Search results

This post is only partially correct. The connector on the MD 21-N *is* a Tuchel connector. It's the standard microphone connector that was used for many years befor the XLR became popular (in many ways it is actually a better connector than an XLR). And it *does* screw into the back of the MD...

The MD 21 is a current microphone and still made today. Personally I would ignore the cable completely - the cable-wart is either a transformer to unbalance the microphone or one that also converts it to high impedance for ancient tape recorders; so you don't really need it. So - just get a...

:facepalm: All digital gear *always* requires timing syncronisation.

The guarantee is with the dealer you bought it from - so if you buy in the USA and it's faulty, you would have to ship it to the US dealer (even if they subsequently ship it to Austria). Personally I would take it, well wrapped, in hand luggage - mainly because I hear so must stuff gets stolen...

Agreed - the BBC used to have studio XLR patch-panels with phantom on all the time and you just plugged / unplugged as required - no problem at all.

The Gefell UMT 70S are in the same ball-park price-wise as the C414. 3-patten switchable and use the orignal Georg Neumann M7 capsule - this has a single backplate with two diaphragms, rather than having two separate back-to-back cardioid capsules, which keeps the diaphragms closer together.

For recording on location I take an AETA 4MinX or Nagra VI recorder - both of these have 4 mic/line inputs and record on up to 8-tracks. Personally I don't like recording to a computer on location. For piano I always use omnis as a directional mic. misses out the bottom end of the piano...

I answered in the other forum.

Sounds like damp to me. It needs to really dry out.

Not necessarily. I have 3-way nearfields with an 8" bass. They go down to 35Hz and the recommended listening distance is 1 - 2.6 metres. So they are definitely nearfields. But thay are cardioid in design, so don't throw bass out of the rear to reflect and muddy the sound (ie: although they...

You don't say where you are (ie: what country) and laws are very different from country to country. I am in the UK and set up my recording as a business when I started - I also registered for VAT. Everything that could be put to the business is tax deductable and I gat the VAT back on...

It has ben said... You really *have* to transfer all four tracks at once to keep them locked together - doing them one at a time will give different speed variations and you will lose lock. Do not compress or limit at all during the transfer - if it needs it, do it later in the DAW. If you...

For tracking they need to be analogue wireless - digital wireless has latency...

Agreed - under no circumstances should you use a compressor when transferring from tape to digital. Just set identical gain levels for all four tracks - this is very important to keep the relevent levels between tracks - so set the gain for the track with the highest output level and set the...

The best digital wireless mics are the Audio Limited 1010 range with a latency of just 2ms. But - looking at your problem from a different angle..... If it's your studio and you are mainly in the same place - how about wiring the headphone socket to the ceiling and using a cable of the correct...

Sennheiser G3 300 series IEM system and plug the headphones of your choice into the receiver. Stereo, analogue and no latency. Most cordless headphones nowadays are digital which introduce latency.

I have quite a few bent 5p coins where I have had to use pliers to grip it when an adaptor gets stuck (as they often do).

If you are in the UK I would not use the crappy 5/8" American thread at all. I would put an adaptor on the stand that converts it to the international 3/8" standard and leave the adaptor in the Neumann. That 5/8" thread is really nasty - the thread is very fine and if it's not cut on high...

33 and a third rpm (rotations per minute) is the rotational speed of a vinyl LP record. A single was 45 rpm and an old shellec "78" was about 78 rpm. To cut a record you would supply a normal 24/96 digital file for the cutting engineer to put through his DAC, or you supply him with an analogue...

Click on the poster's name - then click on "send a private message". :thumbs up: