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John Blankenship

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About John Blankenship

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    Sonic Curatorem
  • Birthday June 30

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  1. Deva 24 seminar

    Then there's Sony who puts the headphone jack in a different location on each camera they release. It's their way of saying, "It's audio -- just an afterthought -- and we couldn't care less about it."
  2. new plugOn TRX from Zaxcom

    According to their specs: The CMIT5 pulls 4.4ma at 48v. The mini-CMIT pulls 2.3ma at 48v. The CMIT5 is listed as only a 48v. mic, whereas, the mini is designed to operate on 12-48v. Note, however, that the max SPL of the mini is 15dB less at 12v. than at 48.
  3. Comtek BNC to antenna cable. Min Length?

    Whatever you want -- generally speaking, the shorter, the better (less cable loss).
  4. Indy film aftermath- my sound experience

    A smart person isn't afraid to ask for advice. It's an even smarter person who listens to advice.
  5. DPA 4098 - first impressions

    My observations are based on the sonic results of using my 4080 mics on visors in a car. My EQ compensation tests were done by ear with recordings from a commercial session with a well known sports personality driving an SUV. I agree on use of the cardioid pattern over a hyper. That, the sensitivity, and the mounting, are the reasons I've asked DPA to produce a 4080 version with a flatter low end. The 4080 was designed as a lav where, with this being a directional mic, the proximity effect of close micing results in a flatter low end. This is why I'd like a version suited for being mounted further from the talent. I've not used the 4098 so I can't make any comparisons other than via DPA's published curves. However, my 4080 observations are based on my ears in actual use and I have compared the 4080 to my 4099 which has a flatter response at equivalent distances.
  6. DPA 4098 - first impressions

    Unfortunately, these give up more than a bit of low end. Just to see what it took, I tried to flatten the curve in post and found it required extreme boosting. If you use these, I look forward to hearing what your opinion is.
  7. DPA 4098 - first impressions

    Yet they have the full frequency 4099 series that are basically the same form factor as the 4080, but with reduced sensitivity. At NAB, a DPA person said that all their miniature mics use the same capsule. I suspect you received a bogus (read: dismissive) answer.
  8. Red Weapon 8K Audio Issue

    Michael S.: +1. Well stated.
  9. Zaxcom Maxx AES out & Sony F5 not working

    My info came from a Sony engineer who would know. I guess I shouldn't say that no other unit will work with their AES inputs, just don't be surprised if it doesn't. It's not unlike the fact that Sony purposely made the second channel unusable by slot-in receivers other than theirs -- something that Lectrosonics learned when they first come out with the SR.
  10. Zaxcom Maxx AES out & Sony F5 not working

    There have been previous discussions, but I don't recall under what topic(s). It has been confirmed that Sony purposely makes their AES incompatible with other manufacturers' outputs. You would think that they wouldn't be allowed to call it AES as that is supposed to be a standard, but that's another discussion.
  11. Data Recovery

    Will they play back on the 702T?
  12. Red Weapon 8K Audio Issue

    Welcome to the Red User Annex <g>.
  13. Red Weapon 8K Audio Issue

    Patrick, I commend you for being a team player who considers the entire team rather than just operating within a bubble. As focused as you are on crewing the proper way, it appears you have no awareness of how much such approaches vary. You lose points, however, for calling sound mixers who deal with all those variables, "stupid and unprofessional."
  14. Red Weapon 8K Audio Issue

    More than a bit defensive. "Stupid and unprofessional"? Such posturing only reflects badly on those who feel it necessary to defend an imperfect camera. You seem to be confusing a discussion of the shortcomings we in audio need to deal with in respect to a given camera, with bashing. This Red version has demonstrated issues with ground loops and these discussions contain information that helps others. Many sound mixers have zero input about camera packages and some producers insist on using camera audio. In both of those instances we need to be prepared with both knowledge and gear. Toward that end, we are sharing the information necessary to make this camera perform better audio-wise under real world conditions. This is not the "Red Fanboy Defense Forum.". That's well represented elsewhere on the net.