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Mike Mulcahy

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Everything posted by Mike Mulcahy

  1. Hi, I hope this is the proper JWSound topic for this question. I am considering investing in an antenna setup, along the lines of these fins (https://www.trewaudio.com/product/psc-fpsc0044/) and this RF splitter (https://www.bhphotovideo.com/c/product/1469653-REG/psc_qrfsmasb2_rf_multi_sma_single.html) I mainly do one-person band / bag work for doc work; in my typical setup, I run two SRC's and two UCR 411a's into a 788T, and use the receiver whip antennas. However, I have recently booked a few short fiction films during which I was able to use a cart, though that was literally having my typical bag setup on a cart (and off my back). My thought is that the antennas will increase my RF range and minimize signal loss, etc. However, I do want to be able to take my bag off the cart if needed; to do so I would have to disconnect the RF splitter cables and reattach the whips (which would seemingly take about two minutes...). Does anyone have experience with this type of production? Any help appreciated. Thank you and best, Mike M. (Tucson and southern AZ)
  2. Hi, Thanks all for the replies and help. An update on what we did: We bought a Yeti Blue Nano and inexpensive headphones and shipped to the interviewee, along with emailed instructions for how to use and set up best conditions for recording sound. We used zoom to connect: - the director - the interviewee - the sound recordist The sound recordist used Source Connect to route the interviewee's computer sound into the recordist's ProTools rig; we made sure the director's questions got recorded separately but stayed out of the interviewee's sound feed.
  3. Hi, A low-budget doc I have been working on is going to try remote audio-only interviews. I've been tasked with suggesting some workflow solutions. I did check the site but didn't see anything; if I missed it I'd be glad to be pointed in the proper direction. I am currently thinking along two approaches. 1. Via the Internet - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - Headphones that could be mailed to each interviewee, connected to their phone in order to hear the director's questions - A USB mic mailed to each interviewee that could be connected with some ease to their laptop; they would use the mic to respond top the director's questions - An internet connection, such as Source Connect, which would feed to interviews voice to my system from which I could record directly in Pro Tools - The equipment package (mic and headphones) would then be mailed to the next interviewee 2. The Interviewee recording directly into a portable recoding - mail an equipment package of mic, headphones and H5 type recorder to each interviewee - do a zoom session to help each interviewee set up the equipment and check rec levels. - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - The equipment package (mic, recorder and headphones) would then be mailed to the next interviewee Am I missing a more obvious solution? Or a better one? One mitigating factor - the director wants the solutions to be "plug n' play" easy... Any help appreciated. Mike
  4. aha... This looks like a similar design/function to the Rycote. I had seen this but was concerned that there might be "slippage" between the XLR and the device. Thank you for the info.
  5. Hi, I currently run a short XLR from my boom mic, out of the zeppelin, to a lectro UH400A, which I tape to the mic pistol grip. I like having it out of the Zeppelin for ease in off/on and battery swap. I want to replace using tape with either of the items listed above. Does anyone have experience with either of these low cost but (seemingly) high value items? Thank you, Mike
  6. Indeed; one more reason JWSound is such a resource...I'm working my way up the prod snd chain, one post at a time!
  7. Hi, Thx Bernie, Senator, Larry, Marc et al for this thread; very helpful. The link to the 66-page wireless guide returns a 404, and I couldn't locate it on lectrosonic.com; any help locating a copy appreciated. mike
  8. 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
  9. Hi, Righto...that makes sense. Thank you for the help. best, Mike
  10. 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
  11. 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
  12. All this info is very helpful; thx much. Mike
  13. 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.
  14. 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
  15. To Samuel (zoom official); Has there been a listing of serial numbers beyond which the hardware issue was resolved? Mine is B70007263 Thx, Mike
  16. 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
  17. Howdy, Thanks much for both these replies, very helpful. best, Mike
  18. 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
  19. 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
  20. Hi, A TAC!T compatibility question: The spec sheet for the cable lists a number of mics as compatible (http://mymic.rycote.com/products/connboxes-cables/hi-pass-filter/cable-w_tact-filter-xlr-3f_3m-l45cm-x-48mm/) I experienced handling noise from a MKH 416 (as pictured) on a Ktek KEG-150 boom, and was hoping the TAC!T would be an option for reducing it. But the 416 isn't on the list: is there something specific about how the 416 responds to sound that would 'nullify' any noise reduction from the TAC!T cable? Thx, Mike
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