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ninjafreddan

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About ninjafreddan

  • Rank
    Hero Member
  • Birthday 02/09/1973

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  • Website URL
    http://www.ninjasound.se

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  • Location
    SWEDEN
  • Interests
    Music and my kids
  • About
    Working with ENG-sound for run and gun TV-productions and documentaries using a Sound Devices 664, TCBuddy, DPA 4017 shotgun mic and a couple of Shure UR1/UR5 wireless systems and DPA 4060 mics.

    My motto: Travel lite and work fast. :-)
  • Interested in Sound for Picture
    Yes

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  1. Officially, five systems. In reality, probably 8-10 systems - depending on how crowded the 2.4GHz band is. No, it’s not. The communication is bidirectional between a paired transmitter and receiver. Cheers Fred
  2. In this day and age, with multichannel recording in the mixer, why do you need to listen to the camera return? Playbacks for the client? Or are your clients prone to using the sound on the camera? I always send a good REC FEED to the camera, and if there is any problem with it in the sound editing, I figure they will use the separately recorded tracks from my SD664. But more often than I want to, my REC FEED ends up in TV-shows - with comb-filtering and phasing between to lav mics in close proximity. Ah well, the client is always right, even when they are wrong. (I will eventually
  3. Hi guys I bought the Sennheiser XSW-D XLR Base set to use as camera hop. I really like the sound quality and with that price tag, it's a no-brainer. Some information straight from the source and by empirical tryouts: Latency: 3.8ms Frequency response: 80-18000Hz Range: about 40-50m outdoors with line-of-sight about 10-15m indoors with a couple of walls in between (both scenarios are dependent on how crowded the 2.4GHz band is on location) Battery: 850 mAh Li-on Battery life:
  4. Try disabling the [Learn]-function and listen if you get less pumping. Of course it won't catch dynamic noise sources, but it will still do noise reduction based on the noise floor analyzed before disabling the [Learn]-function. Have a nice weekend Fred It will attenuate some of the noise from the hot tub and the water fall, for sure. Clothing noise, a bit, depending on the level and composition of the noise. The Izotope RX De-rustle plug-in can also help out a bit. And if you go for post production processing, the Izotope Voice De
  5. I've come to the same conclusion, the Overcovers are useful, the Undercovers are not. I've used the Overcovers together with DPA concealers to protect from wind noise. However, I love the Rycote Stickies - perfectly adhesive and sticks to both cloths and skin for hours and hours. I haven't used Top Stick, but I really like the adhesiveness of the Rycote Stickies, and I've had good success applying them on fabric. I only use DPA lavs, and the Bubblebee Industries Lav Concealers works great! The material is great, and there are two metal bracke
  6. And it was for me as well, until I found two working setups. Man, I spent a day googling and finding the products, and half a day tweaking it all together with my broadcast processing. In the end, I pretty much just connected it on site, hooked up the stuff to phone and then the DoP did two tests using the streaming service, checking angles, lights and picture framing with the client - and it all worked like a charm. The good thing with the iPhone gimbal setup, is that the DoP is very steady on the hand, so as long as the lightning cable doesn't get stuck in something, there is ver
  7. Olle, thanks for your help and for reaching out to me on Messenger a couple of days ago, much appreciated. I spent a day googling for solutions, driving to stores to buy different cables and adapters. I ended up with an analogue and a digital solution for getting the sound into the iPhone. We ended up sending 50 minutes live on the Internet by using the Bambuser streaming services - and it all worked like a charm. The client was very happy! 😄 I guess other users might benefit from my findings, so here's goes: First, I bought a Rode TRRS-TRS cable
  8. Thanks Jim! I was considering the Apple adapter with an USB-port and a Lightning port, and use an iOS-compatible USB-soundcard from Steinberg, Focusrite or Apogee. Then I would be able to send proper audio levels into it and maybe stay clear of any "mic input processing". But you suggestion is better for this broadcast, because I want it to be as light-weight as possible, for the camera operator to be able to move around freely. I plan to put a Sennheiser EK 2000 receiver on him and run a TRS-TRRS cable to the input on the adapter - and tape the sh*t out of it. :-)
  9. And if there's music playing on stage, you will end up really pushing the levels in the transmitter and the wireless receiver, basically pushing them into limiting just to get enough sound level in the ear piece, and by tailoring the frequency response. At least that's my experience. The larger the ear piece, the louder it can sound. The ones sitting at the back of the outer ear can produce enough sound level, because they are made for near deaf people. The ones put in the ear canal are hard to get proper level out of, with music playing on stage. And choose your wirele
  10. Hi everybody It's been quite some time since I last visited the forum. Just got a funny request from a client. They want to broadcast live using an iPhone 11 Pro and have a presenter and a couple guests. Now they've asked me for advice because they want to use a lav mic on the presenter and a boom for the guests. The guests are going to try on new cloths, so a boom will be the best option. So, the question. How do I send the audio from my SD664 to the iPhone the best way? Any suggestion is highly appreciated. I guess there are bluetooth devices,
  11. I have since my last post in this thread a year ago, bought a Cedar DNS2. I use if for every conference gig I do, no matter the size (100 to 3500+ people), and it work wonders. I now leave the [Learn]-button in and do 5dB noise-reduction on a group channel containing all the head mics, and use the other channel containing a group of lectern mics getting 6dB of noise-reduction. The way it helps my everyday work in conference sound is just mind-bogging. If I have a crappy sound system, it helps to keep the sound intact, even when I'm pushing the le
  12. Thanks for the advice! Well, shotgun mics actually work really well for the purpose having even better off-axis rejection, because bringing the audience mics into the Rec Feed and just add audience is what I want to achieve. But I have to have good-sounding shotguns, I know that. That said, I have gotten some really good alternatives from you guys so I'm glad I started the thread. For close-micing audience, when I work with broadcast, I normally use two MKH50, because they have great smooth off-axis rejection and sound great. But for conference sound, it's over-kill. I
  13. Thanks for the tip! Yes, that's my plan. X/Y-stereo is usually a bit too tight and not that 'natural' sounding, A/B-stereo is too loose timing-wise, so ORTF is a good middle way to go for. Thanks Fred Perfekt! I'll drop you a PM. Thanks Fred
  14. I also set them up in ORTF-configuration on a stereo bar, to get a tight stereo-correlated sound. No, the two pairs don't have be the same type of microphones, but it might help to make the audience sound blend better together. For broadcast, I've always used different Sennheiser super cardioids and shotguns - force of habit, I guess. Yes, the Line Audio mics are very good value for money. Thanks Fred True! It looks interesting, as a hyper cardioid alternative. I'm going to listen to the sound bites
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