such big files for such a long time, without any problems? I usually work with my Aaton Cantar X1 which records 8 tracks for several hours without any problems. But on this job, the X1 has to less recording tracks... Do some of you have experience on recording several hours on a 6 serias recorder? I would be glad to hear some advices. Thank you, Herbert
  9. Maybe they will build an extra control interface to ad hardwer mixing faders... Like the CL8? Than it would be an more interesting machine for me! The audio interface option is very nice!
  10. ...but the Zhephyx system is to small, to fit a shotgun mic. With my Rycote system I easily can change from an MKH 60 + basked for outdoor use to an MKH 50 or 40 without basked for indoor use. Using the same suspension and wiring.
  11. I have not much experiance with Cinela products. Can the basked ease be removed, when you use the system indors? The nice thing about the Rycote systems is, that you can just slip the basced away and you have a suspension, that is not much bigger, than the mics. As I understand the Cinela system, It is not possible to just remove the basket, and use the suspension without it?
  12. No, I have not tried Cinela. I was writing an e mail to them and they told me, that combination of mkh 60 + 30 is to heavy for there products. But I can imagine, that the Cinela solutions are better, because also the basked is shock absorbing mounted. A friend of mine uses a double MS combo with MKH 8060 + 8040 + Neumann KM 120 as fig. 8 in an Rycote Cyclone, where the basked is also shock proof. Ad his very happy with this rig!
  13. I am using now a MKH60 or 50 + MKH 30. But without the Floater it is impossible to boom. It works ok. The only problem is, that when the wind is strong, the whole basket is bouncing bouncing around, because of the Floater. But this happens only at strong wind. I also can easily upgrade the system to a double MS system. See the picture
  14. I tried several MS setups and in my opinion, the Schoeps CCM 8 is the best 8, because of his small size. It is also less sensitive to handling noise, than the MKH 30 or the Neumann KM 120, which are in the same price area. I use an MKH 60 or MKH 50 + MKH 30 and I do have to use an Ambient Floater to reduce handling noise during booming. by the way... In my opinion, the Neumann RSM 191 is one of the best sounding MS Microphones, but I am not sure, if it is the right choice for documentary work (external matrix box, sensitive to RF influence and moisture as I have heard and also sensitive to handling noise)
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