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  2. I used to work in a studio where we specialized in restoration and remixing sound for TV and film. For pops and clicks, we would manually fix every one of them in Pro-Tools, so you'd never know that they were there. For situations where noise reduction was necessary, we used some really specialized plug-ins that, to be honest, I cannot name because they were not household names like iZotope RX or Waves. But I can say is that they were very expensive, probably no longer available, and worked extremely well. When iZotope RX was released I thought it was a joke, because the plug-ins that I had used years before were far superior in their operation. Wish I could remember what they were though! So back to your original question: I can go both ways. When watching an old film, I kind of take it for granted that it probably won't sound or look as good as the original tapes/film due to the edit/transfer processes of the day. So it doesn't really bother me at all. I guess I'm just used to it. A version that is cleaned up well? Sure, I'll check it out. If it sacrifices the quality in some other way then maybe I'll pass. Guess it depends upon how distracting it is.
  3. Today
  4. Do you have any tips or thoughts about the various modulation from your experience?
  5. Hi Reuben. I've been using "Xr" so far. As it turns out, I already got the itch to snag a second transmitter, so a ZMT is en route now.
  6. Yesterday
  7. "Antenna contact with sweaty skin will give you range problems" - Fo' sure, been there. I recall reading around 70% signal loss (depending).
  8. Those motors sound a lot too.... Oh well. I'm glad the pullers won't have to put on any more boxes than they have to. I bet Steadi-ops will be happy too
  9. Here are some photos I took - RAMPS/JWSOUND NAB Party 2017
  10. The most effort ever put into a drive by.
  11. Well then you should talk to my boom op about it. But it's true, outside in a Rycote and a long boom, it's all getting a bit heavy. Inside we always have the 742 at the mic end. Outside we have a DPA 4017c in the small Cyclone. This is an awesome combination and added to that either of the new Zax TRX would be a perfect match
  12. Hoping the stick mic style has enough range. I'm guessing it will get 150 feet. But when used with sharkies I bet it will perform very similar to the antenna version. Or at least I hope. No antenna and no cabled xlr is so attractive. The 742 is to heavy for end of pole use. Anyone saying otherwise is probably sitting mixing vs swinging . I'm mostly bag work but always run wireless boom for a backup recording. I can't wait to do without the internal cable and weight.
  13. Excellent choice! What modulation are you running? Sent from my iPhone using Tapatalk
  14. Antenna contact with sweaty skin will give you range problemsl
  15. Oh, that's great! Excellent news Paul. Someone else from SD (not sure who it was) had told me differently. Do you know how often the file is saved? Or does it work a different way?
  16. MixPre updates file headers during recording so If u lose power your recording is safe.
  17. But it barely fits! C'mon Ferrari!
  18. "High Profile" actors are the easiest to deal with. They know the drill and know you're there to get the best result (which makes them sound great). I was taping a mic to a Hollywood actor and made a joke that he had a hairier chest than I expected. Straight away he asked if I wanted him to shave a spot for the mic.
  19. My understanding is the capsule can not be repaired unless sent back to Germany. Think they just swap out provided it's not abused
  20. Just to clarify -- the quip was not aimed at anybody in particular, just the observation that rather consistently, when a new device is released -- even before anyone learns how it performs in actual use -- folks start redesigning it.
  21. Cool thnx. Still waiting for reply from sennheiser.
  22. Or maybe a lack thereof...
  23. Personally, I agree with you. The sound/build quality/limiters/etc. easily get my money. I've never lost a crucial recording due to a power failure (I did lose one that was able to be redone with the JuicedLink Little DARling - unfortunately there is no screen and no way to monitor power or signal while it's on the talent - but it had this feature, so it at least kept what was recorded) either, but my workflow is very different from his, so I can understand his situation as well. I'm also looking forward to getting my hands on this.
  24. strange criterium to me for making this decision as I never had the any files lost through the power getting low, but maybe he had other experiences. plus as mentioned you could hook up a huge USB battery and two big NP-F batteries that will last days until you reach the size/weight of a F4. I was considering buying a F4/F8 as a backup too, but for me the MixPre-3/6 looks more appealing now. looking forward to give it a try. chris
  25. Haha, I figured this comment would be coming. I'm not complaining about the feature set. I think they've developed a great product at a very reasonable price, but there are still some things that are unclear so I'm trying to find answers for those questions. It would be foolish not to inquire about something that could affect your workflow or potential gigs, like chrismedr pointed out.
  26. If they released a Ferrari for a thousand dollars, someone here would complain that it doesn't have enough trunk space.
  27. I realize that certain features have to go because of the price point, but seeing as this is a direct competitor to the Zoom F4, I'm just a little surprised (I mention this because a colleague has said that the lack of this feature is what pushes him solidly into the F4 camp for a backup recorder/mixer). Also, this feature is common on much smaller and lower end products, such as the Tascam DR-10CS and even the JuicedLink Little DARling, which is about as spartan as a small recorder can be. So, that's why I'm wondering if it is a hardware issue or if it could possibly be added in a future firmware update.
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