If someone is interested let me know and I'll post photos.

http:/http://www.bhphotovideo.com/c/product/292980-REG/Sound_Devices_302_302_Portable_3_Channel.html

http://www.bhphotovideo.com/c/product/399052-REG/Sound_Devices_CS_3_CS_3_Production_Case.html

I would like to see tutorial (I prefer video tutorials) that explains from recording to post-production all steps in feature film sound production. How to place mic tips, recording, foley, syncing, post-processing (mixing, compressing etc.), how to attach post-recorded sound to scene so that it really sounds like it's from the scene and not from my clothes room etc...

IMO this is now the area that really makes difference in between amateur and pro videos.

I enrolled to online course called "Introduction to Digital Sound Design". https://www.coursera.org/course/digitalsounddesign . It gave excellent information about sound theory and music, but didn't really tell how to do things in practice for feature film.

So great tutorials, are there any?

The sound check (by ear) was very good in the configurations that did not use the Sennheissers. The Sennheissers introduced their typical noise. When pre amps from the Sony PCM-M10 recorder, or the sennheissers are used, set the camera level to one click above off. The Sony M10 has cleaner sound than many larger and more expensive recorders, and is 1/4 the size. The best sound recorded to the camera was obtained by going through the M10. Having 3.5mm connectors makes it a bit more fragile. I suggest using all right angle connectors.

I found that the lavs with power supplies directly connected through the Azden Cam-3 mixer was clean enough for speech, although it does depend on the pre amps of the camera you are using which typically has some noise on the floor. I used Countryman B6's. They are one of my favorite lavs. The sound quality is excellent and they are so small I can push them through button holes. That way they are virtually invisible, and I do not have to contend with clothing ruffling. I advocate not using transmitters whenever possible such as sit down interviews. If you are fortunate to have Lectros wireless, then there is no noise issue.

What is very cool is using the mixer connected directly to the camera. The entire sound kit fits in a pocket. The miniature boom mic is a "Que Audio DSLR-Video Microphone Kit"

I did a bit more testing and it looks like some noise is being introduced by the lav power supplies. The unit itself only supplies power and has a passive volume control. My guess is that it is the 4 meter cable which is probably low quality. I will shorten the cables and report back.

I tested the mic power supplies and found almost no difference with them in, or out. I am concluding that they are not a significant noise contributer, although I still think think the cables are not very good, and i will replace them with higher quality. The cases snap open and it looks like an easy fix.

Maybe there are other people in this forum that would be interested.

https://www.kickstarter.com/projects/1085205247/sound-for-film-and-television-vol-ii-advanced-topi

4 simple steps

1 - Download Soundflower

2 - Install. Restart. Go to system preferences/sound/ and select sound flower both from input and output
alternatively and much faster you can just press the volume icon in the menu bar while pressing Alt.

3 - In your sound flower applications folder launch Soundflowerbed, in the icon in system menu bar select Soundflower (2ch) output;
you can further tweak settings below, but it is really up to you

4 - Launch Quicktime X, then File/New Audio Recording and from little triangle at right select sound flower input and quality.
Orrrr you can use instead Quicktime pro version, as will allow you to record uncompressed happy audio unicorn files, yeahhh

Extra tit, I mean tip for monitoring or realtime line input
This is the simplest and free also: RogueAmoeba's Line In

And because I really don't want you to remain with unhealthy curiosity, this is the thing I wanted to record :P

it reminded me of a japanese Maria Peszek

I'm not gonna get into Lavalier mics for now - simply can't afford them (unless I find some worthy cheap deals to experiment with). But when I do, (if I'll really need to get Lavs for some wide-shot dialogues) I'm thinking to have a cheap setup like this http://www.danmccomb.com/posts/678/zoom-h1-as-wireless-lav-4x-cheaper/ with Tram TR-50 plugged directly into Zoom H1 (yes, you can't monitor, but hey it's a cheap solution). From one of the comments on that post, someone mentioned Oscar Sound Tech OST 802 lavs, which seems to be 1/3 of the price of TR50 (circa $120).

Here's a comparison/test with Sennheiser ME2

Have you ever heard of these OST802 lavs??? Someone even did a comparison between Tram TR50 and OST802 here http://proaudiocoalition.com/index.php/cdolan-pac/story/my_lav_mic_has_a_first_name_its_o-s-c-a-r/ (Tram TR-50 in the right ear, and OST802 in the left ear). OST802 indeed sounds very very similar to TR50 (although OST802 sounded a tiny bit "flatter", but nevertheless a whole lot more pleasant than Sanken COS11D or Sennheiser ME2).

What's your opinion?

• Records PCM, DSD, MP3 Formats
• Up to 192kHz/24-Bit PCM, 2.8224MHz DSD
• 32GB Internal Memory & SD-XC Card Slot
• Stereo Mics with Multiple Positions
• Separate 2-channel record level adjustments
• Works on four AA alkaline batteries, up to 25 hours
• Aluminum Construction
• 32-Bit D/A Converters
• Includes Remote, Furry Windscreen
• Includes Batteries & Carry Case
• Includes Sound Forge Studio LE Software

Available at:

• http://www.bhphotovideo.com/c/product/1008089-REG/sony_pcm_d100_portable_stereo_field.html

all feedback, comments, thoughts, tips, rants, recipes, questions, secrets and other form of communication are most welcome

gashô

1. via an infra-red trigger, which currently i beleive only works with the 5dmk ii, or
2. through a wire from the Fostex to the remote port on the camera.

New stuff:

• Automatic audio slicing and audio quantize
• MIDI out
• Convert recordings into REX loops for further creative possibilities
• New spectrum analyzer with visual EQ controls
• Group and parallel mix channels
• Workflow improvements
• Reason 7 makes it easier to import audio from users, music libraries and the web, with support for mp3, aac, wma and more.
• Enhanced Factory Sound Bank comes with new loops and drum kits.
• New Audiomatic Retro Transformer effect unit adds a “futuristic-vintage” sound

Prices:

• Reason 7 - $449
• Reason Essentials 2 - $129

Via: http://www.propellerheads.se/products/reason/new/

Is there a decent recorder out there that can handle true line in from the mix pre and has a low enough noise floor to create hiss free recordings when tethered to the Rode lav and can easily fit into someones pocket?

The Sony PCM-M10 has fairly good reviews and is my top choice at the moment, just wondered if there was something same size or possibly slightly smaller that has similar audio quality ? it would need to be a decent step up in quality from the Zoom h1

Any help would be gratefully received.....

This is where the sound camera comes in. Just as thermal detector cameras show the distribution of temperature, sound cameras use a microphone arrangement to express the distribution of sound and to find the location of the sound. However, existing sound cameras are not only too big and heavy, their assembly and installation are complex and must be fixed on a tripod. These limitations made it impossible to measure noises from small areas or the base of cars.

The newly developed product is an all-in-one system resolving the inconvenience of assembling the microphone before taking measurements. Moreover, the handle in the middle is ergonomically designed so users can balance its weight with one hand. The two handles on the sides work as a support and enable the user to hold the camera in various ways.

http://www.kaist.edu/english/01_about/06_news_01.php?req_P=bv&req_BIDX=10&req_BNM=ed_news&pt=17&req_VI=4127

So we're looking into other strategies. I like the idea of getting lapel mikes, having the actors wear smartphones or recorders, and syncing the tracks up in post. Good aspects; cheap, simple, easily expandable to any number of performers.

Someone suggested that we get a system where the mikes send wireless signals to a central recorder. I'm not keen on this, because it may be expensive, it may be difficult to balance the sounds afterward, and the number of mikes may be limited. But I don't know, so I agreed to ask around for such a system.

We're shooting with DSLRs (mostly GH2's), so that may be a factor here.

Any suggestions?

This plus an iTouch looks like a much better solution that those 3D mics floating around for me. Love the concept. @PhillipBloom adds his usual high standards of reviewing to the launch video.

http://www.rodemic.com/news/new-rode-i16-offer-360-surround-recording-for-ios-devices

Price - $129

Uses Vocaloid 3 and includes editor:

• Piano-roll style note editor, importing functionality from a standard MIDI file
• Inputting lyrics and automatic conversion to phonemes
• Assigning musical expression templates from an Icon Palette
• Sending notes, lyrics and musical expression to the Synthesis Engine
• Saving vocal data as a .wav file
• Changing synthesis parameters
• Reverb
• Playback .wav files

Via: http://www.soundsonline.com/Vocaloid-3-Avanna

Specifications:

• 24 Bit WAVE / MP3 Recorder
• Recording Media: SD/ SDHC memory card (64MB~16GB)
• Sample Rate: 44.1 kHz / 48 kHz
• MIC Select: 2 MICS / 4 MICS
• Effects: 5 types ( Delay, Chorus, Room, Hall, Pitch Shift)
• Record Format: WAV 16 bit, WAV 24 bit , MP3 64 kbps, MP3 96 kbps, MP3 128 kbps, MP3 196 kbps, MP3 224 kbps, MP3 320 kbps
• Built-in Speaker
• Display: 128 x 64 dots OLED
• Input: 1/8" Stereo Line Input, 1/8" External MIC input, Built-in Stereo MIC
• Output: 1/8" Headphones.
• USB Interface: Mini-B type
• Power Requirements: AC adaptor (DC 3V) or AA size (LR6) battery x 2
• Dimensions: 67(W) x 29(D) x 107(H)mm

More info: http://medeli.com.hk/products/dr/dr-2.html

Price: below $90

http://www.ebay.com/itm/Alesis-Palm-Track-Handheld-SD-Digital-Stereo-Recorder-24-bit-Audio-/170932733029

First, there's Tone Mutation Instruments, a quick way to try out different timbral variations on your sounds with just a couple clicks. It uses convolution technology to take the harmonic content of 36 different sound sources (guitars, instruments, etc.) and apply it to your sounds and recordings. http://shop.propellerheads.se/product/tone-mutation-instruments/

Then there's ReStereo, which expands any mono signal into stereo in a much more natural and detailed fashion than existing plug-ins, and often with much greater phase coherence and control. It can be made to sound very subtle and several of the presets sound more like the signal was simply recorded in a different fashion, as opposed to more like an effect. http://shop.propellerheads.se/product/restereo/

Anyway, I'm sharing these (whereas I normally don't talk much about my Numerical Sound work) because 1) they are in a much lower price bracket than NS products normally are and 2) I noticed that the Reason 7 announcement is one of the most recent in the Sound and Music section - and all of these plug-ins are fully compatible with Reason 6 and later, as well as Reason Essentials 1.5 and later.

ReStereo is one that I find especially useful for helping expand shotgun mics and other mono soundsources and I hope that they prove useful to all of you as well. In my experience, each product represents the best version of the color it sets out to achieve - no competing product matches them, but that doesn't mean that color is right for everybody. :)

Each of them has a 30-day fully-functional free trial so you might as well check it out if the concept interests you. Let me know @Vitaliy_Kiselev if there's anything I should do to help make sure the announcement doesn't read too much like SPAM. :)

See more at http://photosounder.com/

For example, there is a rumour going around that Sennheiser MKH 416 has been the "industry standard" throughout 70s and 80s (and even 90s) in many Hollywood films. Is this true? If yes, which films? Please mention them. I would love to listen to those films.

There is another rumour that Rode NTG-3 (and even NTG-2) is being used in film productions. If you KNOW this to be the case, then,please, list the movies that use NTG-3. (and I don't mean movies made for Vimeo, or amateur movies that don't stand the chance of being accepted into any decent festival)

If there are other microphones that you know of, please add them to this list and please mention which movies they were used in. Movies from any decade are welcome. (like, I'd love to know what mics were used in Taxi Driver, The Godfather, Network, Blowout, Reservoir Dogs, Pulp Fiction etc)

I've asked this question to Philip Bloom and he says I'm wrong -- "because this is one man band kit…i had help here but still…why on earth would you bring a mixer unless you had a sound man?" but I still don't see why so please if you're an audio professional and have actually used a field mixer digital recorder combo get back to me. I'm sure I'm missing something here but as I've not actually do any work with an external sound recorder I'm sure what I'm saying is pure conjecture :) There is a difference I think too compared to what he was he was doing, filming a person interview in a very controlled environment compared to chasing tornadoes and trying to get audio from people in a very difficult environment.

So sound pro's your feedback please!