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Glen Trew

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About Glen Trew

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    Nashville and Los Angeles
  • Interested in Sound for Picture
    Yes
  • About
    TV/Film sound mixer since 1976. Still at it.

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2,849 profile views
  1. ISO's vs. Mix Track

    I agree with Mirror here, even though I know some still hold on to the antiquated boom left, lavs right "split tracks", practice. The only valid reason I can come up with for ever doing that is if post only has two tracks to deal with. Even then I would put the mono mix on 1 and the boom on 2, allowing post to use just the boom, or add more of the boom, or reduce the boom by inverting the phase and mixing it in. Unless recording actual left/right stereo, the concept of "left" and "right" is a way outdated approach for most production sync sound. Instead of "left" and "right", it makes much more sense to think of the tracks as 1 through 8 (or 12 or 16, or however many you use), and then label what goes on the tracks. Since the days of the 4-track Deva-2, mine have been MIX on 1, PREFADER ISO on remaining tracks. Though there are still some holdouts for one reason or another, the trend continues to move away from the "split track" practice.
  2. Sony MDR 7506 coiled cable

    Yep. Here's a secret in what makes the commercial coiled cables tighter: Put an end into a power drill and reverse the coil all the way down.
  3. Sony MDR 7506 coiled cable

    Wrapping the Sony cable around the headphones is a sure way to age the cable quickly, of course. Keep in mind that the Sony cable was built for comfort, not speed and is not well suited for the rigors of production sound, particularly in "run-and-gun" bag productions. The Beyer DT-48 coiled cable was much tougher, I suppose to ensure the pain of wear them for a lifetime.
  4. Zoom F8

    24 x 0.999 = 23.97600000000
  5. ISO's vs. Mix Track

    Read the previous threads on the subject, and then put a mix on track 1, and prefader isos on remaining tracks.
  6. Ursa Strap

    For those who may not have heard, the complete line of URSA products is now available in the US from the usual dealers.
  7. New Power Distribution System from AudioRoot

    Just FYI: and Trew Audio.
  8. Sometimes things slip through

    How do we know it's not from her phone ear buds? That type of thing doesn't bother me or distract me from a show. What does take me out of the moment is when a person looks 15 feet away but sounds like they are 6-inches away. Now that's a faux pas to be bothered by!
  9. Sony MDR 7506 coiled cable

    Replace the Beyer cable with the Sony cable and see what happens.
  10. Sony MDR 7506 coiled cable

    Here's another video I found while looking for relevant content
  11. Sony MDR 7506 coiled cable

    Here are two replacement cables for Sony MDR-7506, made with production sound in mind. Shorter than the original Sony cable, and won't tangle: https://www.trewaudio.com/product/remote-audio-7506sc/ https://www.trewaudio.com/product/remote-audio-7506cc/
  12. Boom and Live Vocals. Good lesson from 1955.

    Such a voice was not standard with actors then, either, but the recording technique was standard, and should still be. I've worked with many actors who are great singers, but they are so accustomed to the pre-record lip sync method that they believe there is no other way, as do many mixers.
  13. Today I saw this 1955 TV production of Tennessee Earnie Ford because one of the kids is a friend of mine. One thing that stands out to me is that it serves as a good reminder about how simpler is often better, especially when the goal is to capture the essence of a music performance and entertainment, and the impromptu life the happens during it. Live on-camera vocals picked up with an overhead boom mic, no earwigs, no wireless mics, no body mics, no hand mics in anyone's face, no prerecord, live orchestra off-stage, live background vocals off-stage around a single mic. Yes, there is noticeable system noise from the early recording technology, and it was mixed live to a single track with no edits. But I dare say that the subtle nuances still come through better than most performances would today with 24bit and a hard drive full of tracks. Something to ponder.
  14. DPA 4098 - first impressions

    The DPA microdot/TA5 adapter they make for Lectrosonics has a 3.9K resistor inside. I haven't tried to open one to see if it could be changed, but I agree that a bit more level would be better for TV/dialog.
  15. shock mount

    Does it bend the same amount in the other direction if the mic is pointing up?
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