Jeff Wexler

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About Jeff Wexler

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  • Location
    Santa Monica, CA USA
  • Interested in Sound for Picture
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    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  1. The trend for many it seems is to go with a hardware interface, a control surface, that interfaces with a fully digital host recorder --- of course this means the host recorder has to provide all the features and functionality you need in terms of routing, equalization, etc. For those who wish to have a standalone digital mixing panel, a unit that can feed any digital recording device, there really aren't any purpose built digital mixers specifically designed for our sort of work. The Zaxcom Cameo, no longer produced, was really the only fully digital mixing panel that I know of. Many sound mixers have settled in to using digital consoles from the music world, like the various offerings from Yamaha, and though it certainly would not be my cup of tea, this has been very successful for lots of sound mixers. Most of the manufacturers of the most commonly used recorders (Sound Devices, Zaxcom, Cantar, etc.) do not seem too motivated to do a standalone digital mixer and prefer to further improve hardware interfaces, fader panels and the like, for their digital recorders.
  2. Whitney! Nice to hear from you (of course I appreciate the donation also) --- used to see a lot of you on Jan's meetings, not so much in recent years --- hope you're doing well, working but not working too hard. Take it easy, and thanks again for your support.
  3. Thank you so much for your generous donation! I appreciate the support and I am always so pleased to hear that JWSOUND has been a valuable resource and has served as a great online community for all of our sound people.
  4. True, the page you land on is a page on one of my websites hosted by Weebly, but that page contains the donation service I subscribe to (essentially a payment gateway) that IS secure. I'm not worried about it. Donorbox and Stripe are well established and secure services.
  5. This LINK will work --- located at the bottom of the main page Donate to Support JWSOUNDGROUP
  6. I will check it out --- didn't know we had a dead link.
  7. Scenes that have music and singing on camera it is often difficult to determine how they were done. Typically, playback tracks are used, tracks where vocals and music have been recorded in a studio and then these tracks are played back on set and the actors sing to the playback vocals. Singing is also done, quite often, live, and in these cases the singing voice is recorded on set (the production sound department) just as one would record the speaking voice (dialog). This live singing may be along with a pre-recorded music track that is often fed silently to a hidden earpiece. If the source of the music is on camera, a band for example, the whole scene may be recorded live including the band playing. There is also the possibility that several techniques are employed, one scene may require playback, another scene may have live vocals up against pre-precorded music, etc. When viewing the final result (the audience) the techniques employed should not be obvious and should serve the overall tone and feeling for the project --- it is only the experienced and knowledgeable sound person who will be able to take apart the scene and speculate on how it was done. There is a whole lot more that can be said about music and singing and how it is done for movies and television. What I have stated above is just a rough overview in response to JBond's question about the video clip.
  8. This is a great event! Thanks to Steve Morantz (who really got the ball rolling many years ago for these socials), Chris Howland, Devendra Cleary and of course to Beau Baker for again generously providing the beautiful venue!
  9. Welcome back, Richard, wishing you all the best with the next phase of your grand adventure. Participation here on JWSOUND often yields some very useful connections.
  10. Memories... as Mirror describes this, I'm wondering how I ever had any time on the set to do the work --- maybe take an earlier pre-call? I would need a good nap after that. Fortunately, my memory is that everything that Mirror has said in the 6 Steps, 2541 characters of this post actually took about 45 seconds to accomplish including fresh formatting a CF card. Thank you, Mirror, for the exceptionally detailed set of instructions!
  11. I never owned an SN but used one a few times, I did own an IS and loved it! The IS was my third Nagra purchase. I had two Nagra 4.2s and then purchased the IS for a smaller, lighter recorder. I had no idea it would feel and operate so differently than the full size 4.2. The biggest difference, besides the weight, was the 3 motor solenoid controlled transport --- had the feeling of a full sized studio recorder in a small lightweight package, still very much a Nagra in all the most important ways.
  12. Love these! Emmylou, amazing
  13. Neil Stone's conversion, making the Nagra 4.2 (mono) timecode capable, was a very welcomed modification. when timecode first came into our world in any significant way, most everybody was still recording mono single track and few had purchased the Nagra 4-STC. Timecode was really only a necessity on commercials. Very few if any feature films were utilizing timecode in production but the commercial world adopted timecode very quickly which made it a requirement that the production sound mixer on these shoots provide timecoded track. Most of the top commercial sound mixers did purchase a second or third Nagra and this would be a Nagra 4-STC fully timecode capable 2 track machine. Most of the sound was still mono since there was seldom a need for anything more than one track but the 2-track (stereo) Nagra had the all important and now mandatory timecode track. Neil's conversion allowed some of us to do commercials without the need to purchase the $14K Nagra 4-STC. The one pictured here, the "Nagra 4.2 IRT" is a mystery to me --- I don't think Kudelski ever produced this sort of modified mono Nagra with timecode.
  14. Well said, Crew, something has been lost, your comment has made me reflect again on the "good old days" and the effort and joy that went into practicing our craft. On many of the wonderful projects we were on, the level of engagement and involvement amongst ALL crew members was totally different than it is today --- there was a real sense of cooperation and mutual respect and a shared acknowledgment and satisfaction when we achieved, together, something truly magical.
  15. I have done several movies with Caleb and have known him since the early 1970's. Caleb likes to have a plan and is quite thorough and meticulous with the process, likes to rehearse and refine, to the extent that the director and the production will allow. Warren also likes to plan things out, likes lots of rehearsals, but then he often obsesses about certain details almost to a fault. Warren likes to do lots and lots of takes so to that extent, it is possible that he is hoping for something he did not anticipate. Generally, I will characterize working with Warren and Caleb (and a wonderful crew) as very organized and precise --- never did they go that route where they just roll the camera and send the actors in to "see what happens".