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chrismedr

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About chrismedr

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    documentaries
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  1. chrismedr

    Boom Op Kits

    maybe head phones?
  2. hello and welcome, might be more useful and enjoyable for everybody if you browse the forum and contribute in threads that you're interested in then just posting a pre-sale post to bump up the post count. just a thought and all the bests chris
  3. hi Richard, no offence was intended and I appreciate you reporting your findings. I can totally imagine that the digital mics sound great and are nice to work with, it's only that most points you mention don't seem to be a big deal to me and probably not worth the extra expense, bulk and complexity for my typical work, I guess that was true for Jim as well. The one point that does sound great is less handling noise, if it's really due to the digital interface (ie the same mics with analog interface and with the same suspension had more problems) then that might be worth upgrading for those who do a lot of MS work. actually that seems like an interesting question: do people find that a mic with digital interface has less handling noice in general over the same mic with analog interface? (maybe due to less cable introduced noise?) all the best chris
  4. Actually I had a similar question like Jim... to me it looks like the digital mics are more expensive and the DMI-2 is an extra piece of gear to lug around (which adds weight, more expense and another point of failure) - so what exactly do I get in return? we can get that with quite a few analog solutions as well not sure I want to have any compressor or de-esser unless I'm doing live to air shows what's the advantage over a traditional attenuation filter here? is that really related to the mics having an A/D built in or is that more related to the mics and the suspension used? chris
  5. Don't have the two mics to compare, but I'd run a second test, 15cm to mouth is pretty close. maybe put a sine wave on a speaker and set up the mics at 1-2m distance and see if the difference persists.
  6. well, strictly speaking all equipment will fail at some point, even if you keep it locked up in perfect storage conditions and never use it. the question is will it do so before it has payed itself off through rental? rather tricky to estimate I guess, but it has most likely lost more value then through normal wear and tear.
  7. can't help with that problem but you might want to put that in one of the Zoom F8 thread (or even create a new one) since it seems to me it has nothing to do with the Deity system discussed here. bests chris
  8. same answer as always: rent a few mics that fit your outer requirements (size, price, characteristics) and listen for yourself which one is the right one for you. might even be fun ; )
  9. you don't mention your budget, but as a rookie it would be best to first research some of the industry standards (this forum is a great start, search with google), then rent some of the recorders to find out which you prefer. if you just want a simple answer get a Cantar X3, that should do the job ; )
  10. I'd probably try this to double check: play a generated tone through a speaker on the 633 check that ISO are set to prefade and Mix postfade record it so that the levels read 0dB on the ISO and Mix track import the file in your audio post app and check the levels there (-20dB) if you get different levels, how much difference is there?
  11. sure sounds to me. what does it sound like to you? well it seems that for some people it *is* sensitive while for other it isn't. so if you buy one, chances is that you'll never have problems, or that you'll have problems. pretty much true for any technical device I guess, only the percentages of those who have trouble vs those who don't will change for different models. chris
  12. there's a (rather short) thread about this from a couple of months ago:
  13. well, the concept is certainly appealing, but as long as we have to rely on audio LTC through the mic-input on most cameras and/or frame rate preselection etc, I'm afraid there are still plenty of opportunities for mess ups - but one less is still one step closer : ) chris
  14. Hi Ari and welcome, if you scroll up a bit you'll notice that quite a few people came up with "your" idea before ; ) credits though for actually trying to bring it to market and I hope it'll succeed. the real benefit won't come until the method is built into devices and we can forget about hooking up extra devices though.
  15. I think nobody here thinks that 32bit gives us better quality audio, I totally agree that with gain levels set properly a 24bit recording will be indistinguishable.. The benefit is not better quality, but that with proper dual amplifiers and float encoding it's simply impossible to mess up a recording due to improper gain settings. Now if that is any benefit or just useless tech depends a lot on the intended use. Most sound production mixers probably know how to set levels properly (and take pride of it), but I can still think of occasions where simply never having to touch the trim knob could be useful (lavs, car drop, stunt scenes, unsupervised nature recordings, concerts that I want to enjoy rather then worrying about levels etc).
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