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Post pictures of your portable recording equipment Condenser Microphones
Old 6th February 2019
  #1591
Here for the gear
 

Quote:
Originally Posted by Remoteness View Post
I don't know, it works well for my workflow when we are in tight quarters and a console or mixer is not possible. We find it quite smooth, especially since all we need to do is adjust pre amp gains and engage phantom power.
Excuse me Remoteness, what about the noise of a DL251...
Does it make noise like a DN9650 or is really quite?
do you keep that box near microphones or farthest you can?
Old 6th February 2019
  #1592
Super Moderator
 
Remoteness's Avatar
First of all, I don't have a DL251, it's a Midas DL351 remote controllable microphone preamp. And, the sound it produces is quite pleasant with plenty of dynamic range. Don't hear much noise. Perhaps, you're referring to the mechanical noise from the fan? Well, I assume that's what you mean. It depends on the situation. If I'm in a large arena the mic pres are usually off stage by the splitters and such. If it's a quiet space, and we can hear the fan, we would place a foam baffle to help silence the noise. On the Jon Batiste & Friends residency recording at the Village Vanguard I did, we placed the DL351 under the acoustic piano and we couldn't hear any noise on the mics. As a matter if fact, using my virtual gobo technique, we was able to get excellent isolation from all the mics. It sounded like the piano and drums were in iso-booths.


Quote:
Originally Posted by devis.pv View Post
Excuse me Remoteness, what about the noise of a DL251...
Does it make noise like a DN9650 or is really quite?
do you keep that box near microphones or farthest you can?
Old 6th February 2019
  #1593
Here for the gear
 

Quote:
Originally Posted by Remoteness View Post
First of all, I don't have a DL251, it's a Midas DL351 remote controllable microphone preamp. And, the sound it produces is quite pleasant with plenty of dynamic range. Don't hear much noise. Perhaps, you're referring to the mechanical noise from the fan? Well, I assume that's what you mean. It depends on the situation. If I'm in a large arena the mic pres are usually off stage by the splitters and such. If it's a quiet space, and we can hear the fan, we would place a foam baffle to help silence the noise. On the Jon Batiste & Friends residency recording at the Village Vanguard I did, we placed the DL351 under the acoustic piano and we couldn't hear any noise on the mics. As a matter if fact, using my virtual gobo technique, we was able to get excellent isolation from all the mics. It sounded like the piano and drums were in iso-booths.

Wow!! Thank you for yor fast reply!!!
Yes I was referring to the fan noise.
I've never heard about your virtual gobo technique, and after a search on GS, I read a lot!!!
it seems very effective! You're very kind to share your technique!
I'll take a deeper look into it!
thank you!!

devis
Old 7th February 2019
  #1594
Super Moderator
 
Remoteness's Avatar
Well, I'm here to help the cause and affect from origination to post-production.

Quote:
Originally Posted by devis.pv View Post
Wow!! Thank you for yor fast reply!!!
Yes I was referring to the fan noise.
I've never heard about your virtual gobo technique, and after a search on GS, I read a lot!!!
it seems very effective! You're very kind to share your technique!
I'll take a deeper look into it!
thank you!!

devis
Old 9th February 2019
  #1595
Lives for gear
 
Plush's Avatar
On location

On location

Sonosax is the best tape recorder currently made.
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Old 3rd March 2019
  #1596
Lives for gear
 

Quote:
Originally Posted by Plush View Post
On location

Sonosax is the best tape recorder currently made.
What a charming recording assistant you have there, Plush!
Old 3rd March 2019
  #1597
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Plush's Avatar
Quote:
Originally Posted by Lucas_G View Post
What a charming recording assistant you have there, Plush!
Here she is with a Stellavox.
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Old 3rd March 2019
  #1598
Gear Nut
 
Konfus's Avatar
 

My setup for a album recording, located in the swiss alps in a old lodge.

Macbook, RME ucx, UA6176, Behringer ada8200, a diy pre, IK iLoud micro monitors (love em) and a bunch of other stuff like DI box, headphoneamps..

It was a very small space - the ancient swiss "alpöhis" were short people so that means, acousticwise it was boxy, but it worked out.

Here you can hear a song from this rec: YouTube
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Old 3rd March 2019
  #1599
Lives for gear
 

Quote:
Originally Posted by Plush View Post
Here she is with a Stellavox.
Is that you in the foreground? Is she mad about the Stellavox, or because of you?
Old 3rd March 2019
  #1600
Lives for gear
 
Plush's Avatar
Because of something I did to her.
Old 4th March 2019
  #1601
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nomatic's Avatar
My work in progress ultra portable rig.....
There is a ULN-8 as hub for all of this not installed yet(3 D upgrade)
Carry on.....
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Old 4th March 2019
  #1602
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JCBigler's Avatar
Quote:
Originally Posted by nomatic View Post
My work in progress ultra portable rig.....
There is a ULN-8 as hub for all of this not installed yet(3 D upgrade)
Carry on.....
That looks heavy.
Old 4th March 2019
  #1603
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dickiefunk's Avatar
Here’s mine. Pretty basic but works really well!
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Old 5th March 2019
  #1604
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nomatic's Avatar
Quote:
Originally Posted by JCBigler View Post
That looks heavy.
It requires interns to move!
Old 5th March 2019
  #1605
Lives for gear
 

not really portable by everyone's standard but it's what i'm schlepping to larger sessions (desk plus one or several i/o racks as pictured or assembled as needed). no i/o rack needed if desk is backstage and mic count is below 32 (it's got built-in mic pres too).

on smaller session it's just a remotely controllable 3u stagebox with mic pres/converters but no desk.

i'm running everything on madi, mostly via opticalcon.

interfaces are rme, editor is nuendo, redundant recording goes to sound devices.
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Old 5th March 2019
  #1606
Lives for gear
 
tourtelot's Avatar
Do you own that Vista and is in in a remote van? Or does it roll into the venue? That's a beast!

D.
Old 5th March 2019
  #1607
Lives for gear
 

i got two of them and they're pretty much mobile (not built into a truck but come with a flight case; so yes, i'm rolling them into the venues) - very capable desks with features far beyond most other desk's capabilities (somewhat hard to explain to unexperienced folks)...
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Old 5th March 2019
  #1608
Lives for gear
 

Quote:
Originally Posted by tourtelot View Post
That's a beast!
It certainly is...
Old 5th March 2019
  #1609
Quote:
Originally Posted by deedeeyeah View Post
not really portable by everyone's standard but it's what i'm schlepping to larger sessions (desk plus one or several i/o racks as pictured or assembled as needed). no i/o rack needed if desk is backstage and mic count is below 32 (it's got built-in mic pres too).

on smaller session it's just a remotely controllable 3u stagebox with mic pres/converters but no desk.

i'm running everything on madi, mostly via opticalcon.

interfaces are rme, editor is nuendo, redundant recording goes to sound devices.
I'm confused. Are you taking stuff A/D into the Vista, then DA out of the Vista and A/D into the RMEs? Or is your connection to the RMEs over MADI.
Old 5th March 2019
  #1610
Lives for gear
 

Quote:
Originally Posted by TMetzinger View Post
I'm confused. Are you taking stuff A/D into the Vista, then DA out of the Vista and A/D into the RMEs? Or is your connection to the RMEs over MADI.
short version 1: mic pre and a/d inside the stagebox, madi output of stagebox to the desk, madi output of the desk to rme madiface xt.

short version 2: mic pre and a/d inside the d21m stagebox, madi output of stagebox to rme madiface xt (no desk needed).

___


long version: i'm either using studer compact stageboxes or d21m stageboxes (the latter being modular: you can fill it up with all sorts of different cards, mic pres/ad cards in my case): the mic pres get remotely controlled from the desk, converted to digital and sent to the desk via madi. there are different madi cards available for the desk, the standard card has a (redundant) madi port, the largest has 4 madi ports plus there is a madi port built into the desk...

a large patchbay allows to patch/route signals from and to anywhere (literally anywhere: one could patch bus outputs to channel inputs!) so one can recombine a madi stream for recording with say mostly signals directly off the stagebox, some signals from mics being plugged into the mic pres on the desk, other signals post fader channel direct out (or anywhere else in the signal path, say post dynamics but pre eq and pre fader), yet some other signals from groups, master buses, matrices, even dca outputs...

i'm mostly fine with 48 mic pres from the stage and some groups from the desks so i'm often using the 'normal' madi card carrying a single madi stream between stagebox and the desk - the large card with 4 madi ports (together with the desk's madi port, 8 aes/ebu and 32 analog i/o's) allows for a pretty insane amount of signals being pushed around.

now keep in mind that this is the smallest studer desk (with built-in dsp): the larger models (with external dsp) allow for hooking up of thousands of signals and full processing capacity of (currently) up to 800 channels/buses!

___


a beauty and a beast :-)
Old 5th March 2019
  #1611
Lives for gear
 
tourtelot's Avatar
Cool that you are doing jobs that require that much horsepower. I'm a little jelly.

D.
Old 5th March 2019
  #1612
Lives for gear
 
jimjazzdad's Avatar
Quote:
Originally Posted by deedeeyeah View Post
...a beauty and a beast :-)
Have you considered that when you get to your August years, with weak back and failing eyesite, you may want to trade all that in on a Nagra Seven and a pair of MKH30 on a tall Manfrotto?
Old 6th March 2019
  #1613
Lives for gear
 

once you get the luxury of working with a beast, it becomes hard to go back to less sophisticated gear...

...but imo the biggest plus of using such a desk (besides outstanding audio performance) is that production can easily grow/tasks can change and you don't need to change much (except for adding the necessary gear).

one of the projects i've been involved in started out as dance performance for a solo dancer, accompanied by a string quartett and over the years evolved into a production with ballet, choir, tango orchestra, jazz band and various soloists. we went from 4 mics to about 60, from stereo to surround, from no aux feed to about 24 - rehearsal, live performance, broadcasting, recording/mixing for a dvd? same desk!

besides, it keeps me fit to schlepp around some gear, especially since i'm not that young as some folks might imagine (seriously: other folks go to the gym or go for a walk, i'm moving my desk, cases, amp racks, speakers etc.)


___


p.s. here's a pic of my bonsai recording rig (speaker processor not pictured; i'm not going anywhere without measurement mic, analysis software and the processor): certainly closer to what jim suggested and still quite capable but much, much less fun and much slower to work with (as i'm missing those 120 knobs in front of me, amongst other things... - i'll never mix itb again!)

p.p.s. and regarding minimalistic setups: i can balance on an unicycle too (and may even be a bit proud of it) but i do not want to limit myself/the artists i'm working for to capturing their music just from a single perspective/in a static way (i can appreciate results though if that's all what's needed and done well - but how can one tell if there's nothing to compare with? topic for another thread...).
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Last edited by deedeeyeah; 6th March 2019 at 12:53 PM.. Reason: p.s. and p.p.s. added
Old 6th March 2019
  #1614
Lives for gear
 
tourtelot's Avatar
Large Choir CD Project

Fly-pack into a cathedral, up to 32 tracks at 24/96 over Dante. We used 19 tracks. Worked just like it should have.

D.
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Old 6th March 2019
  #1615
Lives for gear
 
tourtelot's Avatar
Quote:
Originally Posted by jimjazzdad View Post
Have you considered that when you get to your August years, with weak back and failing eyesite, you may want to trade all that in on a Nagra Seven and a pair of MKH30 on a tall Manfrotto?
October years perhaps? Anyway, I agree, and I won't do this job without a qualified AE ever again. Just too much for one man to keep track of. Budget, smudget! If you can't pay, you can't play.

D.
Old 8th March 2019
  #1616
Lives for gear
 

Quote:
Originally Posted by jimjazzdad View Post
Have you considered that when you get to your August years, with weak back and failing eyesite, you may want to trade all that in on a Nagra Seven and a pair of MKH30 on a tall Manfrotto?
Even the guy who only need to bring his voice will have to retire at some point....plus, roadies are relatively cheap and plentiful, and you can't handle every job with only a small recorder and two microphones.
Old 8th March 2019
  #1617
Lives for gear
 

Quote:
Originally Posted by Samc View Post
Even the guy who only need to bring his voice will have to retire at some point....plus, roadies are relatively cheap and plentiful, and you can't handle every job with only a small recorder and two microphones.
this - and until alzheimer strucks me down, i intend using my brain power and hire the necessary muscle power...
Old 8th March 2019
  #1618
Gear Head
 

Speaking of which...
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Old 3 weeks ago
  #1619
In an effort to minimize the visual impact of live concert recording, I decided to try and use the Schoeps extension tube system for flanks. I had to thread several vertical tubes together to get the right height. Works great as long as the boom is vertical. I'd be much more concerned about deflection if I had to angle the boom anywhere past vertical.

I'm now considering the Panamic Cathedral mic stand for the center pair. Anyone used one in anger?
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Old 3 days ago
  #1620
Gear Maniac
 
Sonic_X's Avatar
Film Sound Berlin image...
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