Sound Mon, 25 Sep 17 23:21:55 -0600 Sound en-CA Rode VideoMic Pro+ Wed, 18 Jan 2017 13:49:06 -0700 Vitaliy_Kiselev 16344@/talks/discussions

Fifine 25-Channel UHF Wireless Lavalier for $27 Sat, 16 Sep 2017 20:59:03 -0600 Vitaliy_Kiselev 17777@/talks/discussions image

  • 25 SELECTABLE CHANNELS IN THE UHF BAND. Frequency range: 672.5~684.5MHz. No worry of the interference from local radio stations and static. Available for several mics work together without interference. *Note: We don't recommend to use this mic with SMART PHONES, LAPTOPS, TABLETS, CAMERAS and IMAC, even with a proper adapter.
  • FREEDOM OF MOVEMENT. Miniature wireless lapel microphone with clip offers low visibility and makes it simpler to move around. Reduction of cable "trip hazards". You can also have both hands free to present products or for demonstration. Perfect for live performance.
  • UNIDIRECTIONAL LAVALIER MIC. Cardioid polar pattern rejects unwanted noise. Included windscreen also reduces plosives, wind and breath sounds. Clip it as close to under your chin as possible and with the top of the wind screen pointing up towards your mouth.
  • EASILY CONNECT TO COMMON AUDIO EQUIPMENTS. Work with speakers, mixers, electric guitar amplifiers and sound boards that with 1/4'' interface to output the sound. Clear and strong vocals, perfect for stages, churches, meetings, presenters and lecturers.
  • Unit comes with AAx2 for bodypack transmitter (with LCD display), and AAAx2 for the wireless receiver. The sturdy metal clip is easy to place and holds tightly.


Tascam DR-10L - small recorder with lav Mon, 03 Oct 2016 04:55:45 -0600 Vitaliy_Kiselev 15838@/talks/discussions image


Sennheiser AVX wireless mikes Thu, 27 Aug 2015 22:04:18 -0600 MikeLinn 13619@/talks/discussions Setup

Mikes Difference


Zoom F8 - 8 track audio recorder Tue, 14 Apr 2015 18:04:33 -0600 Vitaliy_Kiselev 12806@/talks/discussions

Sound Devices MixPre-3 and MixPre-6 Sun, 04 Jun 2017 14:57:24 -0600 Vitaliy_Kiselev 17093@/talks/discussions


Sound Devices, LLC, the audio manufacturer whose products are trusted for award-winning productions including La La Land, Mad Max: Fury Road and Game of Thrones, announces the launch of its new groundbreaking product line, the MixPre Series of audio recorders with integrated USB audio interface. The lightweight, robust, ultra-portable MixPre-3 and MixPre-6 are the perfect audio companions for musicians, sound designers, podcasters and videographers. Available now for $649 and $899 respectively, Sound Devices’ MixPre Series marks the first time the industry pioneer is bringing its high-end, professional audio innovations to the wider consumer market.

The 3-input/5-track MixPre-3 and the 6-input/8-track MixPre-6 feature Sound Devices’ groundbreaking new Kashmir™ microphone preamps. These high-performance, ultra-low-noise, discrete, Class-A microphone preamps with analog limiters are custom-engineered by Sound Devices. This sophisticated design ensures high quality, professional-grade audio recordings.

“Our new Sound Devices MixPre Series is the culmination of decades of experience designing products for the best-of-the-best in the professional audio industry,” says Matt Anderson, CEO of Sound Devices, LLC. “Our mic preamps simply have to be heard to be believed, whether mic’ing drums, birds, or dialog, using condenser, dynamic, or ribbon mics. The MixPre-3 and MixPre-6 merge the latest advances in audio technology with an unintimidating, compact and rugged design. Not to mention they’re both very affordable. These products are a must-have piece of equipment for anyone ranging from production engineers and musicians to YouTubers.”

Some of the unique features of the MixPre Series include:

  • Superior professional-grade audio – state-of-the-art, custom-engineered Kashmir mic preamps with analog limiters and new 32-bit A-to-D converters.
  • USB audio interface – record while streaming USB audio at the same time; ideal for mixing or recording podcasts, Skype interviews and video blogs. Also serves as a useful backup by recording to an SD card.
  • Compact and durable – the pocket-sized MixPre-3 is one of the smallest products in its class. Both the MixPre-3 and the slightly larger MixPre-6 are the perfect size for jobs on the run. They are also constructed with a die-cast aluminum chassis making them robust, yet extremely lightweight.
  • Touchscreen – sunlight-readable, color LCD using IPS touch-screen technology for the ultimate in convenient navigation.
  • Full-featured mixer – equipped with ergonomic gain controls for fast and accurate mixing, and a custom-designed, wide-bandwidth headphone amp for monitoring. Also includes pan and soloing plus circular LED metering.
  • Mobile app – built-in Bluetooth Smart(R) Technology enables control from the Sound Devices free Wingman app. Users can start/stop recording, enter/edit metadata, as well as arm, disarm and rename tracks on the MixPre recorder from a mobile device. The Wingman app is available for iOS from the App Store.
  • Camera mounting – as an added benefit to DSLR users, the MixPre Series also have retractable 1Ž4″-20 mounting capacity making them a perfect pairing for a wide variety of cameras.

The MixPre-3 and MixPre-6 offer many similarities in terms of functionality but differ in size and I/O capabilities. The MixPre-3 offers up to a 5-in/2-out USB audio interface with 3 discrete mic preamps, and the ability to stream up to 3 analog inputs (including 3 high-quality mic inputs) + 2-channel mix over USB. The MixPre-6 offers up to an 8-in/4-out USB audio interface with 4 mic preamps and streams up to 6 analog inputs (including 4 high-quality mic inputs) + 2-channel mix over USB to a Mac or Windows computer. In addition, the MixPre-6 features XLR / 1Ž4” combo inputs allowing 1Ž4” line-input sources to be connected directly. Both models record to a removable SD, SDHC or SDXC media card.

Both MixPre recorders come with Basic and Advanced modes. Designed to allow a user to start recording right out of the box, the Basic mode takes the guesswork out of audio recording and is intended for simple 2-channel mix applications, such as interviews, video blogs, music or podcasts. The Advanced mode offers more experienced audio enthusiasts access to multi-channel recording and advanced settings, such as metering, routing, timecode, trim gain, stereo channel linking, headphone presets and more. The MixPre Series also has several convenient powering options from AA batteries sleds to hot-swappable L-Mount battery power. It can also be powered via USB to a computer or optional wall-mount accessory.

Zoom F4 with six inputs and eight tracks (is like a new low priced F8!) Tue, 06 Sep 2016 08:18:03 -0600 IronFilm 15665@/talks/discussions image



My blog post on this news: (some of it repeated below)

I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8!

Some specs

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4" inputs, a 1/8" stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other. Each of the four XLR-1/4" inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4" headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8" stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9" LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

  • Six-input / eight-track multitrack field recorder with integrated mixer
  • Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
  • Compact and lightweight metal chassis, weighing just two pounds (without batteries)
  • High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
  • Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
  • Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
  • Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
  • Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
  • Phantom power (+48V/+24V) on every preamp
  • Advanced on-board limiters for input and output
  • High-pass filter, phase invert, and Mid-Side decoder
  • Input delay of up to 30ms per channel / output delay of up to 10 frames per output
  • Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
  • Dual XLR balanced Main Outs plus 1/8" stereo mini-jack Sub Out
  • Dedicated headphone output (100mW) with front-panel volume control
  • 1.9” white, backlit monochrome LCD
  • Dedicated PFL display with viewable trim settings
  • Dual SD/SDHC/SDXC card slots, up to 512GB each
  • Records in BWF-compliant WAV or MP3 file formats
  • Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
  • Built-in tripod mount; camera-mount adapter also included
  • Use as a 6-in/4-out USB audio interface (@ 96 kHz)

Available for $650 at

iZotope Spire Studio Fri, 08 Sep 2017 11:34:35 -0600 Vitaliy_Kiselev 17703@/talks/discussions

  • Internal studio-quality microphone for a professional sound.
  • Automatically set recording levels with a single button to eliminate set-up time and distorted sounds.
  • Record with effects, including reverbs, delays, and amp models, with zero-latency monitoring.
  • iZotope’s intelligent sound processing technology gives recordings professional polish.
  • Layer up to eight tracks per project.
  • Built-in Wi-Fi connection from Spire Studio to the Spire app.
  • Battery operated so you can record for hours on the go.
  • Grace Design preamps for pristine clarity.
  • Two combo jacks for plugging in your instruments or mics with +48 V phantom power.
  • Automatically sync tracks between hardware and software for seamless version control.
  • LED touchscreen to adjust volume, mute, and delete tracks.
  • Intuitive mixing and editing.
  • Collaborate on projects with musicians anywhere in the world from your iPhone.
  • Export your music to a computer or favorite audio editing software like Pro Tools, iMovie, and Logic, or upload to storage platforms like iCloud, Dropbox, and Google Drive. Availability & Spire on Tour
  • Available in Fall for $349.
Zaxcom and why patents must go to hell with capitalism as company Mon, 10 Oct 2016 16:17:18 -0600 Vitaliy_Kiselev 15867@/talks/discussions At first read this affecting


Zaxcom also delayed JuicedLink Little DARling -

Initially case seems like not too important (now Tascam backed off removing output in US and restricting to 3.5mm input only).
It actually states that Zaxcom will prevent selling in US any device that have both wireless audio transmission and recording. Case is even not about such device, but one part of such device. And it is really big with current technology. As patents prevent making really affordable and in same time fully reliable systems what also have local recorded backup audio.

What else Zaxcom prevents to appear in your everyday life?

How about ability for recorder to make 32-bit floating wave (and even 24bit files) files using two parallel DACs aimed at different levels? It is possible to record two separate files as many recorders do, but not to join them in portable recorder. It is patented by Zaxcom.

How about wireless timecode transmission to multiple recorders? Patented by Zaxcom.

Add here patents on wireless transmission methods and encodings.

All of this produce big damage in the interest of few capitalists, and no, this guys did not invented anything, their engineers did and long ago they compensated all expenses.

Takstar HI-2050, now ISK HF2010 headphones Sun, 22 Jul 2012 09:52:17 -0600 Vitaliy_Kiselev 4006@/talks/discussions Here we go to the next headphones.


Not pricey, available at ali:

ISK HF2010 headphones

Really good looking headphones, and made to the same high standards as Pro 80.

As for comfort, they are very similar due to similar design. Ear pads are more comfortable on 2050.

Same thing must be said about large head. Be very careful, as these can be uncomfortable if you have one.

This ones have most pronounced sibilance. They are quite bright with punchy bass. Less monitor like, compared to Pro 80.

But sound is very good.









I got images above from

Lavalier Showdown Thu, 26 Jan 2012 07:50:57 -0700 JDN 2115@/talks/discussions I was looking for an upgrade to the kit ME-2 that came with my G3, and fine folks at Toronto TREW audio were kind enough to spend a few hours with me testing the most common lavs on the market -- tram tr50, sanken cos11, and the two latest offerings from RODE. I know these tests are all over the internet, but I always had a problem with them because the cos11 and sometimes the tram were usually run through lectronics while the me-2 and RODEs were often run through G3s. Needless to say, if you are a dslr shooting, you're probably not going to shell out 2-4k for a lectrosonics transmitter and receiver. Luckily, the trew techs were kind enough to modify the tram and sanken for g3 receivers.

I thought I'd share the results as a good lavalier is essential for any solo dslr shooter and produces much better quality than an onboard shotgun and it's really hard to tell what's better from youtube tests given their crappy compressed audio.

First, a general note -- the RODEs, tram and saken all completely spanked the me-2, which should not be a surprise, though it was surprising just how much better they sounded. The ME-2 was just soo thin sounding. So, knowing I was going to walk out of there with a new lav of some sort, I started comparing them, side by side, in different sound environments for the next two hours (all tests were done with a sound devices mixer and sony studio headphones). Here are the results:


Sanken COS11 -- no suprise, it's the most expensive as well. There's a reason it is used by high end documentaries and most television and film. But is it good for a solo DSLR shooter? If time and money are no issue, then yes, but if they are, here are a few drawbacks:

  • Higher Handling Noise. It takes careful mounting to conceal this lav and tape down the wire since both the microphone and the wire are very sensitive to handling noise. If you got the time, or you are mainly doing sit-down interviews, you'll be rewarded, but if you need a lav (as I mainly do) for filming moving subjects solo, it may not be the best choice.

  • Costly aftermarket adaptors. Okay, not that costly, but you're looking at $30 - $50 to modify it for use with a g3, and another $140 if you want to then plug that into an xlr for sit-down interviews.


RODE Pin Mic -- recently released from RODE this mic is meant to be hidden in plain sight (the capsule pins through clothing. I could see this being very useful for event shooters and live broadcast, particularly if you didn't want to spend a lot of time mounting it. But the sound quality, while better than the me-2, felt a little lacking at the low end, and the fact that the mic faces out (even though it's an omni) did seem to mean a little more of the room was picked up. If you do a lot of weddings and other events though, you might want to consider it. About $250.


Which led to the TRAM TR50, the flat, small lav that many of you will recognize from your sound recordists bag if you haven't already used (or owned) yourself. Easy to conceal and sounded much better than the pin mic. Far less handing noise than the COS11, and cheaper too ($250) although requires the same modifications and adaptors to use with G3 as the COS11. The downside was it came in pretty quiet -- even at 0b from the transmitter you still had to crank up the mixer more than 3/4 of the way to get have the audio peak in the the 0 - +6 db range and that added a small but noticeable bit of noise. So you could record it lower and let post deal with it if you need to crank it later, but that's a little complicated. Which led to:


(For me at least) The RODE lavalier. Also $250. Rich, full sound -- not quite as good as the COS11, but about the same size (which is to say quite small) and far more impervious to handling noise -- put it on my undershirt and moved around a bit and even without moleskin had no noise off the overshirt (which was soft cotton, granted, but still, not bad for a very quick and dirty mounting job). Best of all, only required a $30 G3 adaptor and a $50 XLR adaptor, so ended up saving me $150 over the tram and nearly $300 over the COS11. And bizarrely for a lav at least, comes with a five year warranty.

So there you have it. As always, I'd encourage you to try to test out these options in person and pick the combination that is right for how you use it most (and realize that ultimately, many people have at least two different kinds of lavs in their bag because there is no perfect choice). But if you, like me, were frustrated by the lack of controls (eg different receivers) and compression found on most internet tests, hopefully this feedback helps in narrowing down your decision. Sorry, no audio to post -- I really should have recorded it all -- but I will post a me-2 v. RODE comparison when I get a moment to pull it off.

BOYA BY-HM100 Reporter Mike Fri, 16 Jun 2017 05:58:10 -0600 Vitaliy_Kiselev 17160@/talks/discussions image

Price is below $50 shipped -

This is really cheap, do not know how good it is, need to make some tests. Just note that interview mike must be long and preferably omni.

For exhibition PV team uses I really love the sound and performance of it.

4 channel headphone amplifier HA400, below $15 Tue, 22 Aug 2017 16:59:46 -0600 Vitaliy_Kiselev 17591@/talks/discussions image

  • Ultra-compact stereo headphone amplifier for studio and stage application.
  • With 4 headphone output channels and 1 input channel.
  • Volume of each output channel can be controlled independently.
  • Provides highest audio quality for each headphone even at maximum volume.
  • Ultra low noise 4580 operational amplifier for outstanding audio performance.
  • Comes with a DC 12V power adapter.

Low self-noise shotgun microphone Wed, 14 Nov 2012 16:07:05 -0700 tonalt 5199@/talks/discussions I have SoundDevices Mixpre and I'd like to get good microphone to it.

I have already MXL FR-300 but I'm pretty disappointed with it. When I boost gain enough so that I can pick sounds with high sensitivity from 1,5m - 2m, there is a lot self-noise in the signal.

To ensure that there wasn't problem with e.g. my cables, I did another test with Electro-Voice RE50 and there was absolutely zero noise. I know this is different mic since it's dynamic but atleast it proves that the connections are not the reason.

At there is good comparison between shotgun microphones. It seems that there is really big differences between mic self-noises. E.g. AUDIO TECHNICA AT897 has pretty loud noise, I'd say that sound clip is unusable. But e.g. SENNHEISER MKH-416 has virtually no noise at all and the tone in her voice is excellent.

I don't understand why anyone would buy e.g. AUDIO TECHNICA AT897 ? Is that much self-noise really acceptable to someone?

Anyway I'd like to get some recommendations about shotgun microphones. Based on the test above MKH-416 is a winner for me but that test doesn't cover everything. Requirements:

  • Low self-noise
  • Can pick sound from 1,5 - 2m away
  • Good tone
  • Price range <1000$
Headphone Calibration. What about it? Mon, 07 Aug 2017 07:46:29 -0600 AugustoDantas 17475@/talks/discussions Is there any real benefit of using a calibration profile in a decent headphone (let's say, Superlux Hd681 or better)?

Second, if there's actual benefit in it, when it becomes practical to spend US$ 120,00 on a calibration plugin?

Found that Sonarworks Reference 3 Headphone software and people reviewing it in the internet got me curious.

Here is a quote from their website:
"Hi-end studio sound from your headphones. Headphone calibration is the process of measuring and adjusting the frequency response of headphones in order to precisely match flat and neutral sounding studio monitors in a well treated studio. Standard studio headphones are transformed into perfectly-engineered precision devices. By giving yourself the gift of accurate sound, you can mix and master with total confidence."

And here is a quote of a review by Matthew Weiss:
"So is this product just a fancy EQ? Well, yes and no. Essentially, it is just an EQ. However, the curves it’s recreating are not curves that you could simply dial in by ear or with simple measurement of white noise. Sonarworks notes that there is “resolution up to 16000 correction points” which is way more than any market EQ can give you."

Panasonic RP-HTF890 headphones Fri, 15 Jun 2012 06:59:49 -0600 Vitaliy_Kiselev 3584@/talks/discussions image



This is my main headphones for very long time (in different reincarnations starting from Technics :-) )
They are open sounding, have very gentle bass.
Plus I can sit in them whole day and not notice this.

Rode smartLav - lapel mic for iPhone, iPad or iPod Touch Thu, 14 Feb 2013 18:27:50 -0700 silverfox 6128@/talks/discussions This little mic appears to be a professional grade lapel mic and sounds quite OK. With the RODE Rec iPhone app, it will be relatively cheap ( less than $100 ) external recording solution.

Sony UWP-D system Wed, 13 Aug 2014 17:13:16 -0600 Vitaliy_Kiselev 11038@/talks/discussions image

Available at

Meike MK-WMP1 wireless microphone Fri, 04 Aug 2017 02:15:55 -0600 Vitaliy_Kiselev 17459@/talks/discussions image

Interesting Soundbar for Monitoring Thu, 03 Aug 2017 12:22:10 -0600 badboygolf16v 17456@/talks/discussions

I'm not aware of this technology being available at a consumer level before.

Takstar Pro 80, now ISK HF2011 Headphones Fri, 20 Jul 2012 00:42:48 -0600 Vitaliy_Kiselev 3982@/talks/discussions Got myself three different headphones.

All three are considered best amoungs Chinese designed and manufactured headphones :-)


As for manufacturing quality, it is clear that thay can compete with best and pricey phones.

Sound is also very good, and different amongst all three. This is usual thing for heaphones. :-)

But my favourite is still Panasonic HTF890.

I'll write more about this phones later.

Best indoor mic for under $1,000? Mon, 29 Jul 2013 22:19:53 -0600 acuriousman 7630@/talks/discussions I'm going to get some serious gear soon and I have to upgrade my current shotgun.

I'll be shooting a lot of interior diagloue shots in small to medium sized rooms. From what I've been told, a shotgun mic like the MKH 416 is terrible for indoors, correct?

What's the best indoor mic for $1,000 and under?

Aputure Deity Shotgun Fri, 06 Jan 2017 09:03:37 -0700 Vitaliy_Kiselev 16292@/talks/discussions

Expensive, and do not see any reason to prefer it to MXL and alikes.

Rode VXLR+ XLR to 3.5mm adapter Tue, 25 Jul 2017 09:16:05 -0600 Vitaliy_Kiselev 17403@/talks/discussions

The VXLR+ is a 3.5mm female TRS socket to male XLR adaptor, which will convert 12-48V Phantom Power down to 3-5V 'Plug in Power', allowing RØDE on-camera microphones such as the VideoMicro and VideoMic GO, as well as self-worn microphones like the HS2 Headset Mic to receive power from an XLR input.

Budget Earphone & In-Ear Monitor: great review site for helping a choice Fri, 16 Jun 2017 08:25:43 -0600 apefos 17164@/talks/discussions This website can help a lot if you need to make a choice from small phones models for music production, video editing...

They have detailed analisys about design, confort, bass/mid/treble, sound levels within frequency responce range.

Marantz PMD-706 recorder Wed, 05 Jul 2017 02:09:10 -0600 Vitaliy_Kiselev 17300@/talks/discussions

$299 only

Speakers: portable and cheap solutions for computer Wed, 21 Jun 2017 13:43:17 -0600 apefos 17201@/talks/discussions Sound speakers just for audio reference, not considering quality monitoring, portable and cheap solutions, usb powered, stereo without subwoofer (2.0), best design among many models:

The sound power is low, good if you need a more quiet solution. The frequency responce is not full range but adequate for audio reference, can be calibrated with computer sound card equalizer.

Single speaker with front bass opening, plastic:

dual speakers, plastic, don't know if has bass openings:

dual speakers with rear bass openings, wood construction:

Saramonic VMic microphones Sat, 01 Jul 2017 14:14:38 -0600 Vitaliy_Kiselev 17279@/talks/discussions image

Saramonic VMic Pro is a super directional shotgun microphone that mounts directly onto your camera. Comes with shock mount system.

It has 150 Hz low cut filter and a high frequency boost (+6dB) feature that can be controlled independently. Microphone comes with three position level control (-10dB, 0dB, +20dB), a 3.5mm headphone jack for audio monitoring, and a low battery LED indicator. The microphone's frequency response is 35 Hz ~ 20 kHz, signal-to-noise ratio is 75dB, and the microphone has a dynamic range of 120dB. Power is supplied by two AA batteries and the package includes a foam windshield as well as a detachable 3.5mm cable to connect to the camera.

VMic Recorder model features an integrated flash recorder that can store 16-bit / 48 kHz WAV audio files to a Micro SDHC memory card up to 32GB capacity. It also comes with an LCD monitor and a single-button recording function. The standard VMic model comes with similar specifications to the Pro variant but has to make do with a slightly reduced feature set. It will set you back $119.95; the Recorder is $199.95. VMiv Pro UK will cost you £199.14.

How I do my speakers and headphones equalizer calibration Fri, 30 Jun 2017 12:32:07 -0600 apefos 17271@/talks/discussions I do all my equalize calibration using music. I listen lots of different musics and I keep doing equalize adjustments in the sound card equalizer, so when all the musics are average good I believe I have a good calibration to do audio mixing.

I sit in front of computer monitor with speakers in each side of monitor pointed to my ears, or with the phones in the ears.

At first moment I put the sound equalizer in flat position with all frequencies in zero (middle position).

First thing is to find the maximum loud that the speakers can go, it is important to use a loud sound to perceive sound details. Raise the speakers volume to the maximum and use a music to perceive how much you can increase the computer volume just before the sound start to get distorted.

Be careful to not get a too much loud sound because it will annoy your ears and you will think the problem are in the frequencies, but no, the problem is in too much loud sound.

After this I lower all frequencies to the minimum, and I start raising one by one alone to listen the best point for the sound in each music in each frequency, so I can get a good average settings for the work.

After lowering all the frequencies to the minimum I start raising the highest frequency (trebles), then I take note of the number and lower the frequency again, then next frequency until all frequencies are found, from trebles to bass.

I repeat these steps for each music and after all I set the average numbers in the sound card equalizer.

Another good way is to lower all frequencies and start raising the highest frequency (trebles). After find the good setting, keep it and go to next frequency until reach the lowest bass frequency. In the end there is a equalizer setting done. Also works ok to find calibration.

Musics that I use:

  • Van Halen - Panama: great to perceive how much the speakers can get loud and good for calibrate all frequencies and reduce vocal sibilance.
  • The Cure - Kyoto song: great to perceive how much the speakers can get loud and to calibrate bass frequencies.
  • Rihanna - Umbrella and Rehab: great to perceive if bass frequencies will not distort, and vocal performance.
  • REM - Orange Crush: gret to perceive if mids and trebles are not harsh or sibilance.
  • The Doors - Riders on the Storm: great to perceive trebles performance and mids distortions.
  • U2 - New Years Day (live version) - great to perceive if trebles are not muted in vocals.
  • Vivaldi - Four Seasons - great to perceive how classics instruments are sounding.

After these musics sounds good I believe the speakers are ok for audio mixing.

The angle trick I just use it for enjoy music listening, the calibration is done with speakers pointed direct to the ears. The work in audio mixing also with speakers pointed to the ears.

Important thing: you need to know in wich frequency each instrument and voice is more pronounced, this thing you will get trained on it after repeating this process.

I also use the audiocheck website 20hz to 20khz tone testing before equalization with all frequencies in flat position to perceive how the speakers responds to the frequencies before start calibration.

Speakers: angle trick to solve piercing trebles and to calibrate bass and trebles volume. Fri, 30 Jun 2017 08:17:26 -0600 apefos 17270@/talks/discussions If you use speakers in your computer for audio monitoring and mixing, even after good equalization, some trebles can be piercing depending on the quality of the speakers and also depending on the audio you are listening.

The trick is to position the speakers besides the computer monitor and instead of pointing them direct towards your ears, rotate them a little bit around it's own axis outside direction. Then you find the best position between 0 and 90 degrees, rotating the speakers slowly and paying attention to the sound to find the best angle.

This can solve the piercing trebles and can calibrate the trebles volume along with the bass volume.

But remember, before using this trick you need to find the best equalization to calibrate the speakers frequencies.

This trick can work better than lowering the trebles so much in equalization, because lowering the trebles so much in equalization can result in a muted sound, similar to cover the speakers with a piece of cloth.

The speakers direct towards the ears can be good to perceive details in sound for a good audio mixing result, but sometimes you want a more pleasant audio, so the angle trick can be welcome.

I found this trick when doing equalize calibration in the speakers, see the speakers review:

See the draws: