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Nick Jabour

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About Nick Jabour

  • Birthday 11/06/1983

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  • Location
    Boston, MA
  • About
    After years of working in theater as a sound designer. Worked a year as the Audio shop guy at High Output in Canton, and now works at Talamas Broadcast where I've been working for the past few years. My focus thus has moved from design for theater to system design and implementation for movie, eng, tv and theater. This has mostly been for the rental department here at Talamas, but I'm happy to help people buy things too.
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  1. We use and rent 23 a lot, and will hopefully continue to do so. I've never found the loss of 37 to be a deal killer to me as I've found that pretty much any reasonably populated area you go, there will be the loss of at least one channel to local TV anyways. In places that are considered the great wide wild, unless you are running a super compact rig, you have plenty of room to stretch into where the loss of 6Mhz doesn't mater either. What I'm interested to see, is if Blk23 becomes more popular as it will have access to the guard bands on either side of 37 when the 600Mhz auction ends. I mean 3Mhz and then about 3Khz of spectrum aren't a lot, but it's pretty good space for something like Hops and IFB where you are running a lower transmitter count. (The actual guard bands are 3Mhz on each side of 37, but Block 23 does not tune that entire 3Mhz above 37)
  2. Hello Larry, Was curious, what is the width of the que for the tracking front end on the SRC? Also is there any limitation on the SRC as far as should RX1 be lower in freq vs RX2? Thanks
  3. Hi John, That's why I phrased my questions more out of curiosity than anything else. The reason is having the MixAhead for up fades, but having it be in real time for down fades, would help correct for grabbing front of words, but still give you the attenuation response you need to bring these down in the mix without there being a delay. It's more just a tidbit that would be good to know for use of the tool. Yeah we are talking parts of second either way so it could really handle downs in either fashion and be of little consequence, but still neat trivia to know. I think no mater what the case, this feature and technique should be interesting and I'm curious to see how it evolves once it gets out in the wild.
  4. Sorry, you are totally correct, I understood it, just totally didn't explain it how I meant to. Basically a phase inverse of phrasing between my brain and fingers. Thanks for the correction in what I was saying.
  5. So an odd questions about MixAhead, the basis is that it delays fader movements on the second recording to help with missed first words. Does that mean is also delays the fader downs in the same manner? Or is the release (for lack of a better term) still in real time? Just curious.
  6. Hi John The real story is we were introduced to the company trying to get our gear out of customs in Japan. A client how was handling the Carnet part of that job somehow didn't do their paperwork right and thus we went to the aid of a specialist to help us out of the mess. I personally haven't had the pleasure of working with them under the correct capacity yet, but the rep who worked with them on the Japan drama said they were real pros. Sorry for the delay in response, the office has been a mad house, I blame the warm weather in Boston.
  7. Hey John, We had problems with Japan and not China, but this is the company we used to fix the problems we had (long story). I'd give you our direct contact, but they've left the company. http://www2.laufer.com/ Hope they are able to help you out. Good Luck
  8. The slight warning on the LMB is there is no battery eliminator for it, and because it's a AA adapter and not a 9V replacement piece, you can't just drill a hole in it to make it a powered TX. So if you need to run you IFB/Hops TX from batt, you'll have to go with the LT for the new series TX's at the moment. Another major difference between the T1 and T2 is the T1 will natively take Clearcom and RTS if that is something you are interested in.
  9. These reasons are why we are a big fan of the Shure 874 antenna a lot of the times. Feed it power all the time and set appropriately. Even has attenuation if things start getting real close and you actually need to bring signal levels down. Normally we set for 0dB, unless we are using longer runs or have to use light weight cable. Wish it had a 3dB setting though. http://www.shure.com/americas/products/accessories/wireless-systems/wireless-systems-antennas/ua874-active-directional-antenna I do like the idea of a Signal to Noise meter a lot though, that would be great.
  10. Hi Everyone, Just reading through this, love how we tend to take things and use them to great affect for purposes outside of their design. As we happen to carry the 4099 for our symphony/stage business we've been using those as plant mics and car rigs for a couple years now. I like it for car rigs cause the little boom lets it pop out from under the visor pretty nicely, also the fact that it looks like a tiny boom entertains me when using it for this purpose. Also we've used the instrument mounts to attach them to a couple different objects, though good old tape works well too. Has anyone played at all though comparing the 4099 to the 4098 for this purpose though, haven't specifically played with the 4098 myself so just didn't know? Thanks
  11. I think I remember reading somewhere that the 6 series devices play a little better when you record Poly vs Mono tracks. What I would try is set the SD card to poly, and then split it to the monos in wave agent. Since you aren't having problems with the CF card, just leave it in Mono.
  12. Actually though most likely under informed, he wasn't wrong. I've seen RF receivers pass enough RF hash from low squelch settings to be heard through the mute pad on a mixing console. Which is a higher level of amplitude than a mic/line level mismatch. So though, peaking the meters like that isn't likely to damage a camera, letting RF hash just drop through a receiver that's not being used can be surprisingly unpredictable and powerful.
  13. Denielle, Depending on when you ordered the unit they may not have known about the wiring difference. For a very long time Countryman was unaware that their was a wiring difference between the 3pin lemo for Sennheiser and Zaxom units. So even if the unit came straight from a pro shop, ordered from the manufacturer for your unit, they may not have realized at that point that there was anything wrong. I spent some time with Countryman trying to fix this issue on their end with the Countryman EMW awhile back when we first started purchasing Zaxcom for our rental stock. So you might want to double check with your vendor about what line item they ordered the mic under. If it's still on your B6 element, you can post or PM me the model number and I can try and let you know if it's wired right based on that? (basically awhile back they had to add a new suffix for Zaxcom wiring instead of using the same mic they used for Sennheiser) Hope I can help
  14. Not sure what camera you are using. We have found in here that on some cameras the fuse for the Lemo/Hirose is in the body of the camera vs it's usually in the plate for the Dtap. So check to see where your fuses are located for those.
  15. http://www.talamas.com/page/TB/PROD/zaxcom-wireless-seminar
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