Recent content by gpforet

I don't see many Beyer's on film sets. While Rode makes an affordable mic, I've never cared for their shotguns for dialog as they tend to exhibit a brittleness in 2-4k range that is typical of the chinese capsules. Granted, for $700 their NTG-3 is a decent offering, but nowhere close to the...

Both the Sanken CS3e and the Schoeps CMIT5 are highly rated but hover around the $2k price range. $400 will not get you very far for both shock mount and shotgun. However, for that price B&H sells the Rode NTG-2 and shock mount for just under $300 and add a softie for around $75. If you have...

What is the application and what device are you feeding from the microphone? I migrated from live production sound to sound for film about4 years ago. If this is what you are doing then here's a few pointers regarding production sound for film: 1. Dialog is king. Everything we do on set is...

1. It is often acceptable to send groups to an effects send for reverb and other effects. Additionally, I have used a single compressor on groups as well. The act of routing in this manner would not, in and of itself affect the quality of the signal. 2. TRS and XLR are both used to carry a...

SCS doesn't require alot of computer power. Even a netbook that has a headphone jack will work to send the output to your system.

By mentioning main/delay speakers, it is implied that there is some time-alignment going on which in today's systems means that there is one or more system processors being used. Additionally, main/delay configurations require some critical measurement and deployment techniques to optimize...

Agreed, but the OP question was directed at the Bing CD which has no encoding.

What are you trying to accomplish? The bink CD is a two track CD. When used as a testing device, the left and right outputs are meant to routed as needed to test and calibrate a system. The routing is left entirely up to you. Each track is described as to what it contains. He also...

There is no speaker I'm aware of that will create 160db. The pressure would collapse even the strongest cone or driver. I work in the aerospace industry which has a sonic fatigue lab, and pressures above 140db are created using air driven by compressors and routed thru modulation valves...

By the way, this discussion is really good stuff, and reveals some indiosyncracies when using SPL meters to measure levels. A tool like SMAART, using calibrated mics and level, will provide far more insight into what's happening in the room with regards to SPL across the frequency spectrum.

SPL measurement tools utilize weighing schemes (A or C) and these are indeed filters which affect the displayed SPL measurement based on spectrum content. An explanation of both Fletcher-Munson and the A-weighed curve are explained here. Here's another link which provides explanation of SPL...

This is correct, the amplitude is the same regardless of frequency. However, the percieved volume is a completely different issue. The principles of percieved volume are described in a set of curves call the Fletcher-Munson curves. These charts depict that the human ear is not linear with...

You say that like it's a bad thing. In all the sound work I've ever done, the first goal is intelligibility. Sadly, this has taken a back seat far too often to overpowered low end, sizzling highs, with intelligibility going out the window. Regarding TV sound....it's actually gotten worse...

I'm wondering the same thing....what is this "4 times" based on?

If you're renting from a sound company, provide them with a desired SPL over a specified coverage area and the type of content to be delivered. Also provide descriptions of the physical space and audience size. Lastly, spec the number of inputs, and desired or required outboard, and available...