Jump to content

TomBoisseau

Members
  • Content count

    459
  • Joined

  • Last visited

About TomBoisseau

  • Rank
    Hero Member
  • Birthday January 1

Profile Information

  • Location
    Atlanta, GA
  • Interests
    Sound, Genealogy
  • Interested in Sound for Picture
    Yes
  • About
    Location Sound, Live Sound, Broadcast
  1. Bluetooth sender cheap on amazon

    I too would love to hear some reports regarding the use of bluetooth transmitters for either IFB, or wireless headphones for the sound mixer himself... or any other cleaver use of the device. Tom
  2. Studiomaster digiLivE 16 - 12volt DC input mixer

    I just purchased a "version" of this mixer. It's the SKP D-Touch 20. Unlike the Studiomaster the D-Touch has recallable mic pres. I don't think I would use this for serious location recording, however I do see a place for it in doing a small PA set up or webcast. And yes it does run off of 12VDC. I've only had it a few days, but my initial impressions (given it's size and price) are positive. I will likely use it for small corporate events and small webcasts. It has 12 mic inputs, with 4 of them being combo 1/4" & XLR, 2 stereo inputs on L/R 1/4", as well as SPDIF in/out and AES out. In addition the unit will playback and record to a thumb drive. They have an ipad app as well, which seems to work well, howbeit the range is somewhat limited using the included "dongle". Every input has recallable trims, gate, compressor, delay, high pass filter, and a 4 band eq with variable frequency and "Q". It has 4 mono busses (1-4), 4 stereo busses (5-8), and left/right bus. The busses also have the same eq, gate, compressor and delay. Additionally mono busses 1-4 can be sent to the stereo busses 5-8. Any of the busses and be assigned to any of the 8 XLR outputs. So, is this a "high end" unit? Certainly not! It kind of reminds me of a version 1 or 2 QSC TouchMix, but with faders. Actually, it will do things the original TouchMix would not! However compared to the current version of the TouchMix, the TouchMix does more. All that being said, to have faders, and in a nice small form factor (it's bulk is probably about 1/3 to 1/4 that of my Yamaha 01v96i), I'm going to be able to make this work. It measures about 16 3/4" x 13 1/4" x 2 3/4", and weighs 7lbs! If your interested, it's being sold on only Amazon and ebay. I'll post an update as I get a chance to use it more. Tom This demo is for the Soundking DM20, but it seems identical to the SKP D-Touch 20: https://www.youtube.com/watch?v=lLqX3URhho8&t=2s The SKP D-Touch 20 can be purchased on Amazon or eBay: https://www.amazon.com/SKP-Pro-Audio-Touchscreen-20-Inputs/dp/B074HR19H4/ref=sr_1_1?ie=UTF8&qid=1503698255&sr=8-1-spons&keywords=d-touch+20&psc=1 http://www.ebay.com/itm/SKP-Pro-Audio-D-Touch-20-Digital-Mixing-Console-Touchscreen-WiFi-20Inputs-15Buse/172805211031?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649 D-Touch 20 iPad App: https://itunes.apple.com/us/app/skp-d-touch-20/id1227302566?mt=8
  3. Cables for SRs- Uni/Superslot connectors.

    I built this a couple years ago. It's not as pretty as a lot of other's work here, but it does exactly what I needed, and seemingly what you need to do. There is a small coaxial power input on the bottom of the project box that is feed from a Trew Audio NP1 cup, thus this contraption also serves as a "power distro", howbeit without and electronics or isolators, only a fuse. And lest you scold me, the power switch has a locking mechanism, so its not going accidently turn off. None the less it has worked well using not only the Lectros, but also in powering a couple Sennheiser G3's. Tom
  4. Camera Hops

    I also use the Sennheiser G3's, mainly because the same signal can be sent to IFB's (IEM / in ear receivers) and also the hops. I will confess however I rarely do hops. For timecode I use the Mozegear TIG Q28, which I have liked a lot, however I think I'd like to replace them with something that has a display for ease of use. The Denecke Dcode SB-4 is how I'm leaning now, or possibly the Betso TCX-2. Tom
  5. Okay. I'll answer my own question. I found some plastic boxes. They are made by "Really Useful Products" and it is the model labeled ".55 liter clear". You can get them at Hobby Lobby, or Office Depot. They're a little loose fit for an NP and the latching mechanism is not the best (I would have preferred a hinge), but they're not bad! Tom
  6. Avery long time ago someone posted a recommendation for an "off the shelf" - "form fitting" plastic case for the NP1 (aka NP-L7S) battery. Can someone point me to that post or something similar? Thanks, Tom
  7. At the Dawn of Recorded Sound, No One Cared

    This Youtube video gives a terrific history of early recorded sound. Its long, about 55 minutes, and a little difficult to take all in one sitting, but it's quite extensive and interesting, if you can get past the simple production style. Tom
  8. Yamaha QL1 Soundcart

    I frequently use both the QL5 and QL1, but usually for broadcast or "PA". With the exception of it's size and 120v only power, I think it would make a terrific location console! Unfortunately the afore mentioned "exceptions" are rather significant. Tom
  9. Shure Axient Digital ADX1M Transmitter

    The Shure Axient Digital system is looking quite impressive. What, with a bandwidth of 184Mhz, it's about the safest bet to avoid having your wireless becoming unusable / illegal for many years to come. I have serious doubts however that they will ever offer an ENG receiver. See their web page: http://www.shure.com/americas/axient-digital
  10. G3 system as "Comtek" IEM

    I have made quite a few G3 SK100 input cables. It may sound crazy, but they should be wired like this: G3 TRANSMITTER Signal "+" to RING (yes, Ring!) of TRS Mini to G3 Transmitter Signal ground to Both TIP and SLEEVE of TRS Mini to G3 transmitter Tom
  11. G3 system as "Comtek" IEM

    The pilot tones between the SK100 and the EK300 are not compatible, therefore you must turn off the pilot tone on the EK300 in order for it to receive the signal from the SK100. Tom
  12. Hawkwoods NP1 cup and Sound Devices 788t

    I don't know about compatibility with the 788, however I use the Hawk Woods adapter for both the 664 and the 633 with no problems.
  13. Yamaha o1v96 with MY-DUGAN?

    I've used the Dugan card with both the 01V96i and the Yamaha LS9. In most applications I've found it completely unnecessary to use a computer or ipad with the card! The default settings are equal weighting for all mics and all mics in a single "group". For my purposes, that was usually all I needed. Of course without a computer you can't "see" what it is doing, but it should be obvious it's working. Just make sure you reset the card before use in case you or someone else set it up for some special application previously. Tom
  14. Phase Interference questions

    Of course "cancellations", sometimes referred to as "comb filtering", can occur with a single mic from waves simply reflecting off a hard surface (walls, floors, ceilings, desk, etc.) and entering the microphone's capsule slightly delayed from the direct sound. Fortunately for us, this perceived 'hollowness", provided it is not extreme, may be quite appropriate for the scene. In fact in a classical music recording, the natural reverb of the room (which is nothing more than waves reflecting off of hard surfaces in the room and entering the microphone delayed) is considered quite desirable, provided it is not excessive. Certainly some location mixers, when tracking a "wide shot" where lavs must be used, like to mix in some of a boom mic, well outside of the frame, even though it may be unusable by itself, because in doing so it adds back some of these "reflections" to the mix and provides a more nature sounding track that is otherwise often lost when using only a lav. In real life we hear these reflections all the time. When using a microphone they may be more noticeable, and as a result we often seek to minimize them, but in our business we would never want to completely eliminate them. Doing so would yield a very dry and unnatural sounding mix. Tom
  15. Interest Rate for Late Payments

    Good advise! At the risk of stating the obvious, don't let a late payment of a few weeks or even a couple months jeopardize a relationship with an otherwise good client. From my experience, if you try to inforce a late payment fee, you will probably never work for them again. If that's okay with you, go ahead, do it! I have one particular client, a small independent producer who typically takes 2 months or more to pay. But they otherwise treat me well, are extremely pleasant to work with, and generally just "likeable". They always pay, it's just their particular client is slow paying them, so payment to me is likewise slow. Yes, they probably should run there business differently and get money up front, but not all their clients (especially corporate clients) are willing to put up much front money. Because I have a good relationship with this client, I can call them anytime and in a very friendly manor simply ask if they have received payment and when they might be able to send me a check and, best they can, they will tell me. On a rare occasion, it turns out they simply failed to print up my invoice and as a result forgot they owed me money. Again, we could argue how they should run their business, but provided they are honest and descent people I can accept a few managerial flaws. Personally, for me and my clients, it's as much or more about the "relationship" as it is the money. Tom
×