filmfreak

Looking Great !!

Thanks for clarifying Jon, much appreciated. I do not have a 416 btw but love the Cs3e sound and I am very well aware of the MKH70 as I was booming with it for a fair amount of production days. There is no Cyclone for the 70 series ( including the 8070 ) as the trend for shotguns is moving towards more compact mics without the need of the long interference tube which made the more old school directional mics so special. Thanks for the time and attention to my post FF

Thanks for getting back to me Jon and Pkautzsch Jon, I am more inclined towards the 70 as it is a mic that I 've used for many production days and very I am happy with the way it sounds when used on the hands of someone that is aware of the mic's idiosyncrasies. Price is not a real concern as the few times I tried to buy at a lesser standard that what I usually do, I had to pay for the real staff afterwards and deal with the issue of the lesser product, thus making the "cheap" option actually an expensive one as I had to add it to the real product + inherit the problem the cheap one left behind. I 've bought all my mics new as they are such a crucial part of our work and it was never easy or without a lot of patience and perseverance. It makes someone wonder though, why a design that must be over 30 years old now is more than 1/3 of the price of the latest and greatest which must not be more than 10 years old. Pkautzsch, could you please define the rich "radio voice" technically ? I just don't get exactly what you mean. I am primarily interested in the use of the 70 indoors, as I 've heard how great it deals with hard reflections and there is always the possibility to have some parts of a wide shot with the 70. Post will most possibly grab the wireless tracks if they will use any wide production tracks but to my ears the area where the 70 is superior is in large reflective interiors. Why would you go for the 70 versus the 8070 in this case ( I get that you are talking about colouration but could you break it down a bit more ) ? I am not familiar with the 30 , 50 and 60 range even though I grew up with the 416. I was talking to Rycote recently and they are not recommending the Large Cyclone for the 70. The dimensions of the mic can make it fit physically in the Cyclone but even with the really stiff Lyres and 4 in total ( I proposed that ), there are still strong chances that the mic will act in a floppy manner especially on sudden swings. Having to use the mic ( 70 or 8070 ) in an old school windjammer is something I would really not like to do, I know that it will work and it has done so for many many years but I really want to avoid reverting to the old school Rycotes as I am not a fan of their long tubular shape. I will need to buy 2 mics so such an investment on mics which are not really used that much anymore is making me think hard on other possibilities. Being aware of the SuperCmits and the dedicated capsule they have just for room colouration is great but the noise floor of the Supers make them a no go for fast paced TV shows where post will not have time to curve out the high pitched characteristics of the Super and the tracks could turn out to be more of a problem than a solution. Hmmmm, choices, choices - I 'll give it a few more thoughts, still have a few weeks to decide which solution will be the most suitable.

Hi Jon, any particular reason on why you would reach out for the 70 versus the 8070 other than reach ? Checking the specs of both mics, even though the 8070 seems like an improved version of the 70 on paper, it is almost double in weight and even though the diameter is thinner it is indeed a longer mic than the 70. I am also wondering as to why the 70 is still over 30% more expensive than the 8070. What I am particularly interested in, is low frequency and standing waves handling from the capsule and interference tube it self ( not operator handling and rumble ), where I remember the 70 being superior to the 8070 on the aspect of early reflections in the low mid and low frequencies but its been some time since I had the chance to audition an A/B . Would you be able to check out both mics in a big reflective space and specifically on mid and low end reflections ? It is very difficult to find a professional having both mics in his artillery. Thank you for getting back to the thread, the silence was deafening !

Does anyone have actual on set experience with both mics ? Cons and pros based on their experience ?? It's kind of a rarity to find any users having experience in both mics and it looks like the 8070 hasn't managed to gather the niche film mixers that were fond of the 70. I 've heard A/B tests of both and have a fair amount of experience with the 70 but not the 8070. Even though the 8070 looks better on specs, I have to admit that I like the characteristics of the 70 over the 8070. Best FF

DPA & Saken lavs fit the bill ideally !

Thank you Christian !

Hi Christian Are you using the VCP-M1 ? There is no mention of a 9V powering possibility on the Kortwich site. All the Kortwich preamps seem to be powered only through a Hirose.

A week ago, I used 9 tracks for a 2 people scene and they were all absolutely essential and part of the work flow. 1 Boom mic per character ( pretty close physically but different performances and loudness levels, plus one of the characters is a character with special needs and each take is a unique delivery ) + personals. Inside a semi open shed of a big back garden, Stereo mic for ext atmos and Mono mic for traffic, each on a different end of the garden. Mix Left >> Booms Mix Right >> Wireless It aint wrong, if it sounds right

Thanks Constantin I 'll look into it and some other options I have in mind Appreciate your time and feedback Best

Cool, I was not aware of this accessory How long does the battery last and which would be it's charge up time Constantin ? Thank you

Thanks for the insight Constantin In my mind I was thinking that Digital preamps do not serve the sonic signature in the way that analogue do, especially since all the A/D is happening in the mic it self. Regarding the Neumann mobile unit, it's advantages include tweaking the limiter settings and a couple of more options which can be useful in extreme conditions, mot of the factory settings are best suited for the majority of circumstances. Best

I was wondering if anyone is familiar with digital preamps and the various unique sonic elements that different brands offer. I 've tried a number of different analogue preamps in my life and can audition the differences of an SSL preamp and a more commercial Tascam preamp as well as the transparency of a Sonosax one but I am not much experienced on digital preamps. Has anyone compared the digital preamp offerings from Schoeps, Lake People and Audio root ? I am particularly interested on compact preamp offerings rather than 1 U units. Is anyone aware of the current draw required for Digital Phantom Powering and whether DPP restricts on board batteries on compact units ( i.e. DPP needs an external power source ). Since A/D is always taking place in the mic with digital mics, do digital preamps play as an important role as analogue ones ? Best

Wow ! The X3 is truly the equivalent of a trusty film camera for sound recorders ...

Hands down the K-Tek is the best harness I 've used up to now, breathable and some levels up from the trusty Versaflex I 've been using for some years.