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Advice need on a good mic for stereo ambient recording
Old 7th November 2012
  #31
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Quote:
Originally Posted by polytope View Post
How good is the A/D converter on the PCM-D50 (compared to the SD)?
A: pretty freakin good.

the sound my head makes: quickie shootout-744t vs PCM D50 with phantom power
Old 7th November 2012
  #32
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John Willett's Avatar
 

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Quote:
Originally Posted by polytope View Post
How good is the A/D converter on the PCM-D50 (compared to the SD)?
The PCM-D50 is still a pro-sumer pocket recorder and the SD is a fully professional recorder.

But the great thing about the PCM-D50 (and the Tascam DR100II) is that they both have digital inputs (Sony optical and the Tascam S-PDIF) so that they can be used as a "bit bucket" with a small digital mixer - eg: AETA MIXY or SD MixPre D for higher flexibility and quality.
Old 7th November 2012
  #33
Quote:
Originally Posted by polytope View Post
How good is the A/D converter on the PCM-D50 (compared to the SD)?
I actually wondered about that, as using an external Sound Devices pre-amp like the MP-1 would make the whole system a bit cheaper.

Unfortunately, you don't have a dedicated line input in the D50. The line input also shares the D50 pre-amp, which means you will always have to set the level input to some non-zero value to get signal in.
That kind of defeats the purpose of having a good external pre-amp, which is why I went for the USBPre2 and let it handle the conversion.

Did some test recordings the day I got it, recording the analog line out of the USBPre2 > Line input in the D50, and compared with the USBPre2 handling the pre-amp + conversion stage > optical S/PDIF input on the D50.

I'm usually not picky or anal about this stuff, but in fact *there was a difference*. The bass structure of the D50 conversion sounded a bit diffuse and all over the place. The USBPre2 recording had the bass pretty much solid and intact.
Regarding mids and highs, I didn't spot much of a difference between the two methods (but honestly, the solid bass response of the USBPre2 is worth the money!).

Suffice it to say that I only used my voice for this test. Not sure how both units would compare under a more scrutinous test. Can only speak for what I heard.


Cheers.

André

Last edited by Andre Toscano; 7th November 2012 at 04:32 PM.. Reason: typo and more stuff added
Old 7th November 2012
  #34
Quote:
Originally Posted by John Willett View Post
But the great thing about the PCM-D50 (and the Tascam DR100II) is that they both have digital inputs (Sony optical and the Tascam S-PDIF) so that they can be used as a "bit bucket" with a small digital mixer - eg: AETA MIXY or SD MixPre D for higher flexibility and quality.
Only drawback to the DR100II is that the digital input is shared with the remote input. It's convenient for me to throw the recorder into my gig-bag and activate recording with the remote.
With the DR100II, you'll either use the remote *or* the digital input. Not both.
That's one of the reasons I went for the D50.
And I still love it! Even though it's bulky and heavy as hell!


Cheers.

André
Old 7th November 2012
  #35
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Quote:
Originally Posted by Andre Toscano View Post
Only drawback to the DR100II is that the digital input is shared with the remote input. It's convenient for me to throw the recorder into my gig-bag and activate recording with the remote.
With the DR100II, you'll either use the remote *or* the digital input. Not both.
That's one of the reasons I went for the D50.
And I still love it! Even though it's bulky and heavy as hell!
It's a good choice - the D50 is a step up from the DR100II and the optical digital input isolates it electronically from everything else.
Old 11th June 2016
  #36
Gear Head
 

I'm perhaps not at the level of other members; basically I'm a hobbyist and jack-of-all-trades since I record FX and ambient in service of my podcast, but I really like the Audio Technica BP4025 xy stereo mic. Very light, low profile and fits easily into my Rycote which was originally mated to a Shure VP88. I did some at-dusk Spring sounds along with using a SoundDeluxe ortf mic and I was surprised how similar the stereo field was. Both these mics are dead quite when recording direct into my Sound Devices 722. The biggest negative to the ORTF mic is finding a way to enclose it in a blimp. Nothing I can afford seems to exist.

The AT4025's XY pattern collapses pretty well to mono, which is a plus considering most podcast listeners still seem to hear the final in mono.
Old 12th June 2016
  #37
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Quote:
Originally Posted by kevinsinnott View Post
The biggest negative to the ORTF mic is finding a way to enclose it in a blimp. Nothing I can afford seems to exist.
I'm surprised Rycote if not other blimp makers haven't made a product for ORTF by now...sure it would be bulky and hardly stealth-ready, but then most blimps look like deceased roadkill fauna anyway ? The nature recordists wouldn't care about appearance, if functionality were guaranteed ?
Old 12th June 2016
  #38
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Exclamation

Quote:
Originally Posted by studer58 View Post
I'm surprised Rycote if not other blimp makers haven't made a product for ORTF by now...sure it would be bulky and hardly stealth-ready, but then most blimps look like deceased roadkill fauna anyway ? The nature recordists wouldn't care about appearance, if functionality were guaranteed ?
Rycote *do* make an ORTF windshield.
Old 12th June 2016
  #39
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Quote:
Originally Posted by John Willett View Post
Rycote *do* make an ORTF windshield.
They do indeed John...I stand corrected. http://mymic.rycote.com/producttypes...indshield-kit/

The range on offer isn't huge however, they obviously favour the top end of town mics with remote capsules such as the Schoeps CCM and Sennheiser 8000 series, although you could also fit a Rode NT6 cardioid in there quite happily. Larger SD mics would need to apply elsewhere.
Old 12th June 2016
  #40
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John Willett's Avatar
 

Question

Quote:
Originally Posted by studer58 View Post
They do indeed John...I stand corrected. Rycote

The range on offer isn't huge however, they obviously favour the top end of town mics with remote capsules such as the Schoeps CCM and Sennheiser 8000 series, although you could also fit a Rode NT6 cardioid in there quite happily. Larger SD mics would need to apply elsewhere.
I am wondering if a pair of Gefell M 300 would fit if they used Rycote's new stubby XLR ???
Old 12th June 2016
  #41
Gear Head
 

Quote:
Originally Posted by John Willett View Post
Rycote *do* make an ORTF windshield.
Hi John,

They do make one. With the mount to attach a couple of small condensers it sells for around $600 in the US, while the Rycote Stereo AG windjammer minus hardware is about half that cost. Since I paid around $200 for my Superlux ORTF mic, I sure wish I could find a way to block the wind for a similar cost. I'm not even certain that the $300 Rycote would work actually, since I don't know how the mic would sit inside it.
Old 13th June 2016
  #42
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Quote:
Originally Posted by kevinsinnott View Post
Hi John,

They do make one. With the mount to attach a couple of small condensers it sells for around $600 in the US, while the Rycote Stereo AG windjammer minus hardware is about half that cost. Since I paid around $200 for my Superlux ORTF mic, I sure wish I could find a way to block the wind for a similar cost. I'm not even certain that the $300 Rycote would work actually, since I don't know how the mic would sit inside it.
With the Superlux S502 you have the problem of the XLR exiting at 90 degrees to the capsule orientation, but since you're after wind reduction rather than vibrational isolation you could build a cheap alternative such as one of these: DIY Blimp for less than £20 - Personal View Talks

Then cut the blimp in two along the longest axis, put some sort of hinge on the edges and find a way to drop the XLR housing into it (you'd have to cut a hole into the curved bottom of the blimp for housing/cable exit) If you're handy with DIY I'm sure there is a way, especially if vibration is less of an issue than wind noise.

Maybe you could also modify one of these to fit your Superlux: Rode Blimp Windshield and Rycote Shock Mount Suspension BLIMP ?
Old 3rd September 2016
  #43
Here for the gear
 

My 4060s were brilliant, I mounted them on my cans (Senny HD25s)

Hi Rolo 46,

could you please explain, how to mount 4060s on cans. Thanks for your help.
Old 3rd September 2016
  #44
Lives for gear
I just taped them on either end of the head band and foam gagged them .
Old 3rd September 2016
  #45
Here for the gear
 

Quote:
Originally Posted by Rolo 46 View Post
I just taped them on either end of the head band and foam gagged them .
Thank you for the help Rolo 46
Old 3rd September 2016
  #46
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voltronic's Avatar
 

Quote:
Originally Posted by studer58 View Post
With the Superlux S502 you have the problem of the XLR exiting at 90 degrees to the capsule orientation, but since you're after wind reduction rather than vibrational isolation you could build a cheap alternative such as one of these: DIY Blimp for less than £20 - Personal View Talks

Then cut the blimp in two along the longest axis, put some sort of hinge on the edges and find a way to drop the XLR housing into it (you'd have to cut a hole into the curved bottom of the blimp for housing/cable exit) If you're handy with DIY I'm sure there is a way, especially if vibration is less of an issue than wind noise.

Maybe you could also modify one of these to fit your Superlux: Rode Blimp Windshield and Rycote Shock Mount Suspension BLIMP ?
Why not just use short furry windscreens on each capsule? It's so much simpler then encapsulating the entire setup in a blimp, which you may only need to do if recording in very severe wind.

I use the Rode WS8 ($25 each) outdoors with my CM3s and they perform beautifully. I thought about upgrading to Rycote Softies at some point, but these work so well I'm sticking with them. I use them to record marching bands from Sept-Nov, and only the most severe wind gusts are audible.
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