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Mike Mulcahy

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About Mike Mulcahy

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  • Location
    Tucson, AZ
  • Interested in Sound for Picture
  • About
    filmmaker, teacher, aspiring prod & post sound professional

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  1. COS11 with Tram 79 power capsules

    Hi, Thank you both!
  2. COS11 with Tram 79 power capsules

    Hi, I'm trying to ascertain if COS-11d mics (Ta5 connectors) will work with Tram 79 capsules. I spoke with a tech from Plus24 (the dealer that Sanken Japan directed me to) and his response was "yes...most probably." But they've never tested directly. I have several tram 50s I use, wired via the 79 capsule and wireless via lectrosonic tx. I am trying to move into COS11s and hope not to have to buy separate power capsules when I want to go wired. Thx in advance, Mike
  3. Hi, Righto...that makes sense. Thank you for the help. best, Mike
  4. Hi, Thanks for the prompt replies. I have a question in to production re: scratch or a proper track, but haven't heard back yet. re: sync: I will follow your advice and slave the F8 and Arri to the master tentacle unit best, Mike
  5. Hi, I'm building up my prod sound experience and have a one-day doc shoot tomorrow in which I am doing two things new to me: - providing TC to the camera - sending a mix output from the recorder to the camera I'm feeding 3 lectro radio mics and a boom into a SD442, and then iso'd mics and a mix into a zoom F8. I've checked the JW posts and have gotten useful info; this is what I plan to do: 1. I'm renting a tentacle sync and plan to jam sync the F8, and the Amira via BNC in 2. I'm renting a lectro SRC receiver with two LT transmitters, outputting from the f8 to the Amira ch. 1 and 2, mic level in Any info re: unintended results appreciated. Thx, Mike
  6. Oscar Sound Tech TL-40 Lav Pics & Sound Test

    All this info is very helpful; thx much. Mike
  7. Thanks to jwsound

    Hi, I discovered jwsound this year and have gained a tremendous amount of help from reading the posts and the experience and info contained within. Thanks very much to Jeff Wexler and all the contributors to this site. Mike M.
  8. Phase Interference questions

    Hi, Righto. I've been looking carefully at a film I am working on that incorporates interview footage, with a lav and a boom for the talent. The boom track seems to be about 5 subframes (in pro tools) later than the lav track. I'm not "sure" I can hear that difference - soloing each track and then listening to them both - but I've been moving the boom track to align with the lav (as much for practice as for effect). Thx, M
  9. Phase Interference questions

    thx for this...
  10. Zoom F4

    To Samuel (zoom official); Has there been a listing of serial numbers beyond which the hardware issue was resolved? Mine is B70007263 Thx, Mike
  11. Phase Interference questions

    Hi, My general understanding of this phenomenon is that mics equally spaced apart in relation to a sound source, if mixed together, result in a degraded audio signal. For example, here is Audio-Technica's explanation: http://www.audio-technica.com/cms/site/f54c2e7c578b36f7/index.html My questions: 1. If the two mics consist of a lav (1' from actor's mouth) and a directional mic on a boom that moves to 1' (very close miking) would phase cancellation occur? I am assuming it would... 2. If one iso'd such mics, would they also produce cancellation if later mixed or layered in relation to each other? Thanks in advance, Mike
  12. Recording walla?

    Howdy, Thanks much for both these replies, very helpful. best, Mike
  13. Recording walla?

    Hi, I've searched the site but did not find anything specific about recording walla; any advice or suggestions appreciated. I am prepping to record walla for a number of scenes; some with just 2 BG actors, the largest with 6-8. I did production sound for the film and had a sennhesier 416 or Octava MK-102 on the boom, and tram 50s on the actors. We will be doing the walla in the same locations I am wondering about a booming technique; how closeup, setting a volume level. My plan would otherwise be to set a level as if I am micing them for dialogue, then pull the boom back to get a greater percentage of indirect sound. I was also thinking of planting a tram on a mic stand and placing it several feet away, setting the levels as above. And does anyone actually say 'walla" (or watermelon")? I think the director will have topics for them to talk about "in character." Thanks in advance, Mike
  14. Recording race car engine and exhaust sound at speed

    Hi, Thanks for all the info posted here: it gave me very practical advice and ideas that I had a chance to just try out. I worked yesterday on a WSJ short doc in Tucson, featuring a Shelby Cobra. The car is to be auctioned next week in Monterrey (expected price it will fetch, $2.5 million). In a nutshell: the car people were very wary about where the camera and mics went. I was excited to try the coffee can trick but ended up wrapping a Shure SM57 in foam and zip tying it to the driver's seat bar. The mic pointed down to the fiberglass floor, several inches above one of the two exhausts. Attached is a sample from the shoot; any feedback welcome. best, Mike ShelbyCobra_demo.wav