Jeff Wexler

  • Content count

  • Joined

  • Last visited


About Jeff Wexler

  • Rank

Profile Information

  • Location
    Santa Monica, CA USA
  • Interested in Sound for Picture
  • About
    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  1. Very sad, made it to 90 years old, pretty amazing. The influence he had on the whole of rock and roll is almost immeasurable. The music lives on in our hearts and souls.
  2. Of course you know I would love to hang out on the set, any set, pontificate and tell stories, and not have to actually WORK ... that would be a little selfish, even for me, so I won't attempt it. As for the whole rocking chair thing, thanks for the offer but no thanks. As a working sound mixer for all those years sitting behind the sound cart, now that I'm retired I have to be even more aware of how little exercise I get.
  3. I agree with this completely --- even being limited to a two person sound crew, the sound work potentially is going to be seriously compromised and it is ridiculous to think that the sound crew could do the video engineering job as well.
  4. I have to disagree with some of what you're saying, Robert. Maybe it's my lack of understanding what "low tier" jobs are. If it's a union job covered by a contract, aren't there still job classifications and jurisdictions? If so, video engineering work should be done by the sound/video department shouldn't it?
  5. That's Don Coufal and Crew Chamberlain, two of my most favorite people, two of my oldest friends and fellow workers. I love seeing them together, working on a commercial, loving life! So much communal history, kind of blows my mind we've been around this long.
  6. I think the general approach in production will be to utilize the Cedar DNS 2 on the mix track only, leaving any and all of the iso tracks unprocessed and available for post to work on if needed. I really don't see production sound mixers applying noise reduction on all tracks which would produce, as you have said, multiple tracks, processed and un-processed, it could be a real nightmare. One of the most useful aspects of the Cedar box that I have heard from people using it, is to improve the mix track even for the benefit of those needing to monitor in real time on the set. Following that, it could give the picture editor a cleaner track to work with before sound editorial gets their hands on your mix and the isos.
  7. I think Matt was saying that the top work surface is detachable and stows on the front or back for travel. I don't think it has any folding mechanism which would allow it to stay attached.
  8. People have been asking me what I miss most in retirement --- simple answer: working with Don Coufal.
  9. LINK to the Gallery of Sound Carts --- lots of good ideas here, also, many images that show cabling and interconnects, integrated patch panels, etc.
  10. This is quite a general question which I don't think has a simple answer. If I had to answer this with a simple and fundamental answer, it would be something that applies to the general signal flow for everything we do: microphone > mixer > recorder > media > deliverable. The infinite number of ways that this signal flow is achieved on anyone's sound cart is not so easy to answer. Maybe I don't understand the question.
  11. David's got it right --- I was looking for images myself before posting the answer and your images showed up and David confirmed the item. It was an accessory for the Sennheiser line of microphones and it was essentially a barrel with Tuchel to Tuchel connectors. I used this item a few times and thankfully the batteries lasted quite a long time because it wasn't too much fun loading all those button batteries, getting the polarity correct, etc.
  12. There is an art, somewhat informed by an understanding of science/physics/acoustics, to treating a room. If all you have to work with are furniture pads ("sound blankets" when in our hands), you can devise any method you want to hang them in places where they will not be seen by camera and do not interfere with lighting. There should always be a space between the pad and the wall and be aware that ANY furniture-type pad will generally only help with high frequencies. Bottom line, almost anything you put in a room may help --- I have gotten significant benefit from just placing a pile of pads in a corner. You just have to experiment.
  13. Thanks for the memories, Dave Fisk! You were right there during the all important but highly stressful times as our small group of pioneering sound mixers struggled to make file-based recording the norm. As you pointed out, using DAT was not such a big leap because it was just tape and the initial transfers were almost always analog to mag film since that was still the standard for dailies the first procedure in post production. When we first starting using the Deva I, the only way to utilize our sound "files" was to play them out in real time (from another Deva in place in the transfer facility) and again, transferred to mag film --- so, to a certain extent it behaved just like linear tape. We all knew that the significant and game changing promise of file based production recording would be the utilization of the sound files directly --- these files to be carried through the whole post process. Remembering that in those times the Zaxcom Deva was the only machine we were using (none of the other manufacturers had come up with a file-based recorder) we were experimenting with all sorts of storage/deliverable media. We used outboard hard drives transferring our files off the Deva's internal drive, we tried Jazz discs, we tried Orb discs, finally settling on DVD-RAM which had quite a long run (I probably did about 1000 DVD-RAM discs before moving to Compact Flash). It was a wild ride but I am so pleased to have been part of the adventure from the very beginning. The move to file-based production recording was the first major shift in procedures that was initiated by Production Sound Mixers --- almost every other significant change to our work had been dictated by Post Production (for example, use of timecode in production starting with commercials and then working its way into feature film production).
  14. I think it's basically a joke --- just there to show the size, not a real plant mic (and I agree with you, a potted plant would provide much better cover to camera!).