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Brhoward

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  • Location
    Brooklyn
  • About
    Composer / Sound artist
  • Interested in Sound for Picture
    Not Applicable
  1. Any thoughts on which bag would be best for R4+ and AD8+? I simply need the bag for comfortable, safe transport and occasional field recordings. Mostly I am recording classical music. So I don't require lot's of extra storage pockets and such. From using an SD 744t for years and 788t, I can say a bag has been useful. I see the Ktek Stingray, the PortaBrace, and Orca 30. It seems like the PortaBrace is the only purpose built, but doesn't have 'sides'? Perhaps that works for my needs I don't post here very often, but the user group has been very helpful while researching the Sonosax +series equipment. Thank you.
  2. It seems like the most cost-efficient way to power will be to use the converted 48v - 8v from a mixer/recorder. I will be building a power converter adapter with the help of an experienced audio engineer; will report back with pictures and documents once it is finished. There were powering adapters, the sennheiser MZA6 battery power that was supplied as an accessory with the original mics, however they take 6 1.5v button batteries and will cost too much to purchase for continuous use.
  3. I have a couple of MKH 104's, but have no way of powering them. They seem like something I would enjoy using. I have read online that it is easy to build a -8v power. I read this on a site of Richard Hess: http://www.richardhess.net/restoration_notes/RLH_MKH-804-Phantom_Adapter_v03.pdf I don't have experience with Mr. Hess, nor do I have any experience with building a power supply. Does anyone here have any guidance in the matter? I have someone who can help me build this from the above schematic, if it turns out to be a good solution. I also see these online: http://www.ebay.com/itm/SpannungsversorgungPSU-f-Sennheiser-MKH104-404-804-/160738970893 Does anyone on the forum have these mics, MKH xx4, and care to share some info on how they power them? Much appreciated.
  4. Beautiful. Yes, I was looking for info on the CMT 441. Schoeps didn't get back to me, but Angelo had the facts!
  5. My guess would be that the t-power series mics would not have the same, but maybe similar, impedance as the collette series... I will keep looking.... Thanks for the reply minister
  6. Also: if you are at all handy with max/msp, there is an external called IRmeasure~ as part of the HISStools collection. This object gives you some flexibility in the type of impulse you can use, either an ESS (exponentially swept sine wave), a burst of white/pink noise etc., with complete control over the various aspects of the impulse - attack, length, spectral range, decay. The impulse is measured using a speaker(s) and microphone(s). Once you have a IR of a space you could ostensibly use it in other IR verbs or use with other HISStools objects like their multiconvolve~, a zero latency deconvolution reverb. It is truly nice! And free! Here is a link to the Huddersfield website: http://www.thehiss.org/ Here is a link to a web-post about how to use the external: http://m.youtube.com/watch?v=0waUi6qpf-k I have used this object to take impulse responses of auditoriums, stairwells, a long hallway, or less conventionally for creative equalization to approximate the sound of being inside a closet while listening to something in another or room. Other fun things to try were pieces of analogue gear, tape machines, digital delays, effects pedals, a channel strip... Really anything you can put a signal through has an IR!
  7. I am wondering if anyone knows the nominal impedance for a schoeps CMT 441? If any one can point me to the technical specs of this mic, I would be greatly appreciated. Thanks Branic
  8. Yes, and for a more thorough study of these principles, see this seminal text on auditory perception Bregman's Auditory Scene Analysis. It is often referenced in scholarly articles in the field of spatial hearing for principles of sound design. http://www.amazon.com/Auditory-Scene-Analysis-Perceptual-Organization/dp/0262521954 I read it when I was implementing spatial and distance cues for an ambisonics setup.
  9. Thanks for sharing this...
  10. This is an interesting problem. A few questions... Is the microphone stationary? Is one lobe of figure-8 pointed at the source in question? Are you in an open space or are there reflective surfaces? Also, does this occur only when the loud noise is moving? If so, then one side of the figure-8, before the matrix, might be going 180º out of phase, the two sides might cancel each other out. just a thought...
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