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Rick Reineke

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Everything posted by Rick Reineke

  1. I'd be curious to see when the theater shows kick in. Of course that would vary with exact location. Block 26 is the winner though.
  2. I check 9V battery voltage with a 330ohm resistor across the terminals as 'load'. 100ohm load for a AA.
  3. I first became aware of the counterfeit 416s a few days ago on another audio forum. There has been counterfeit G2/3s around for a while as well.
  4. Thanks Cananball, that answers my question. I have the Petrol PS607 with a 302 and a 744 shoe-horned in with a battery system, 4 or 5 receivers, IFB transmitter, ect. I'd like a larger bag, but for now, the pouches are more cost effective and the 744 is being replaced. Thanks again guys.
  5. +2: "One mic. One pole. One track" Hopefully the boom op is experienced, if they ain't, your in trouble. Become intimately familiar with the recorder's futsy menu structure and battery life.. in fact a less complex two-track recorder may be advisable, depending on your audio expertise.
  6. Running out of space in my Petrol bag and looking to 'piggyback' pouches. Petrol states the PS604 Petrol Deca Double Wireless Audio Pouch are for camera mounting.. http://www.petrolbags.com/product/0/PS604/_/Deca_Double_Wireless_Audio_Pouch Has anyone used these on a bag or are there other alternatives to buying a larger bag? I already have (and use) the two single pouches with the bag. Thanks..
  7. What does this say about the equipemet's owner, who 'lends' an expensive gear package to someone who obviously doesn't have a clue.
  8. No (visable) HPs.. which I guess is sort of typical for the UK... I prefer to hear whats going on.
  9. As long as the stereo pair is not out of phase with each other, it shouldn't matter much.
  10. Based on the OP's questions and statements I think he may in way over his head. I would seek a pro sound person from the location area. As a veteran of many international documentary audio production shoots, travel is challenging enough even w/o gear. Don't forget the bribe money either.
  11. Nice Alex. Did you have to cut the solder cups down and did you add caps of just the epoxy the open end? I gotta do that soon, on some male input connectors too. When will Neutrik and/or another manufacturer make an 'affordable' version of these.
  12. "I just love it when the cam op/director/producer knows more about sound than the sound mixer does!" - Same here! I worked with many 'audio challenged' cam ops, one of which arbitrarily turned down the level because it was "in the red" .. which on that particular camera started at -20dBFS.. it should be noted this particular cam op also removed the tape I had put on the cam's level adj. to prevent this. I have little tolerance for this and don't react very nicely.. That said, if the persons paying me asked that, I would attempt a brief explanation why it may not be such a good idea, since most cams one would encounter in that scenario are 16bit.
  13. Yes, air from an automotive type compressor can contain water, oil and all kinds or other undesirrable elements in with the 'air'.
  14. Good thought Jon. IMO, soldering skills is an almost must have as well.
  15. Of course once you click and enter an advertiser's website, good and bad tracking cookies are up to them.
  16. Yes "Talk to your clients about paying for a sound guy" No mic will sound much good camera mounted or at a distance. A lower cost hyper alternative is the AT4053, around $600-700 new; an ever lower-cost alternative is the Oktava 012 $200-300 new. The Oktava is shorter (4.12"), a right-angle adapter can be put between the capsule and body as well.. It has lower output (10mV) than the Sennheiser (25mV) or AT (22mV). The Oktava has other caveats to be aware of.
  17. Hi Dave, I logged in late and nw to the Google hangout, didn't currently have a mic (or camera) to plug in. Yes I did hear you clearly. Next time.
  18. FWIW, This months (May) issue of Mix has a review of Sony Creative Software SpectraLayers Pro. The author states 'the stand-alone only' app is powerful but unintuitive with a steep leaning curve. (I find other SCS software very intuitive however) The author also didn't mention or isn't aware of SCS's history of slow/no tech support. Two plus months for a response is consistently reported in the SCS forums...if SLP is the same as SF and VP. SpectraLayers Pro can be demo'd, but files cant' be saved.
  19. I carry a few XLR Phantom Pwr. adapters for sit down interviews as well.
  20. If you can't get close enough with an Avantone, the MKH50 will not make a 'night and day' difference. I would suggest a hidden lav or recording wild take/lines... if that's possible. Consult with 1st AD. Additionally, dialog editors often use sound from a close-up take. again if possible.
  21. I have zero wedding experience, in dealing with recording other type 'events', I secure an audio feed from the 'house' mixing board, be it a DJ, band or whatever, and add room/audience mics and other wired or wireless spot mics as needed. Don't expect anyone to have adapters, attenuator pads and knowledge of patching or operating levels either. From reading the DVi and DVx audio forums, the G2/3s and pocket recorders are SOP.
  22. In the line level configuration, the G3 SK transmitter's plug tip terminal must be tied to shield/ground... on earlier G2 models, the tip could be floated without issue. Been there done that.
  23. The DR 680 is a good value. It ain't a 744 or other 'bullet proof' design terms of sound and build quality. (though IMO and it does sound surprisingly good even without a SD front end) That said, I wouldn't leave home w/o some kind of back-up and .. would avoid dropping it.
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