The No.1 Website for Pro Audio
MixPre 3: Microphone suggestions?
Old 14th February 2019
  #31
Lives for gear
 
eoats's Avatar
 
1 Review written
🎧 10 years
I have been using my AT BP4025 in a Rode blimp for years to record beaches, urban & rural ambient sounds without any problems.
Old 21st March 2019 | Show parent
  #32
Gear Nut
 
🎧 10 years
While in NZ I did a slightly unfair comparison between the Sennheiser ambeo smart headset and a Rode Nt4 into a mixpre3.

Recording was in a native bush on a still, quiet morning...so something of a stress test. Quite tough to get sufficient level but maybe useful comparison for some — I know I always like this type of video. I also tried a pair of clippy EM172s but Rode NT4 was cleaner so I just included that.

I would also say that at normal levels that sennhesier is a super cool, useable unit. A great little binaural set up.


Old 29th July 2020 | Show parent
  #33
Here for the gear
 
Aston Microphones Spirit for recording outside

I have an Aston Microphones Spirit, which is a large diaphragm mic. It has a switchable polar pattern, and supports Cardioid, omnidirectional and figure-8.

Could this be used for recording outside using a MixPre?

Thanks!
Old 30th July 2020
  #34
Gear Head
 
🎧 5 years
Well they are high impedances capacitor microphones and that make them susceptible to moisture which can cause crackling noises.

But in dry environments and with proper wind protection their low self noise would make them pretty ok for outdoor recordings or field recordings.
They are not close to the ultra low self noise of the Rode NT1/2-A but then again if you already own Spirits why not give them a try outdoors.
Old 30th July 2020 | Show parent
  #35
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
I've yet to have a humidity issue using LDC mics for recording outside in the UK: obviously they are more susceptible than SDC mics, but, if not very humid, then give it a go as has been suggested. I echo the need for decent wind protection. Here's a photo of a recent recording using an MS pair of LDC mics in my massive blimp.

Cheers,

Roland

PS And this was recorded with a Mixpre-3
Attached Thumbnails
MixPre 3: Microphone suggestions?-p2700951-lo-res.jpg  
Old 30th July 2020 | Show parent
  #36
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by norfolksoundman9 ➡️
I've yet to have a humidity issue using LDC mics for recording outside in the UK: obviously they are more susceptible than SDC mics, but, if not very humid, then give it a go as has been suggested. I echo the need for decent wind protection. Here's a photo of a recent recording using an MS pair of LDC mics in my massive blimp.

Cheers,

Roland

PS And this was recorded with a Mixpre-3
That’s a really funny picture; seems like the players think so too.
Old 30th July 2020 | Show parent
  #37
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by emenelton ➡️
That’s a really funny picture; seems like the players think so too.
Yes, it always adds to the fun bringing out something that looks like a soldier's bearskin cap! It looks even bigger in the flesh...gulp!

Actually, I normally use an omni pair for outside acoustic music recording, but just needed a bit of directionality for this location (Mannington Hall) so thought I'd give the LDC MS pair a go...

Cheers,

Roland
Old 30th July 2020 | Show parent
  #38
Here for the gear
 
Thanks for your informative replies!

What do you think of the Rycote Super Blimp for Rode NTG? Do you think it would work with the Spirit microphone?

How important is having stereo capture (two mics) for capturing ambiences?

Is there anything else that you think that I should get?
Old 30th July 2020 | Show parent
  #39
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by blissful_mclean ➡️
What do you think of the Rycote Super Blimp for Rode NTG? Do you think it would work with the Spirit microphone?
It looks excellent for its intended purpose, but a 100mm diameter blimp isn't ideal for an LDC, especially if you end up mounting it eccentrically (as the bottom of the Aston Spirit suggests might be the end result): distance from edge of blimp to mic capsule is what defines the efficacy of a blimp.

Quote:
Originally Posted by blissful_mclean ➡️
How important is having stereo capture (two mics) for capturing ambiences?
Personally, it's essential.

Quote:
Originally Posted by blissful_mclean ➡️
Is there anything else that you think that I should get?
Well we don't know what else you have!

Cheers,

Roland
Old 30th July 2020 | Show parent
  #40
Here for the gear
 
Sorry for not being more specific!

My idea is to record ambiences for use in ambient music.

I'm interested in processing the sounds in various ways, for instance in my eurorack system using Make Noise Morphagene (a microsound module), and perhaps also using a resonator, or something, to add harmonic content to it. I'm also using Ableton Live.

The Spirit mic would indeed not be centered in the Blimp. Is there another other wind protection device that you would recommend for the Spirit mic?

Or do you have any recommendations for stereo mics?

I have so far only thought about a MixPre 3 and a USB-C power bank. I guess I would need some kind of mic stand as well?

Cheers!
Old 30th July 2020 | Show parent
  #41
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by blissful_mclean ➡️
Sorry for not being more specific!

My idea is to record ambiences for use in ambient music.

I'm interested in processing the sounds in various ways, for instance in my eurorack system using Make Noise Morphagene (a microsound module), and perhaps also using a resonator, or something, to add harmonic content to it. I'm also using Ableton Live.

The Spirit mic would indeed not be centered in the Blimp. Is there another other wind protection device that you would recommend for the Spirit mic?

Or do you have any recommendations for stereo mics?

I have so far only thought about a MixPre 3 and a USB-C power bank. I guess I would need some kind of mic stand as well?

Cheers!
Perhaps jumping into a blimp for a LDC mono is not a good idea.

a RYCOTE that will handle a stacked set of SDC - start with the SDC CARD you have - aquire a figure 8 as a next step.

or a BLIMP with a NT4

Otherwise you'll be stuck with really big stuff and not stereo.
Old 31st July 2020 | Show parent
  #42
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by blissful_mclean ➡️
The Spirit mic would indeed not be centered in the Blimp. Is there another other wind protection device that you would recommend for the Spirit mic?
Not especially. There aren't - as far as I am aware - any commercially produced blimps for LDCs, let alone the Spirit, which is why I designed my own one for an LDC pair: DIY windshield for LDC mid-side pair

As a simpler solution, however, people have stuck single LDCs in a Rode MK1 Blimp, as in this example: https://vimeo.com/58978052. I think the Marantz ZP-1 Blimp is identical - or similar enough - to the Mk1 Rode blimp: the suspension of either is more easily adaptable to an LDC than the Mk2 blimp or other lyre-based suspensions.

That would give a fairly cheap solution, assuming a Spirit would fit in (I have no idea), for your single mic, but I'm not certain I would bother. First, the attraction of using an LDC outside - insofar as there is any attraction! - is because of the very low self-noise that many have (e.g. 4.5dBA for the Rode NT1), which does not apply to your Spirit. Second, you don't have a pair of the mics.

Quote:
Originally Posted by blissful_mclean ➡️
Or do you have any recommendations for stereo mics?
Not especially. I mostly use a pair of SDC mics for outdoor recordings, and often use omni mics (e.g. Rode NT55 with NT45O capsules). Emenelton's suggestion of a cardioid and fig-8 SDC pair - to give you MS - is good, but will be an expensive exercise to get reasonably low self-noise (e.g. Sennheiser MKH). A pair of Rode NT55 or Shure KSM141 mics with wind protection (say Rycote Baby Ball Gags) would give many options for stereo recording with omni and cardioid patterns: there are plenty of other mic options, more expensive and cheaper.

Quote:
Originally Posted by blissful_mclean ➡️
I have so far only thought about a MixPre 3 and a USB-C power bank. I guess I would need some kind of mic stand as well?
Two things. I think the use of a USB-C power bank for the Mixpre-3 is overrated: I've had one since they first came out and, despite having several power options, I find a few sets of Eneloop Pros (2500mAh) rechargeable batteries is invariably the best option unless you need to record for over 2.5hrs non-stop. Second, yes, you will need a stand (or stands) and a stereo bar.

Or, if this all seems too much clobber and cost, you could always test out your ambient recording ideas with a pair of 14dBA Primo EM172-based mics, such as the Clippy mics (https://micbooster.com/clippy-microp...icrophone.html) for which Rycote make windjammers (https://micbooster.com/clippy-microp...ippy-grey.html).

Cheers,

Roland
Old 31st July 2020 | Show parent
  #43
Here for the gear
 
Thanks for your advice! Very interesting!

Roland:

The clippy mics are indeed a lot cheaper.

I guess it's difficult to summarize, but I'm curious about how the recordings from the clippy mics compare to those of the NT55 + NT450 set up, for ambient recordings. You mentioned that I could test out my recordings using Primo EM172-based mics, and you mentioned earlier in the thread that you're using these mics for when you're playing around with DIY ideas, but what are the chances that recordings using Primo EM172-based mics will hold up in production? Maybe I could use something like Izotope RX to post-process the recordings, if that helps?

Also, what stands could I use for the clippy mics?
Old 31st July 2020 | Show parent
  #44
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Well, as I also mentioned earlier in this old thread, you can buy bare capsule EM172 mics for peanuts, so better to play around with a couple than canvas internet opinions from those who don't really understand your proposed use or just how discriminating your ears are! Useful to have some in the bag for times when you need a discreet option anyway: I certainly find them more useful for such times than noisy lav mics. But I wouldn't use EM172 mics to replace my SDCs and LDCs, when - as is the case most of the time - it is OK to use them.

You can put EM172/Clippy mics on any stand, but I can't say I use them in that way (if using a stand, I use better mics): rather, I clip them to sides of a backpack (worn or on the ground), hat, either side of a tree trunk etc.

Cheers,

Roland
Old 31st July 2020 | Show parent
  #45
Here for the gear
 
That's very helpful!

Thank you ever so much!
Old 3rd August 2020 | Show parent
  #46
Here for the gear
 
kevinQ's Avatar
 
🎧 15 years
I'm a new owner of an SD MixPre 3 II and a pair of Clippy mics. Following the enthusiastic DIY explorations of Vicki Powys in Australia and Curt Olson and Christine Hass in the US, I fashioned an Olson Wing stereo mic array and started playing with it. To date, I've made several dozen recordings of nature soundscapes. Still in the trying-it-out stage, I simply drape a piece of long-haired faux fur over the rig on breezy days. The longer I go, however, the more I'm inclined to agree with George Vlad who skips windy days altogether because the wind usually just muddies a nature recording.

Although there are enthusiastic adherents of DIY SASS arrays (Stereo Ambient Sampling System) based on a stereo boundary mic array design from Crown, I'm not much of a handyman and went right for the simpler Olson Wing.

The MixPre is doing lots of computing, amplifying and filtering and needs to be fed. I happily power the MixPre from a 20000 mAh Anker power bank connected to the recorder with a c-type USB cable. I also bought a set of Eneloop nickel metal hydride batteries as a backup.

I'm delighted with both the modest cost of the Clippys and their relatively low noise/high sensitivity. I leave the Rycote foam windscreens on them that I purchased with the mics. While many folks who sell nature recordings appear to be using pairs of excellent small-capsule omni mics or MS mic sets costing thousands of dollars, the Clippys have been a terrific starting point for me. I probably will pick up another pair.

Here's a snippet of predawn birdsong from Daniels Creek in the desert foothills above where I live. The insect-like cheeps are the call of the common nighthawk, a nimble, acrobatic flyer if there ever was. The odd bullfrog-sounding noises are the mechanical noise of air being forced through the wings of the nighthawks as they're coming out of their dives! Added to the mix are meadowlarks, morning doves, lazuli buntings and California quail.
Attached Files

Last edited by kevinQ; 3rd August 2020 at 08:11 PM..
Old 3rd August 2020 | Show parent
  #47
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by kevinQ ➡️
I'm a new owner of an SD MixPre 3 II and a pair of Clippy mics. Following the enthusiastic DIY explorations of Vicki Powys in Australia and Curt Olson and Christine Hass in the US, I fashioned an Olson Wing stereo mic array and started playing with it. To date, I've made several dozen recordings of nature soundscapes. Still in the trying-it-out stage, I simply drape a piece of long-haired faux fur over the rig on breezy days. The longer I go, however, the more I'm inclined to agree with George Vlad who skips windy days altogether because the wind usually just muddies a nature recording.

Although there are enthusiastic adherents of DIY SASS arrays (Stereo Ambient Sampling System) based on a stereo boundary mic array design from Crown, I'm not much of a handyman and went right for the simpler Olson Wing.

The MixPre is doing lots of computing, amplifying and filtering and needs to be fed. I happily power the MixPre from a 20000 mAh Anker power bank connected to the recorder with a c-type USB cable. I also bought a set of Eneloop nickel metal hydride batteries as a backup.

I'm delighted with both the modest cost of the Clippys and their relatively low noise/high sensitivity. I leave the Rycote foam windscreens on them that I purchased with the mics. While many folks who sell nature recordings appear to be using pairs of excellent small-capsule omni mics or MS mic sets costing thousands of dollars, the Clippys have been a terrific starting point for me. I probably will pick up another pair.

Here's a snippet of predawn birdsong from Daniels Creek in the desert foothills above where I live. The insect-like cheeps are the call of the common nighthawk, a nimble, acrobatic flyer if there ever was. The odd bullfrog-sounding noises are the mechanical noise of air being forced through the wings of the nighthawks as they're coming out of their dives! Added to the mix are meadowlarks, lazuli buntings and California quail.

Really good gain and clear sound. Things do seem solid left and solid right though with no sense of stereo image. Maybe an established mic technique like ORTF would help.

Nice job with the CLIPPYS.
Old 3rd August 2020 | Show parent
  #48
Here for the gear
 
kevinQ's Avatar
 
🎧 15 years
Thanks for the feedback, emenelton. For a guy who basically has no idea what the f**k he's doing, I count any success as a modest win. It seems odd to me that I could at once have solid left and right signals without a solid stereo signal resulting. So much to learn.
Old 3rd August 2020 | Show parent
  #49
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by kevinQ ➡️
Thanks for the feedback, emenelton. For a guy who basically has no idea what the f**k he's doing, I count any success as a modest win. It seems odd to me that I could at once have solid left and right signals without a solid stereo signal resulting. So much to learn.
It's still proves the value of the mics.

Are they cardioid or omni?
The ORTF I mentioned only works as Cardioid which I assumed you had.

The recording is really nice though. Everything sounded so close and detailed.

you wrote:

It seems odd to me that I could at once have solid left and right signals without a solid stereo signal resulting.

Some mic techniques will capture a realistic stereo image - your recording, to me, seemed a little like two mono captures without a sense of recreating a stereo image, it did have some center component.

The WING technique you used, hidden inside the wooden channels, looks like it's expecting omni capsules.

Last edited by emenelton; 3rd August 2020 at 10:00 PM..
Old 3rd August 2020 | Show parent
  #50
Here for the gear
 
kevinQ's Avatar
 
🎧 15 years
Excellent! I'm using the omni Clippys, emenelton. And yes, they continue to impress me as solid little performers. I'll fiddle further with placement and spacing. A sign of the distance I have to go is revealed in me listening to the recording and not hearing two mono captures.

I wonder if the vertical tilt of the array has anything to do with the lack of stereoness of the recording. For sound sources in front of the mics in an Olson Wing, Curt Olson recommends tilting the array downwards at an angle of 20 degrees, which I did. The nighthawks in the recording, however, were flying high overhead. I wonder if I buggered the effect.
Old 3rd August 2020
  #51
Lives for gear
 
🎧 10 years
try 60 cm spacing - no additional wing

The WING did actually prove it's functionality.

Maybe it could be pulled back from the source a bit more.

Anyways thanks for answering my comments! Appreciate it.
Old 3rd August 2020 | Show parent
  #52
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Puzzled: with headphones (as it is quasi-binaural) on I hear a stereo recording. Which is what one would expect...!

Would I have gone for an Olson wing? Probably not in this instance (and, I hasten to add, I have built one, so not speaking from ignorance). I found a more effective solution on these lines was what Curt Olson called a 'head-spaced parallel barrier array', albeit in my case using EM172 mics (i.e. same capsules as the Clippys) and small enough to fit inside a Rode blimp. The fairly crappy picture shows them mounted in the blimp suspension: the circular baffles are c.90mm diameter and the mics are 160mm apart. Surprisingly effective.

But nowadays, I tend to just use an SDC pair: either end-to-end omni SDC in a single blimp (if very windy) - as per the second pic - or wider omni spaced pair on a stereo bar in Baby Ball Gags, or, if directionality is needed, one of the usual cardioid arrays. I much prefer these over the EM172 rig as: a) better for music (main outside recording activity these days); b) more flexible (spacing, mic pattern); and c) more robust.

But carry on with your EM172 (or now, EM272)/Clippy recordings: sound good so far.

Cheers,

Roland
Attached Thumbnails
MixPre 3: Microphone suggestions?-p2710090.jpg   MixPre 3: Microphone suggestions?-nt55_omni_pair_inside_blimp_lo_res.jpg  
Old 4th August 2020 | Show parent
  #53
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by kevinQ ➡️
Excellent! I'm using the omni Clippys, emenelton. And yes, they continue to impress me as solid little performers. I'll fiddle further with placement and spacing. A sign of the distance I have to go is revealed in me listening to the recording and not hearing two mono captures.

I wonder if the vertical tilt of the array has anything to do with the lack of stereoness of the recording. For sound sources in front of the mics in an Olson Wing, Curt Olson recommends tilting the array downwards at an angle of 20 degrees, which I did. The nighthawks in the recording, however, were flying high overhead. I wonder if I buggered the effect.
I listened with headphones because of Norfolk sounds comments-sounds good on phones.

the Wing is binaural, I guess, which could be a reason why the recording’s imaging didn’t seem ‘immersive’ or ‘3D’ when I listened to it on my iPad pro’s playback(which throws off a great image).

Last edited by emenelton; 4th August 2020 at 02:28 PM..
Old 4th August 2020 | Show parent
  #54
Here for the gear
 
kevinQ's Avatar
 
🎧 15 years
A great observation with the headphones, Roland. I've only listened to the recording through in-ear monitors and while I have little in the way of technical experience, it strikes me as stereophonic. Anyone ever a try mid-side approach with Clippy mics? The MixPre can link the channels as a mid/side pair as well.

I appreciate your observations, too. By Curt Olson announcing that he wasn't interested in supplying the world with plans and diagrams of his mic arrays it no doubt has saved him untold grief from newbies like me pestering him for help. The man knows what he wants and that's OK. Still, it would be grand if there was a bit of institutional knowledge on the matter collecting somewhere that folks could dip into.

I'm intrigued at your preference for Olson's head-spaced parallel barrier array. It's my understanding that such an approach was his first solution to stereo mic arrays which he joyfully abandoned when he discovered the wing array. In the end, I guess we get to do like Olson did and find what works for ourselves. It appears that many of the successful nature recordists are drawn to SDCs. Someday I hope that will include me!
Old 4th August 2020 | Show parent
  #55
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by kevinQ ➡️
Anyone ever a try mid-side approach with Clippy mics? The MixPre can link the channels as a mid/side pair as well.
You can't record mid-side with a pair of omni Clippy mics, Kevin: you can use any pattern for the mid mic, but will always need a fig-8 for the side mic. If you want a Primo fig-8 capsule, however, they do make one: the EM283. See the thread I started on this last year - Primo EM283 - capsule for DIY fig 8

Quote:
Originally Posted by kevinQ ➡️
I'm intrigued at your preference for Olson's head-spaced parallel barrier array. It's my understanding that such an approach was his first solution to stereo mic arrays which he joyfully abandoned when he discovered the wing array.
Not his first solution to stereo mic arrays (as he says, he was very familiar with AB, XY, M-S, ORTF/NOS, Blumlein, Jeklin, binaural and panning of multiple mono tracks), but his first with such barriers. My 'head-spaced parallel barrier array' is a bit different from Olson's, not least with the mic capsules positioned flush to the rear barrier more as in a SASS array (which is important, I think). Anyway, worth playing around with your own versions of all these, especially if you get some bare EM172/EM272 capsules: cheap enough, and much more fun to tweak things and draw your own conclusions. Helps understanding.

Cheers,

Roland
Old 4th August 2020 | Show parent
  #56
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by emenelton ➡️
I listened with headphones because of Norfolk sounds comments-sounds good on phones.

the Wing is binaural, I guess, which could be a reason why the recording’s imaging didn’t seem ‘immersive’ or ‘3D’ when I listened to it on my iPad pro’s playback(which throws off a great image).
Yes, all such arrays are best through headphones, but one benefit is that - unlike fully binaural recordings - they should/can translate better to speakers too.

Cheers,

Roland
Old 4th August 2020 | Show parent
  #57
Here for the gear
 
kevinQ's Avatar
 
🎧 15 years
Jolly good, Roland. Just delightful that you tried out the Primo fig-8 capsule. Yes, the noise spec for that capsule being significantly higher than that of the Clippy mics is a disappointment. But as you say, just knowing the capsule is available is an almost irresistible little nugget of information.

I like your variation of the head-spaced barrier. Marc Anderson in Australia is making some great ambient recordings using a head-spaced barrier. It appears that Curt Olson was right in ceaselessly trying things out.

Ever use a parabolic dish and mic? While it's yet out of my budget as well, the recordings I've listened to made with parabolic dishes seem strong if not a bit antiseptic compared to stereo recordings. Virtually nothing in nature exists in self-contained isolation. As a photographer, I'm drawn to the story of a subject in the context of its background that a wide-angle lens naturally offers.
Old 5th August 2020 | Show parent
  #58
Lives for gear
 
norfolksoundman9's Avatar
 
🎧 5 years
Quote:
Originally Posted by kevinQ ➡️
Ever use a parabolic dish and mic? While it's yet out of my budget as well
No I haven't: it isn't something that I have wanted/needed to do. However, for those interested, it need not be an expensive exercise. There is a UK firm making affordable 500mm dishes and EM172-based mic systems at modest cost: https://parabolicmicrophone.co.uk/?g...iAAEgKn3_D_BwE

Cheers,

Roland
Old 19th August 2020 | Show parent
  #59
Gear Addict
Quote:
Originally Posted by blissful_mclean ➡️
Could this be used for recording outside using a MixPre?
Just like with the OP (""As far as use goes - I'd be looking to record beaches, waves, markets, forests, perhaps traffic, some foley bits and bobs."") I'd recommend high quality wind protection as being your top priority, as important (or even more so!) than the mic you use.
Old 19th August 2020 | Show parent
  #60
Lives for gear
 
DirkP's Avatar
 
🎧 5 years
Quote:
Originally Posted by blissful_mclean ➡️
Sorry for not being more specific!

My idea is to record ambiences for use in ambient music.

I'm interested in processing the sounds in various ways, for instance in my eurorack system using Make Noise Morphagene (a microsound module), and perhaps also using a resonator, or something, to add harmonic content to it. I'm also using Ableton Live.

The Spirit mic would indeed not be centered in the Blimp. Is there another other wind protection device that you would recommend for the Spirit mic?

Or do you have any recommendations for stereo mics?

I have so far only thought about a MixPre 3 and a USB-C power bank. I guess I would need some kind of mic stand as well?

Cheers!
mic stands are overrated if you own an integrated one. ortf on the cheap.

📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 622 views: 92798
Avatar for ardis
ardis 24th March 2021
replies: 58 views: 5805
Avatar for John Willett
John Willett 23rd September 2018
replies: 65 views: 11947
Avatar for J_Rogers
J_Rogers 8th April 2019
Post Reply

Welcome to the Gearspace Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…

Forum Jump
Forum Jump