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Jarred Jones

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    Getting into the film game and excited.
  • Interested in Sound for Picture
  1. I have to buy an XLR cable for recording two things: 1. In a studio for voiceovers and 2. For recording on set film audio. However, I don't know which of these to get. Both are very highly reviewed and both have VERY different price points. The cables in question: Mogami Gold Studio 15 Microphone Cable Quad Conductor http://www.amazon.com/Mogami-Gold-St.../dp/B0002E1P30 GLS Audio 25 foot Mic Cable http://www.amazon.com/GLS-Audio-Cabl.../dp/B003JJQMD8 Is one really worth 3X the other one in terms of quality? Would either of them be appropriate for BOTH studio and on set film work? Thank you for reading.
  2. I did, I wanted to get as much input as I could from people because I'm still new to the business. There's a lot of people out there who know much more about me than this so I wanted to read as many opinions as possible.
  3. No, I wasn't recording the actual dialogue, I was basically an assistant. I gather the gear, drive around, and take care of the rest of the crew. They don't let me record actual clients yet until I'm at least 6 months in. I've been doing mixing on my own for 3 years roughly. I've been assisting here for 2 weeks.
  4. Yes, I appreciate your help there. I do still love my Oktavas, but this company has both the AT and the MKH 50 in their locker already. I'm still a bit new to this A bit more info, I'm an apprentice at this company and It's my 2nd week. The boss trusted me to get the best mic for the situation and I thought 100% this MKH 416 would have been perfect for this outside shot. Now because of me this whole mess happened and I really don't want to leave bad mark on this industry. I just got started and I don't want to lose this amazing opportunity.
  5. Update. Just got off the phone with my boss and they're saying we were trying to rip them off. Since the contract didn't stipulate specifics microphones, they're saying it was our obligation to bring the best and we're at fault. He said he's already got another company lined up and he called me "an idiot" numerous times. Boss is talking to a lawyer now. How are they allowed to say that about us? I'm still green to the field but I didn't know this could happen. I'm terrified I could lose my job over this because I'm the one who chose the 416s.
  6. Today, I was getting together my standard gear set. Boom, Senn MKH 416s, Sound Devices recorder, and some other things. I was with a high end production studio who'd done quite a few shoots with this set up and said they had flawless results. They kept telling me it was "the industry standard." However, upon arriving at the client's studio (A beverage company I will not name), the producer and director asked us what mics we were using. We hadn't started recording yet. We already told their office earlier we were bringing MKH 416's since it's an exterior shoot and confirmed this with their secretary. However, when we repeated this to them at the set, THEY FLIPPED OUT. They said: "Why would you bring that ancient mic to a professional shoot? I had my secretary look up that mic and she told me it was over 40 YEARS OLD. She managed to find a better version of it called the MKH 60 within 5 minutes. WHY WOULDN'T YOU BRING THAT? YOU HAVE THE NERVE TO CALL YOURSELF A PROFESSIONAL STUDIO AND YOU CAN'T EVEN ADAPT TO THE NEW INDUSTRY STANDARD?" He kept going on and ON about how bad it was and how we should have known better. He terminated our contract and now my boss is saying we might sue him. I don't understand what I did wrong. Is the 416 really that bad and out of date now? We'd never lost a gig because of our equipment, but if the 416s are old news, should we just replace all of ours with MKH 60s?
  7. Of course. Having a great pre is essential to any mic setup. Not to mention knowing how to properly operate and control that mic on a boom. I was foruntate enough to get a genuine set of Oktavas, for one hell of a steal. A small miracle considering how common fakes are. And of course, I'll be investing in a Sound Devices pre in the coming months. What you'll come to learn is that high end gear doesn't make productions, it's high end skill. That's something you should never forget.
  8. Well, just got back from the demo and here are my results. 1. The AT4053B sounded okay to mediocre. Dialogue was muddy and overly bassy, and made me sound like I was in a closed off room with no sense of presence. 2. The MKH 50 was better but not by much. It was a little too high on the top end and it's range was limited as well. Not bad, but nothing to write home about. It's important to note both of those mics sounded as good as my $60 ATR-6550. Amazing what a great boom op can accomplish! 3. Finally, the Oktava MK-012s. INCREDIBLE. ABSOLUTELY AMAZING. Dialogue was crisp and natural with plenty of presence and didn't sound overly bassy. Wonderful mic and did EXACTLY what I needed. Ended up buying a stereo set and calling it a day. Anyhow, that's it. Thank you for all the help.
  9. Well what's more important for combating handling noise, the shockmount or the xlr cable itself?
  10. Interesting info, Olle. Thank you. One thing that concerns me is the handling noise. I could barely find any reviews on the MKH 50 but the ones I found mentioned handling noise a number of times. Is it really that bad? Is that MKH 50 very difficult to boom?
  11. Oh, and I'm currently using an ATR-6550 for my current mic. Which of those would make the most pronounced upgrade in quality?
  12. I'm not sure what you mean? I've always recorded my own audio when making films.
  13. I'm deciding on a great mic for recording dialogue during films and these two keep coming up in my research. Which would be better for capturing the best dialogue and why? Would the 4053b be a good investment for it's price? I know the MKH costs twice as much, but does it sound like it has TWICE as much quality over the 4053b? Thank you for reading.
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