Well fiddlesticks. With nature soundscape work, I know that I would need
lots more than 25 db gain. That's really too bad. I don't think the Mobile
I/O is an option for me, unless I want to provide my own preamps.
I wonder if they Metric Halo plans on upgrading the 2882 preamps. Has there
been any talk about this on the mailing list?
I actually own both the 2882 (8 channel unit) and the ULN2 (2 channel
unit). The 8 channel unit has one problem with it. The preamps are
rated up to 42 db of gain, but in practice, noise sets in past 25 db of
gain. Mind you, they sound great, but with low sensitivity mics, they
are really only suitable on loud sounds (rock bands, etc.). I've heard
on the mhlabs mailing list that some get great results with high
sensitivity mics, but i have a feeling for nature recording, more clean
gain in the preamp section is needed. Everything else about the unit
is stellar. The flexibility in routing and powering is fantastic and
the converters are really stellar. Mind you, the unit also has 10
digital ins/outs available as well.
The ULN2 is a 2 channel unit with about 70 db of clean, clean gain
available. It was designed in response to the lack of gain available
on the 2882. It actually has 2 digital inputs as well, but for 4 track
recording, one would have to bring along a pair of external pres and
A/D's. This unit is really nice if you are looking for only 2
channels.
These units are nice/unique for 3 reasons. First they are very
flexible in their power requirements. They can be powered over
firewire from your computer, traditionally from the wall, and also from
battery packs. The ULN2 even has a 4 pin XLR power receptacle. As far
as power consumption, last weekend I recorded about an hour of audio
through the ULN2 with two schoeps (cmc6's), all powered from my
powerbook's battery before I ran out of juice. Secondly, they have the
amazing flexibility for routing signals. Any input can be routed to
any output and there are multiple internal mixes that can be routed to
any output as well. If you purchase one of the +DSP units, you also
have available (with the same routing abilities) several plugins - eq,
limiters, compressors, M/S with little latency. Finally, the console
program that runs on the host computer has a no-frills multi-track
recorder which has been VERY stable for me and from what I've read,
many others.
Sorry if this sounds a bit too enthusiastic. I've been very happy with
my units, and a lot of others that have them like them as well. They
really are fabulous for the price, with the exception of the pres on
the 2882. These things should really only be rated for 25 db of gain.
If you pick one up knowing that from the beginning, I think you would
be very happy. If you don't know about this, and you are expecting the
2882 to fully free you from external pres, then, especially for quiet
sources, you will be unhappy. I would recommend joining the mhlabs
mailing list if you are interested.
http://mail.music.vt.edu/mailman/listinfo/mobileio
Tim
On Jun 17, 2004, at 10:55 AM, Lang Elliott wrote:
> Rich:
>
> Would you describe again how you record four channels?
>
> I have been looking at the Metric Halo Mobile I/O unit, which I'd use
> with a
> laptop. It provides 8 channels with phantom power and preamps. Does
> anyone
> in our group own this unit? Priced at $1500 for the basic unit, it
> would be
> an inexpensive way to record high quality surround if you already own a
> laptop.
>
> http://www.mhlabs.com
>
> Lang
>
> I really feel that many of the movie production people have missed
> the boat on surround sound and with their camera based thinking
> always want the recorded sound in front of the source. The results
> can be heard by renting out most any film done with surround right
> now. The rears get pushed back to being a mere sound reinforcement
> and seldom do you hear it used for an immersion. All it accomplishes
> is having the wife come into the room when the effects come in and
> yell turn down the volume. This is where we can guide them and why I
> didn't bother with the center channel for now.
>
> The concept that you have to mic surround from the "outside in" is an
> error and not just yours. It is a widely believed error.
>
> Even though I work with and like wide spaced mics, that does not mean
> that I am trying to mic from the outside in. In fact, what I am
> doing is to simply enlarge the size of the inside and I still think
> in terms of micing a space from the "inside out".
>
> On another note. From vehicle to recording in four channel I am under
> 5 mins setup and have three hours battery life. It would still be
> under 5 mins in eight channel but I currently don't have the mic
> preamps for the other four. This is good by todays standards but
> remember most anyone can do this with two minidisc recorders. My door
> is open to anyone that wants to sync and hear playback for things
> that they captured by any method.
>
> Rich Peet
>
> --- In Mike Feldman
> <> wrote:
>> Jeremiah Moore wrote:
> ....
>> There's a new thread that just popped up in the nesgroup
>> rec.arts.movies.production.sound subject "Wacky new microphone."
>> There the drift of the discussion is a bit different than the one
> here.
>>
>> I'd think that if we're gonna have surround sound, then the
>> mics have got to surround the source!
>>
> ....
>> -- Mike
>
>
>
> "Microphones are not ears,
> Loudspeakers are not birds,
> A listening room is not nature."
> Klas Strandberg
>
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> "Microphones are not ears,
> Loudspeakers are not birds,
> A listening room is not nature."
> Klas Strandberg
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"Microphones are not ears,
Loudspeakers are not birds,
A listening room is not nature."
Klas Strandberg
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