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  • avatar
    45 sounds
    46 posts

    if i remember right, the 822 uses 3.5 mm mini plugs as opposed to xlr connectors.

    I've recorded a variety of circumstances from distant ambiances, to church pipe organs from a hundred feet to instrumentals and vocals from a few feet, to close-ups such as a music box with my at825.

    I'm not dissuading you from considering other worthy or better options. For me, the AT825 has worked very well.

  • avatar
    3 sounds
    3 posts

    visa tapani

    Those of you with either AT822, 825 or Rode NT4 - they appear to be great for ambiances, but is it really possible to zoom in on a sound with them? Also, is there any other difference between the 822 and 825 than that 825 can run also on phantom power?


    I'm not sure what you mean by "zoom in". If you mean isolating a single sound by moving the microphone close to the sound source, I have done that with the AT825 when I used it as a vocal microphone. I use a microphone stand to position it below the speaker's chin or above his nose, and he doesn't even know it's a stereo microphone. I try to eliminate extraneous sounds, of course, but it is my impression that the AT825 does what any microphone would do in the same circumstances: it hears only the nearby speaker.

    Sorry, I'm not familiar with the AT822, but I can confirm that the AT825 requires phantom power on both the left and right microphone cables.

  • avatar
    20 sounds
    25 posts

    Thanks for the reply, dobroide;

    The idea with the RCC sounds interesting - though I'm a little bit reluctant to mess with the power connectors wink
    How good are these RCCs with regards to charge cycles? How long does charging typically take? In that area I have no experience...

  • avatar
    3066 sounds
    476 posts

    visa tapani

    ...

    Also, with MS, do you get any true left-right separation? For example, if a bird approaches your setup from the left, flies past the mics to the right and disappears to the right - would you hear this in the recording?
    ...

    Visa tapani,

    most or all of my field recordings during the last year were made in MS stereo, check for example http://www.freesound.org/samplesViewSingle.php?id=54746

    So yes, you get left-right separation. And yes, you can mount the two mics very close together into a very portable pack. Bad news is... price

    Saludos

    D.

  • avatar
    0 sounds
    23 posts

    Thanks for all the comments!

    nemoDaedalus
    I have done a lot of recording for film & tv with a Schoeps MS-stereo pair.
    MS-stereo allows you to change the 'wideness' of the recording later in the studio. Since you always have one mic facing forward (in case of a specific thing you're recording), you can choose to have it fully mono by only using the M(id) mic. Adding the S(ide) mic in the mix will drift the stereo field from centre slowly out to stereo. And even lowering the M signal in the mix makes the stereo wider than the speaker setup.

    Yeah, I too was thinking that MS would be very handy indeed - that's why the Audio Technica BP4029 would be such a practical mic! However, I haven't found any cheap figure-8 capsules yet, the Schoeps ones are over my budget. If I could find a good cheap bang-for-the-buck figure-8 capsule I could combine it with the mono mic of my choice ang get a nice custom with that. Any recommendations for such a capsule?

    Also, with MS, do you get any true left-right separation? For example, if a bird approaches your setup from the left, flies past the mics to the right and disappears to the right - would you hear this in the recording?

    Those of you with either AT822, 825 or Rode NT4 - they appear to be great for ambiences, but is it really possible to zoom in on a sound with them? Also, is there any other difference between the 822 and 825 than that 825 can run also on phantom power?

    Which one would you recommend between AT825 and Rode NT4?

    As for getting a proper stereo pair... It does seem a little bit too much hassle right now, as building a wind shield for them seems like a lot of trouble. Also, I need a solution I can carry easily with one hand, for walking around and zooming in on sounds and a stereopair might get a little heavy... Maybe a little bit later though!

    I only just now noticed that the Rode NT4 and AT822/825 can be run with battery power. So for these mics preamps wouldn't even be necessary. I wonder if it would be good choice to pick up a Marantz PMD 620 insted of a Zoom H4 to use with one of these mics? At least I've heard that it's a better unit than H4, and the lack of preamps wouldn't be a problem with those mics...

  • avatar
    50 sounds
    4 posts

    Hey, I've been searching the past while but can't seem to find my castanets :x
    I can't guarantee any recordings now, but I'll keep looking for them.

  • avatar
    0 sounds
    1 post

    Hi, how can i delete files from my list in freesound attribution form?

  • avatar
    1707 sounds
    8 posts

    It’s the second time that I conducted a Freesound (music) course at a public school and I’m glad to share this experience with you which culminated in a nice concert last Thursday.

    10 compositions which are made solely of sounds taken from THE FREESOUND PROJECT have been presented to the public at the Concert Hall of the Ironi Alef public school, Tel Aviv. The pieces have been created by students of the course called “Music Alchemy” that took place in Spring this year at the same school.

    The aim of the course was to open each student’s mind how sound material can look like and how it can be combined beyond the usual classical or pop music experiences. Together with this approach, common material was understood and integrated as well under a new conceptual view.

    THE FREESOUND PROJECT was the solely source of material used and more than sufficiently covering the required diversity of sound and music material made available to the students.

    A predecing course “The Sound Surf Project” was held at the same school a year earlier with the aim to create new sounds and contribute them to THE FREESOUND PROJECT. You can search them by the “Ironi Alef” user keyword.

    I was pleased to see that along with the vast offer all of you posted at this site, also Ironi Alef sounds have been chosen by the students of the latter course, just “by chance”, which brought both of the learning experiences – bottom up and top down – into a nice complementary result.

    All pieces are documented together with the course materials on the students online group and are currently availble for listening from the music list at http://freesound.ning.com (go down to the "Music" section). A video recording of the introduction into the concept is currently available only in German (held at the Institute for Computer Music and Electronic Media in Essen this month):

    http://freesound.ning.com/video/video/show?id=1486807%3AVideo%3A3051

    and Hebrew (taken from the above concert, together with two short snippets to show a bit about the concert athmosphere).

    http://www.youtube.com/watch?v=WSRzXe-JxCM or http://freesound.ning.com/video/video/show?id=1486807%3AVideo%3A3054
    http://www.youtube.com/watch?v=iVjuO0cPJf4
    http://www.youtube.com/watch?v=Q-TGApxhEts

    An English recording will hopefully follow soon. However, further English resources are accessible through the http://freesound.ning.com site, and last but not least, you may also contact me directly through THE FREESOUND PROJECT should you have more questions.

    By the way, the course was a pilot and lasted just for about 13 lessons (45 minutes each). I found it amazing what the students have been able to do in such a short time.

    Thanks again to all of you for your contributions (credits are presented at the end of the intro).

    Freed

  • avatar
    1357 sounds
    123 posts

    Death has a sound - all things have sound. Thanks for the post - excellent and scary stuff.

  • avatar
    103 sounds
    195 posts

    "Scientists were fascinated by the ghostly find: a human skeleton buried in an Aztec temple with a clay, skull-shaped whistle in each bony hand.

    But no one blew into the noisemakers for nearly 15 years. When someone finally did, the shrill, windy screech made the spine tingle.

    If death had a sound, this was it."

    http://www.msnbc.msn.com/id/25391041/

  • avatar
    0 sounds
    2 posts

    @soundhead: thx for the links.... but the sound of the drums are not deep enough... sad

    LG

    Lillit

  • avatar
    3066 sounds
    476 posts

    firefreak,

    my personal rule of thumb is keep away from 'named' batteries, as they last considerably less than cheap unamed ones, both in terms of charge duration AND numer of charging cycles. Maybe these trademarks want to sell you more often, their manufacturing process is different, who knows... In my experience the cheaper the battery the longer it lasts (according to capacity, of course). The last AA's I purchased (Chinese, no name) last so long it scares me thinking what they are made of...

    Anyway, powering your Fostex with AAs should be a pain, your best bet is getting a Remote Control Car battery with a Tamiya connector. I did so during the (brief) period I had the Fostex, it ran the recorder for 6 h, non-stop

    Saludos

    D
    EDIT: I assumed you were talking about the FR2 LE, hence my suggestion of a RCC battery. I have no experience with the more expensive FR-2

  • avatar
    20 sounds
    25 posts

    Hi all!

    I'm back from an exhausting (but amazing) weekend with my Fostex FR-2 on a student film set (First time, and as a boom operator - yay!).

    The Fostex recorder (if powered via batteries) requires 8 AA cells and with the environment in mind, I bought some rechargeable batteries. Again, I got convinced by shiny names (instead of quality) and got several "Varta Ready 2 Use" cells (2100 mAh). The first time they hold for about three hours. But then, after a recharge time of about 7h (Varta recharger) they merely have enough for half an hour or less.

    My question to you now is, which rechargeable AA batteries you can recommend? Company, model, ... (And where to get them in central Europe?) Price is not an issue - I don't want to be in that situation to report "Sorry, got no power" again...

  • avatar
    103 sounds
    195 posts

    the idea is to add a wavemark/watermark in a sound file. here's my home made experiment - no expertise, no programming, only two afternoons wasted.

    I thought of Morse code because it's builded on time intervals, not on frequency.
    used WinMorse to build a sample to insert http://www.winmorse.com/
    the text is "freesound", here in dots and lines: ..-. .-. . . ... --- ..- -. -..
    and in wav format: http://www.freesound.org/samplesViewSingle.php?id=56297

    the concept is: silence = original sound / Morse character = altered sound.
    if the alteration is very light it would be inaudible, thus the wavemark is hidden.

    to face the most difficult situation, I worked on the perfect sound of a Tibetan singing bowl, shared by hanstimm:
    http://www.freesound.org/samplesViewSingle.php?id=15361

    here's the marked sample (wavemark begins 5sec after start):
    http://www.freesound.org/samplesViewSingle.php?id=56357

    to check the result I used technique suggested by alatham82, inverted one sample then mixed with the other: the result is an audible wavemark
    http://www.freesound.org/samplesViewSingle.php?id=56358

    comparing original and marked converted in mp3 (128kbps 44khz), the wavemark is still audible.

    found no sw to translate an audio file back to Morse. need some seawolf to check wavemark intelligibility grin

  • avatar
    0 sounds
    4 posts

    Hey. I'm working on a video, and I need a sound (obviously). What I need is a kind of "dun dadada" sound. :? More specific... basically a bass drum or something similar that I could edit into a sort of outro for a video. Y'know, like, the video fades to black, and there's this like drum beat thing? I can probably edit the whole thing together myself, but I need a good starter sound. Been looking all night, can't find anything. sad

    Thanks

  • avatar
    0 sounds
    2 posts

    Well I made a phonecall to a good friend of mine who is into this kinda stuff and he has given me Deckadance 1.3. The newest edition. Can someone please inform me on how I make beats or make something repeat? I have sample beats and I have no clue on how to keep the music repeating instead of having it play for 5 or 6 seconds.

  • avatar
    50 sounds
    4 posts

    Ah, thanks smile
    To be honest I forgot about the other songs I had up there haha. I only use that site now and then for uploading music...
    I'm working on the soundtrack for a small budget indie game right now which is what this track is from.. the game is asian inspired it seems.
    I'll upload a few more songs on there from the soundtrack maybe.

    EDIT: Here's another couple songs off the soundtrack.
    http://media.putfile.com/Sensoji-Temple
    http://media.putfile.com/Shrine-85

  • avatar
    0 sounds
    2 posts

    So I wanna make techno club music as a hobby. What are some good starter programs for someone who's broke like myself?

    So far all I could find was a Deckadance Demo which makes it easy to use. Then I have Madtracker 2 which is free but hard as hell to use. Any tips? Thanks fellas.

  • avatar
    45 sounds
    46 posts

    Where high gain can be required for field recording, the H-4 records audible clicks that have been discussed a variety of places on the net. There are some workarounds. I like using a preamp which gives me knob control over recording gain and also gives me very high gain when i need it without the recording pulses. Others have fabricated an external battery pack to provide additional amps. Bottom line, if you think you will have circumstances with the H4 that requires turning the recording gain up, research the H-4 more thoroughly than that suggested by manufacturer's specs.

    In other respects, i think the H4 is an excellent value.

    I appreciate many of the links above. They have led to some very good information.

  • avatar
    606 sounds
    276 posts

    visa tapani
    Hiyall.

    I'm planning to get a FOSTEX FR-2 LE (or possibly ZOOM H-4) as a field recorder, and I'm trying to choose a very versatile stereo microphone setup for it.

    My sound sources and recording conditions would be very diverse:
    - close quiet (and fairly loud) sounds (both indoors and outdoors - some with important stereo information)
    - quiet/loud sounds from medium/far distance (in and out)
    - ambiences and wide sounds (in and out)

    ...

    Now, AT822, NT4 and such are apparently very good mics and would handle close sound sources and ambiences well, but is it possible to get further away, quietish sounds with them? Like, say, birdcalls etc?

    I have an NT4, if you search my uploads you can hear lots of ambiances made with it. The AT822 is also a similarly good mic (although I would be getting the 825 instead). The nice thing about these single-point stereo mics is setup convenience. This can't be underestimated in the field, many times I have wanted to kiss my NT4 for its ease of use and great sound smile

    However these are single-point stereo mics and you are looking for flexibility? Then you probably should go with a stereo pair, there are two options here...cardioid and omni.

    I would recommend any quietude recordist who wants flexibility to get a pair of very low self-noise AT3032 (omnis) and experiment with placement, baffling etc.

    Have a read of the information on this page...

    http://www.godsownclay.com/Equipment/Microphones/at3032p.1.html

    And listen to the 3032 samples on this page...

    http://www.mactrix.com.au/recording/environmental_recordings

    ...but be warned with the extra flexibility comes complexity or decision making, setup, wind-protection etc etc...

    digifish