Jordan Wolf
Forum Replies Created
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Well, try it and see…I’ve never been a big fan of EONs even for live sound (that is my primary skillset), but speakers designed for live sound are not nearly as accurate (read: flat frequency response) as purpose-built studio monitors.
I recommend investing in some Mackie HR824 monitors.
Wolf
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Chalk it up to experience and remember it for next time.
Experiment with Soundtrack Pro and see what you can do…not much, I doubt, though. Good luck.
Wolf
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Make sure that your interface and computer and ANY devices that are connected to either of them are on the SAME circuit.
After that, get back to us.
Wolf
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“Is it possible to re-create a background music like this one with gathering different sounds of instruments(guitar, drum etc) and compose it. If yes, do you also know here I can find those sounds?”
Well, yes, it is possible…likely to sound good, no. The problem occurs when there is no reference point. You ask the guitarist “play this riff” and then have a drummer “play that fill”. If you record them separately and don’t give them a reference as to what the other is playing, they won’t be able to work WITH the other’s playing to make the music come together.
Wolf
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Check out Digital Juice for backing tracks, etc. There are many others out there, I’m sure.
Wolf
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The A/T 4053b is a hypercardioid mic that might work. The talent would have to stay on it pretty closely, though. Rode NT5 or NT55s are good. Neumann makes some nice ones, as does DPA Microphones.
If you want a handheld for some reason, a Heil PR-22 or PR-35 might be the ticket. Sennheiser e935 or e945 are good options, too, and look nice on-camera.
Wolf
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Ah, I see.
I would suggest calling a production company that rents nice projectors (Christie, Sony, etc.). They should be able to assist you. Where are you located? We may be able to recommend some companies.
Wolf
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Search theatrical websites for “scrim”. They are made of a certain type of fabric that is transparent (well, as transparent as fabric can be…) and that allows for images to be projected on it while, at the same time, allowing scenery behind it to be seen or not, depending on the lighting behind the scrim.
Wikipedia gives a good explanation of it.
Wolf
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1. “Are there 4 mic inputs on the receivers?”
– No, each receiver can only handle one microphone transmitting to it at one time. If multiple units are tuned to the same frequency, they will interfere with each other.2. “Camera mount and table mount?”
– There is a shoe that you clip the mic onto; it fits into the small “frezzi light” slot on the top of the camera. The camera mount IS removable, and actually comes uninstalled.3. “…the difference between ‘A’ and ‘B’ models…”
– The RF frequency ranges that the transmitters and receivers use are broken up into chunks (A, B, C, etc.), usually in ascending order of frequency. The “C” range is in the 700MHz region of the spectrum, which is now off-limits due to the transition to DTV from analog signal.We have a bunch (7?) of the ENG kits at my university; I coordinated them using Sennheiser’s coordination software and they have been rock solid performers. The fact that they use AA batteries is a nice convenience, also. I have not seen or used the G3 yet, but the G2s should be selling cheaper now that the new line is out.
Any other questions, contact Sennheisers or let us know here. 🙂
Wolf
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Well, there are Direct Outs on the inputs of the 552. It is definitely meant more as a field mixer with 2-track recording capabilities than a purpose-built recorder. We’ve all had times where gear dies or batteries are nowhere to be found…a piece of gear like this provides a nice backup.
It may or may not work for your situation, though – that’s your choice. Happy trails!
Wolf
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