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  1. Today
  2. Way to go JWSound members. I am happy to see so much constructive input here.
  3. Sorry for the blurry pic. Little something on the way from Mozegear.. Arrived at lunch Friday and thanks to a last minute change with the B-Cam got to try this phantom unit out as a plant...Worked great with zero coloration of the sound.. Not sure when it will arrive to market..Will easily velcro with SMQV..
  4. Yesterday
  5. using DNS2 on current project, it's a studio shoot that involves a lot of SFX noise makers, wind, vibrating sets etc. It's purely for editorial and onset benefit and subsequently a 2nd unit has been purchased for 2Uso they def find it useful. I use it for a 2nd noise reduced mix track and the second channel is routed to vid village / prod coms tho I leave that in bypass mode unless the set is really noisy, it's good for them to hear noises as they are as it helps in negotiating their use. I can see in future using the 8 channel version on projects like this so editorial has clean and NR versions of the iso tracks also, this is where a high track count rec like the deva 24 would be useful. For the most part the 2 channel unit will be all that's needed and I think will become common place on most drama carts and doco bags, and yes prod is paying extra for it.
  6. Didn't know about SKP300. Thanks Constantin!
  7. Ambient UMP 2 is perfect: light, small and draws little power. But difficult to mount.
  8. Kind of an awkward rig...if you use an external pre or PSU then why not use a belt-pack TX? Agree. the $ for the Papi would buy you the Senn plug-on TX with P48, which is prob what you want anyhow? Otherwise just look for a p48 PSU for this rig--cheaper probably than Papi.
  9. Well done
  10. well, since AA run down to about 1V when discharged, I'd say it probably takes at least 4-8V no, as mentioned earlier there are a few more differences, most notably 192Khz vs 96Khz and Input delays/polarity - see this page: https://www.sounddevices.com/products/recorders/mixpre-3/feature-comparison as for splitting input 5/6 in timecode mode, probably best to write SD directly for that. let us know what they say. chris
  11. If you were prepared to spend about $540 for the Papi, you might as well spend $530 for the Sennheiser SKP300 and get everything in one package. You could then also sell your SKP100. Or you get the Ambient UMPii for about half that price, but then you can't sell your SKP100, and have more clutter to deal with
  12. I'm also very intersted in this what James is talking about. Maybe is to much to ask for 5th iso track but it would be nice to know that this ability exist. I must say that i cant figure it out is it possible (if its possible at all) to convert Lectro signal into this aux-mic input so that one more wireless can be used Sent from my SM-N910C using Tapatalk
  13. So if I understand this correctly, the difference between the two models when running MP-3 and MP-6 with LTC through the aux input comes down to one iso. Is that correct? With the MP-6, you are forfeiting inputs for tracks 5-6, whereas with the MP-3 you still have available the 3rd xlr connector. So it's 4 iso vs 3 in this case. Just for some mental gymnastics, this mic-aux is stereo in both models. You have the option to send LTC to either side. Therefore, with a y-cable wouldn't it be possible to salvage track 5 on the MP-6?
  14. Light touch - absolutely. It can be fun to 'show off' the Cedar capability - but I try to be careful not to remove a person from their environment. As for Routing: Flexibility is key. Since I don’t use the Cedar for the whole mix, I get to choose which source will be sent to each of the Cedar’s two channels. I use the very flexible routing of the Sound Devices 688. Most of the time two mics are to feed to the Cedar. The SD688 Aux Channels 3 & 4 are cabled to the Cedar. The output of the Cedar is cabled back to mixer inputs 11 & 12. To choose what is being fed TO the Cedar, open Aux Output 3 and choose which channel to route. Often I send the Boom (my channel 1). It is always sent Pre Fader. This means the Mixer Ch 1 trim pot is the adjustable input of the boom to Cedar. Mixer channel 1 is ISO’d, unprocessed and could (but doesn’t have to be) added to the Mix. Channel 11 (also ISO’d) is what I call "QT-Boom". When only a single boom is being recorded, it is sent to BOTH Cedar channels. You now have 3 boom tracks: Clean, QT-light & QT-heavy. Ok, ok this is giving post too many choices but remember Flexibility... If a Mix is required either ch 1 or ch 11 (never both) can be used to build the mix. With single person interviews, split tracks of Ch 11 (QT-Boom) and Ch 12 (QT-Lav) are sent to camera. "Quite Tracks" are always sent to Comtek and to Transcription. All this routing is done without moving a single cable. M*
  15. Check from Mozegear, Mini Papi and Papi Lite
  16. I'd like recommendations, if anyone has one, for a small unit that will power a condenser mic that's attached to a Sennheiser G3 butt plug that doesn't provide phantom power.
  17. I would venture that it was 35mm single stripe mag with the obligatory balance track.
  18. The astonishing part of this request was that Ben was able to fulfil the request virtually immediately not the following day.
  19. More likely to be recorded on to 35mm fully coated stock.
  20. Where would this audio be recorded, would it be a disc in a truck ?
  21. nice
  22. Someone's having a lend
  23. Never gets easier when one of our musical heros die. I never met him or his band mates, but I got very close to them via their gift of music. I hope he passed peacefully, high on the love we shared through the music they brought to us. Jam on brother. CrewC
  24. Muji makes little mesh zippered pouches that I keep my SMQV's in, and then in turn those get stuffed into a LowePro pouch. Little bit of cushioning and the perfect size! http://www.muji.us/store/mesh-cushion-case-black-m.html R
  25. I met Gregg at our production meeting on the ill-fated Midnight Rider. We talked about IEMS, Phonaks, his guitar amps and microphones he liked. Then tragedy hit a week later and Sarah Jones needlessly died. It seems the curse of death followed Gregg through out his career. None of it his fault at all, just bad luck, and bad choices. I last saw him and his friend and manager Michael Lehman at the Roxy over a year ago. RIP a great talent.
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