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Post pictures of your portable recording equipment Condenser Microphones
Old 29th September 2017
  #1501
Lives for gear
 
jimjazzdad's Avatar
Quote:
Originally Posted by Moke View Post
I am sometimes asked to go low profile with an ensemble that I record...I've used it numerous times as a bag on my lap, with both the "onboard" mics and my pair of DPA4060 as HRTF stereo for four channels of low-profile recording...The Set It and Forget It portable rig.
I am reminded of the scene from the film Diva: "C'est un Nagra. C'est Suisse, et très, très précis". But here a Tascam. Maybe only très précis?

Nice rig though. I like the lunch bag re-purposing.
Old 1st October 2017
  #1502
Gear Addict
 

Quote:
Originally Posted by tailspn View Post
The Budapest Festival Orchestra performing in the Budapest Music Palace (MUPA) session recordings this week of Mahler's Das Lied von der Erde. This three day session was recorded in 24 channel DSD256 by Channel Classics, and separately by myself, in 5 channel DSD256 surround. On the floor lies my Merging Hapi, performing as both an 8 channel stage box, and D/A. This feeding a Ravenna network, and separate 2 channel mixed audio to an offstage generic PC and headphone amplifier respectively.

The surround recording used two DPA 4006A for the surround rears. To use the available eight recording channels the front three mics of the 5 channel array consisted of both three DPA 4041SP and three Saken CO-100K's co-located at the end's of the carbon fiber booms.

It was fantastically performed music, a wonderful experience, and a very satisfying recording.

Tom
Hi Tom, great set-up in a great hall with great music. Nice to hear that both of you nowadays record in dsd256. There is nothing more fluid and transparent.

I am curious to know how you feel about the two mics you mentioned. In what way is the PDA 4041 superior to the 4006a? Is it a totally different sound?

Is the Sanken good for classical orchestra? I know that sound sculptors like the extended frequency range, but I was sceptical about the extreme high frequency lift from 10khz onwards when recording music... What is your feeling here ? Did you mix them with the PDA?

Did you miss the spot mics in your own mix, or do you feel the transparency of these miss compensates it?

Best wishes,

Lucas
Old 1st October 2017
  #1503
Gear Nut
 

Hi Lucas, thanks for your interest!

The multi-mic Channel Classics and my five mic recordings were completely independent. My effort was for a surround ITU alignment only, and therefore used microphones selected which are optimized for that purpose. While the DPA 4006A's and DPA4041SP's are both very clean and detail sounding, for large orchestra recording their "reach" and sound are very different. The 4006's response is essentially flat with the Free Field grid, whereas the 4041's have a 5dB rise at 8KHz, starting at 2KHz on axis. Off axis, the 4041's become flat at -60 degrees, and down portionally several dB more over the same range at -90 degrees. In a Decca Tree like placement (the front three placement on a ITU surround mic array), the 4041's can be placed relatively close to and aimed over an orchestra producing, a proportionally sweet sounding string and woodwinds expression, yet a crisp realistic pickup of the basses, horns, brass and percussion. The advantage of this technique, is the resulting image is spatially correct and very realistic, particularly played out in five channel surround. It however does not fold down to stereo very effectively.

For my interests, spot micing and/or flankers would undo the spatial accuracy of the ITU alignment, and are not as necessary with the use of mics like the 4041. Also, my objective of replicating the actual event and space is best served with the single point focus of a ITU alignment of five microphones. In that instance, each microphone is placed equal distance from a single point in front of the orchestra lying on a vector/angle matching the angles of the listening speakers.

I did double hang the Saken CO-100K's with the 4041's, but was not satisfied with their sound in this instance compared to the DPA4041SP. Their bottom end was not as full and rich as the 4041's, and their extended upper frequency range did not add to the realism of the sound. They of course were not placed in ideal positions for their characteristics, as they were not the principal front three microphones.

Thanks again Lucas,
Tom
Old 8th October 2017
  #1504
Lives for gear
 

Quote:
Originally Posted by Gaston69 View Post
If people here on GS have suggestions in order to get a more reliable PT system please let me know.
PMX Native (even Essentials will do for recording/data acquisition). Beautiful integration with Horus.
Old 8th October 2017
  #1505
Gear Addict
 

Quote:
Originally Posted by tailspn View Post
Hi Lucas, thanks for your interest!

The multi-mic Channel Classics and my five mic recordings were completely independent. My effort was for a surround ITU alignment only, and therefore used microphones selected which are optimized for that purpose. While the DPA 4006A's and DPA4041SP's are both very clean and detail sounding, for large orchestra recording their "reach" and sound are very different. The 4006's response is essentially flat with the Free Field grid, whereas the 4041's have a 5dB rise at 8KHz, starting at 2KHz on axis. Off axis, the 4041's become flat at -60 degrees, and down portionally several dB more over the same range at -90 degrees. In a Decca Tree like placement (the front three placement on a ITU surround mic array), the 4041's can be placed relatively close to and aimed over an orchestra producing, a proportionally sweet sounding string and woodwinds expression, yet a crisp realistic pickup of the basses, horns, brass and percussion. The advantage of this technique, is the resulting image is spatially correct and very realistic, particularly played out in five channel surround. It however does not fold down to stereo very effectively.

For my interests, spot micing and/or flankers would undo the spatial accuracy of the ITU alignment, and are not as necessary with the use of mics like the 4041. Also, my objective of replicating the actual event and space is best served with the single point focus of a ITU alignment of five microphones. In that instance, each microphone is placed equal distance from a single point in front of the orchestra lying on a vector/angle matching the angles of the listening speakers.

I did double hang the Saken CO-100K's with the 4041's, but was not satisfied with their sound in this instance compared to the DPA4041SP. Their bottom end was not as full and rich as the 4041's, and their extended upper frequency range did not add to the realism of the sound. They of course were not placed in ideal positions for their characteristics, as they were not the principal front three microphones.

Thanks again Lucas,
Tom
Thanks Tom, for pointing that out.
I have some prejudices against mics that feature such a high boost in the high frequencies, but maybe there are exceptions where they can shine...

Will your own itu recordings become available one day?

Best wishes, Lucas
Old 9th October 2017
  #1506
Gear Nut
 
Moke's Avatar
 

The ladies of the ensemble did unspeakable things to my binaural head today. They used it like a little girls doll, and dressed it up.
Yep, Gude Head got dressed up like a gangsta, during a chamber music performance, in a church sanctuary.
Nothing quite like a disembodied gangsta head as a center piece to chamber music, ehh?
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Last edited by Moke; 12th October 2017 at 11:31 PM..
Old 10th October 2017
  #1507
Quote:
Originally Posted by Moke View Post
The ladies of the ensemble did unspeakable things to my binaural head today.
Sacrément!
Old 10th October 2017
  #1508
Gear Nut
 
Moke's Avatar
 

Sacrément straight!

Gude is no stranger to fashion. I think he actually enjoyed it.
A head of many hats; this time with his windscreen on.
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Old 14th October 2017
  #1509
I really can't say enough about the Grace Design modular space-bar system. Here's three meters of omnis across the front in only one stand.
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Last edited by avillalta; 15th October 2017 at 07:39 PM..
Old 15th October 2017
  #1510
Gear Nut
 
Moke's Avatar
 

Yesterday, Gude went with his own mics. And he decided to lose the ghetto look, and, went with something more dapper and sporting.
I keep telling him that the chin retainer thing is sort of geeky. But he insists that the chicks dig it.

Sennheiser MKE2002 Artificial Head Binaural Stereo Kit as Senn binaural protocol.
DPA4060 at 3' spacing on rabbit ear speader bar, velcroed to stereo t-bar as below pair
Line Audio CM3 pair as [email protected]º pair
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Old 16th October 2017
  #1511
Lives for gear
Interesting. How are you mixing the spaced Omnis with the binaural head? I was surprised to see Sennheiser advocating this technique using the Noisemakers Binauralizer:
BINAURALIZER | Noise Makers

Quote:
Originally Posted by Moke View Post
Yesterday, Gude went with his own mics. And he decided to lose the ghetto look, and, went with something more dapper and sporting.
I keep telling him that the chin retainer thing is sort of geeky. But he insists that the chicks dig it.

Sennheiser MKE2002 Artificial Head Binaural Stereo Kit as Senn binaural protocol.
DPA4060 at 3' spacing on rabbit ear speader bar, velcroed to stereo t-bar as below pair
Line Audio CM3 pair as [email protected]º pair
Old 16th October 2017
  #1512
Gear Nut
 
Moke's Avatar
 

Quote:
Originally Posted by bwanajim View Post
Interesting. How are you mixing the spaced Omnis with the binaural head? I was surprised to see Sennheiser advocating this technique using the Noisemakers Binauralizer:
BINAURALIZER | Noise Makers
On whim, and on a few different recordings now, I tried mixing the Edirol/Roland R09 tracks with other recordings, and have found that they align perfectly, and stay aligned for up to an hour and a half set of music (in post-edit).
I found that to be a total bonus, as I'll frequently use the R09 as a remote set-it-and-forget-it recorder; as example, on the balcony face as a boundary layer recording, when everything else is up front. Or as a backup recorder.
Now, I realize that they sink perfectly, so, the field became even wider.
I've tried mixing with the SD 722 tracks: synched. I've tried mixing with a Tascam DVRA1000 high-res recorder tracks: synched. Synched with the Tas DR70D as well.

Regarding the mix:
In two days, I'm 35 years as a dedicated two channel stereo recordist (1982-10-17). It is only in the last two years that I've begun attempting to do any sort of mixing work.
Right now, I'm doing minimal mixes that run closer to simple 1:1 overlay of two stereo recordings. Just last night I did my first and largest at this size, a 6 channel rendering of all of the mics on that stage (three stereo pairs mixed).
The CM3 pair and the DPA pair, as overhead mics, are synched at mastering.
The Senn Head was tied to a Roland R09HR that was at the base of the chest torso box, on the band side (you can see the little red record light).
The resulting mix of all six mics, sounded like things were on the verge of a phase issue, it sounds nice, but, perhaps right on the edge.
I also mixed the four omnis together; two overhead (dpa4060 pair), and the Senn binaural head. This one came out sounding like a smoky jazz club, sort of softer, and, allow me this as a good thing description,.. fuzzy around the edges;warmer, softer. A really nice sound.
The Faux_Faulkner array mixed down quite nicely with the cm3 pair in at -2.5dB below the DPA pair.
What was really the nicest of the mixes was the Senn Head, and the overhead CM3 sub-card pair.

But, ultimately, the Senn Binaural just shines proudly as a solo discrete two channel stereo recording, and the CM3 wide spacing, narrow focused stereo pair was a really close second.
It was a fun excercise.
Old 21st October 2017
  #1513
Gear Nut
 
Moke's Avatar
 

Gude was a man about town again, last night.

He actually has a girlfriend. She is a similarly faceless lady, and, she's a nekkid party girl.
Gude has asked me numerous times how hot his girlfriend is, and then it dawned on me; the dude, Gude, hes never seen her, 'cuz, he ain't got no eyes.
So, last night, we bought him some eyes on eBay. We're just waiting for delivery.
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Old 17th November 2017
  #1514
Gear Nut
 
PuebloAudio's Avatar
 

36ch of Pueblo, stage left!

Today was load in for an audio+video record of a R&B concert. Jensen mic splitter ISO out to FOH via Rio. 36ch of Pueblo Audio JR-Series mic preamps receive the direct mic split. Clean signal received by all, no noise at all. Also in the rack is a DPA 130v preamp prototype. All power via custom BALANCED POWER boxes.

Pueblo JR-Series have two outputs: MAIN outputs feed 32ch of JCF adc which go aes into RME AES32 cards. BUFFERED AUX outs feed back-up Mackie recorder. AES outs from both are mxt'd to fiber which connects a remote van parked at the loading dock.

Five OLLA DI's on deck for keyboards, sampler, DAW and Bass. Sound check tomorrow!
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Old 27th November 2017
  #1515
Gear Addict
 

Decca Tree Nov 12 2017
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Old 28th November 2017
  #1516
Gear Addict
 
fred2bern's Avatar
 

Quote:
Originally Posted by emenelton View Post
Decca Tree Nov 12 2017
Did you try also to position it backstage?
I'm joking.
Old 28th November 2017
  #1517
Gear Addict
 

Quote:
Originally Posted by fred2bern View Post
Did you try also to position it backstage?
I'm joking.
You are funny
Old 29th November 2017
  #1518
A couple of weeks ago I handled audio for a live stream of the Australian Theatre For Young People's (ATYP) performance of Wonder Fly. A fun day, tucked under the shadow of the Sydney Harbour Bridge in ATYP's theatre right on Sydney Harbour. I stupidly didn't take a photograph of the actual microphone setup, but it was 5 Line Audio CM-3's rigged from the LX trusses - 4 of them were across the front edge of stage, and another was hanging over the elevated set upstage. All were at about 45degree angles. From there they ran straight into my SD 788T, routed out Aux 1 & 2, through a Smart C1 and Cranesong Ibis for a bit of squish and polish, back into inputs 7&8 of the SD 788T for monitoring, then out outputs 1&2 to the guys in video land. Straight forward, but sounded terrific! Nice people, incredibly talented kids and a fun day all round!
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Old 29th November 2017
  #1519
Here for the gear
 
yert33's Avatar
 

Quote:
Originally Posted by PuebloAudio View Post
Today was load in for an audio+video record of a R&B concert. Jensen mic splitter ISO out to FOH via Rio. 36ch of Pueblo Audio JR-Series mic preamps receive the direct mic split. Clean signal received by all, no noise at all. Also in the rack is a DPA 130v preamp prototype. All power via custom BALANCED POWER boxes.
Please educate me as to what a balanced power box is.
Old 29th November 2017
  #1520
Lives for gear
 
Richard Crowley's Avatar
 

Quote:
Originally Posted by yert33 View Post
Please educate me as to what a balanced power box is.
Balanced Power: The Next Generation

Old 30th November 2017
  #1521
Here for the gear
 

Quote:
Originally Posted by fairweather View Post
Taking this out for a first spin on March 25th - Midas M32R
How did the Midas hold up? (Its on my potential purchase list) Does it look like it'll survive a portable life (moving from studio to live and back)? And does it have an internal sidechain/key compressor?
Old 28th December 2017
  #1522
Gear Nut
My portable rig

DAV Electronics BG8, Antelope Goliath Conversion, Line Audio CM-3, OM-1 for classical, Sennheiser 421s, Shure KSM141s, Shure Beta57, Beta 52 for jazz.
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Old 29th December 2017
  #1523
Gear Head
 

My new rig on its maiden Voyage (the rack and xlr patch are new)
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Old 3rd January 2018
  #1524
Fritz!

Testing my new KU 100. Wow! what a microphone!
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Old 4th January 2018
  #1525
Quote:
Originally Posted by avillalta View Post
Testing my new KU 100. Wow! what a microphone!
I think you will really come to love it! Have two...almost jumped on the other one that was just up on ebay a couple weeks ago...
Old 4th January 2018
  #1526
Quote:
Originally Posted by [email protected] View Post
...almost jumped on the other one that was just up on ebay a couple weeks ago...
small world!

even ignoring the cool binaural aspects (which is hard to do), the capsules sound wonderfully balanced and incredibly detailed. They make me want to revisit the KM modular systems again (I'd long since abandoned SD Neumanns based on my poor impression of the KM184).

ugh, listen to me... I probably should seek help for my microphone addiction...
Old 9th January 2018
  #1527
My new custom hand build rack. With Riedel Rocknet system, I can record via MADI to Video Devices PIX-270 up to 64 audio tracks.
Tascam HS-P82 can be a main mic in recorder for less than 8 tracks, or as an analog backup for the vital 8 audio channels from Riedel RN302LO analog output.
All 12VDC devices sharing one big 12VDC power supplier.
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Old 9th January 2018
  #1528
Super Moderator
 
Remoteness's Avatar
Love your mini portable rig!
How are you backing up the 8 & 64 track recorders?

Quote:
Originally Posted by 9sbean View Post
My new custom hand build rack. With Riedel Rocknet system, I can record via MADI to Video Devices PIX-270 up to 64 audio tracks.
Tascam HS-P82 can be a main mic in recorder for less than 8 tracks, or as an analog backup for the vital 8 audio channels from Riedel RN302LO analog output.
All 12VDC devices sharing one big 12VDC power supplier.
Old 10th January 2018
  #1529
Quote:
Originally Posted by Remoteness View Post
Love your mini portable rig!
How are you backing up the 8 & 64 track recorders?
Hi Steve:
Thanks! I'd love to build an OB truck, but it is apparently out of my picture now.
Best backup solution is another PIX 270i, but I can only affort a RME Madiface USB via direct Rec on PC now.
Maximum track count I did is 42, not yet 64. I connected to the in house Rocknet in the church.
Another way to back up under 16 tracks was done via RME ADI-648 and ADAT to RME UFX . Want to upgrade my UFX to UFX+ so that backup can be done via direct MADI connection and full 64 tracks!

For case with direct microphone connection to HS-P82 under 8 tracks.... Not yet do this as HS-P82 just came in. Thinking to connect AES out to PIX-270i. But what will happen if HS-P82 crashed? Maybe another simple 2 track analog via Sound Devices MixPre to PIX-270i....

Some time ago, my fiber MADI connection between on-stage pre amplifiers (RME Octamic II via ADI-648 to the PIX-270i in the recording room beneath the stage) was broken at the end of the repertoire, but before the encore. I did setup a backup recorder (Zoom F8) next to the RME pre with analog connection. Fortunately the backup was perfect with the main 8 mics (4 for orchestra and 4 for choir).

Last edited by 9sbean; 10th January 2018 at 02:54 AM..
Old 23rd January 2018
  #1530
Gear Maniac
 
Hornblower64's Avatar
 

Quote:
Originally Posted by PuebloAudio View Post
Today was load in for an audio+video record of a R&B concert. Jensen mic splitter ISO out to FOH via Rio. 36ch of Pueblo Audio JR-Series mic preamps receive the direct mic split. Clean signal received by all, no noise at all. Also in the rack is a DPA 130v preamp prototype. All power via custom BALANCED POWER boxes.

Pueblo JR-Series have two outputs: MAIN outputs feed 32ch of JCF adc which go aes into RME AES32 cards. BUFFERED AUX outs feed back-up Mackie recorder. AES outs from both are mxt'd to fiber which connects a remote van parked at the loading dock.

Five OLLA DI's on deck for keyboards, sampler, DAW and Bass. Sound check tomorrow!
Hi Scott,

The JCF converters are 8ch., yes? How are you clocking and interfacing the converters?

dB
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