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dudsound

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About dudsound

  • Rank
    Member
  • Birthday January 1

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  • Website URL
    http://www.syncsound.co.uk

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  • Location
    Devon, UK
  • Interested in Sound for Picture
    Yes
  • About
    Ex staff BBC Sound Recordist, freelance now for 22 years.
    Docs, drama & corporate.
  1. Audio Ltd. EN2 or Audio Wireless

    I would also experiment with the low frequency cut on both the transmitter and the MKH60. Excessive low frequencies can be the cause of pumping with many transmitters and a bit of bass cut could help to cure this. Dudley
  2. SQN 4S IVe meters and various.

    Whilst the opinions of those who are in the SD corner compared to those in the SQN corner can cause discussion the like of only the Marmite argument can compare with, rest assured you will have no problems sonically by choosing an SQN.The limiters are legendary and have been for many years before SD arrived on the scene, but also your fears of distortion do not warrant worry assuming you operate within reasonable limits. After over thirty years of using SQNs, I have just put aside my SQN 5 series 2, (I haven't sold it, yet), and replaced that with an SD 664. The decision to do this was based purely on the facilities the 664 could provide in a lighter package compared to my SQN5/SD788t setup. But for all the fantastic electricerry the 664 can provide, I still think the SQN5 sounds better and for me that means it has a warmer more rounded sound. Analogue in a honed perfected form. At the end of the day it will not matter which of the top mixer manufacturers you choose and all have different merits, because your sound will have gone down a long road before it finally oozes out of your television, and at that point no-one can tell who made the mixer knobs, I am merely advising you with some years experience that an SQN is still sonically a good purchase. (Also, I suspect rofin, Rob, maybe on the inside of SQN) Good luck Dudley
  3. Here Comes The Sun; the lost solo guitar

    Oddly enough I did the same thing when I was about 17, (1976), and they replied to me as well, but at least my postage was a bit cheaper than yours. Dudley
  4. Here Comes The Sun; the lost solo guitar

    Many thanks CrewC
  5. Here Comes The Sun; the lost solo guitar

    I was lucky enough to have recorded that clip about four years ago which is part of a longer sequence that was not used in the George Harrison documentary, Living In The Material World. We shot a long interview with George Martin at Abbey Road Studios and after that we recorded the sequence with George Harrisons' son Dhani, George Martin and his son Giles picking through the original eight track recordings from the Abbey Road album. A fascinating day but unfortunately since landing on YouTube it sounds a bit mangled and meddled with compared to my original tracks and a shame it was dropped from the final film. Dudley Houlden
  6. For the most accurate and natural stereo image, a cardioid microphone should be used for the mid signal. By progressively using "tighter" microphones instead of a cardioid, eg an MKH50 or 60, the resulting stereo image looses clarity and sounds more like three separate areas, hard left, centre and hard right with "holes" in the image between them. I did know one recordist who used an MKH70 with a 30 in an MS configuration, but that seemed pretty pointless to me and I think his boomswinger thought so as well. A hypercardioid like the MKH50 is probably the best compromise between being a very versatile microphone you would use anyway for a variety of situations, and one that is able to present a reasonable stereo image in an MS configuration. Brent, whilst I assume you are supplying your tracks in AB stereo because your production has specified this, and unfortunately many editors are very poorly informed about how to use MS stereo so supplying stereo in that form is a risk unless specifically requested or agreed to by post, you are of course loosing the main advantage of MS stereo which is the ability to manipulate the "width" of the image after the event or even discard that element with the knowledge that you still have a mono version, the mid signal, which is as good as you would ordinarily supply. Equally, if you are recording dialogue in MS you are also including additional noise/atmos, (which may be desirable), from the S microphone when you submit in decoded AB stereo form, and of course this cannot be minimised after the event, unlike MS stereo. Dudley
  7. rf absorbing material

    This solution to a similar problem on the Sound Devices website could possibly be applied to your setup. http://www.sounddevices.com/notes/recorders/788/788t-w-wireless-in-38-40/
  8. Old Micron receiver wiring

    Hi Ross I use VHF Microns as camera links with the SDR receivers, but I also use an SR receiver on a duplicate frequency as a headphone feed. I'm surprised that Tanky couldn't find the wiring configuration but Better Sound Ltd, (0207 482 0177), still hire out a lot of Micron gear and have in the past supplied all sorts of MIcron specific leads including headphone outputs, so they would know what's what and may even have a couple of these leads tucked away as they are not for current models.
  9. Zaxcom recording wireless

    Apologies for my late reply, but I was not criticising Billy for him throwing new technology at a problem, I was merely highlighting the fact that sometimes a simpler solution is at hand rather than getting out another piece of kit which as you are so rightly discussing now, it is almost expected by many productions that you should have all this extra equipment, without any further expense to them. And then of course was the additional time factor involved in processing the material for submission to the production. Again, I assume, no recompense to Billy for the overtime involved. Regarding the range issue with the actors on the reverse shot, I'll obviously retract my simple suggestion as being naive in the light of local knowledge of the strength of the radiating Manhattan skyline! Dudley Houlden
  10. Zaxcom recording wireless

    From Billy Sarokin Is this not just a question of swapping the actors transmitters from back to front, (or vice versa depending on the shot), so they remain in sight of the receiver aerials!? If you mount the transmitter for the boom on the pistol grip of the gag, just by the fact it is going to be high in the air means you will get far better range than keeping it in the boom-swingers pocket. I tend to agree, but sometimes it doesn't have to be. Dudley Houlden
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