John Blankenship

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Everything posted by John Blankenship

  1. no
  2. Yet the Deva 4, 5, 5.8, & 16 series still performs beautifully and, IMHO, they remain one of the best cart recorders available -- now at bargain prices on the used market. This series has been around a long time now, and even though I too would love some minor firmware updates, these machines boast some awesome features and functions that no other currently available recorder on the planet does -- at any price! Word is that the soon to be released Deva 24 will take these and other features to a whole new level. And even in the world of those tantalizing new attractions, I expect my current Deva to still perform its cutting edge functions well into the future.
  3. From what I understand the Bose noise-cancelling units are way ahead of others. They sound really good for music and once you're used to them (true about all headphones, of course), they perform well for our application also. I like them for NFL gigs because they're much more compact than the Remote Audio HNs and I also use them on the plane when traveling. For location dialog I start with the Ultrasones and switch to the RA HNs when I need the extra isolation. I switched from the 7506s when years ago I did a live streaming event that required mixing a musical group in real time and I simply couldn't hear the mix the way I needed to with the Sonys. I pulled out my Etymotic in-ear units to finish that gig and added Ultrasones to my sonic arsenal soon thereafter.
  4. I could probably send you 7.57 if that will help (I don't recall it having a "T" though). Let me know via PM if you need me to send it tomorrow afternoon when I get back to the studio.
  5. A big +4 for Pete's work (3 CMCs and an 816)
  6. I find the Ultrasone HFI-680 a bit more bulky than Sonys, but not by enough that it matters. Much bulkier than either are the Remote Audio High Noise cans (which use Sony 7506 drivers). When I need to isolate better what I'm hearing, the RAs are often a good choice. Another option is the Bose noise-cancelling phones. They're lightweight, comfortable, and sound really good -- even though they're not as accurate overall as the Ultrasones. A well-established successful mixer that I know and respect has used Bose for years and loves them. I've been using them for NFL game day action, and once they become familiar, they're a good choice for knocking out a lot of background gibberish. I also use the Bose for plane travel.
  7. I'm confused as to why you're confused. The Micplexer has a 35mHz receiving window. With the original Micplexer, each unit was designed for a specific Zaxcom block. With the Micplexer 2, you can adjust it for which block you want, or you can tune a 35mHz receiving window between blocks if you wish. FWIW, here is some info on the original Mixplexer:
  8. Only if the frequencies are within a 35mHz window -- not too likely in this case.
  9. Word has it that the government compensation figure for replacing my 600mHz wireless will be twice as much as I received for my 700mHz systems.
  10. Based on their name they may be mythical.
  11. I like that video a lot -- thanks, Jim, for posting it. As the incessant stream of newbies shows up asking what gear they should buy in order to undercut our rates, we should immediately direct them to this video which contains everything they need to learn to be a consummate pro.
  12. On the newest Red how can it be balanced if you're inputting two channels? The Epic has the two separate audio jacks (on either side of the front), but the newer Weapon series has just a single TRS mini jack (now on the rear) accommodating both channels.
  13. On the newer Reds I'm familiar with, the inputs depend upon which I/O module (if any) they have. For instance, the Pro I/O module sports a 5-pin Lemo for time code and XLRs for audio. They also have several other optional I/O modules with different connections. I think natively the newer Reds still use a 4-pin 00 Lemo and the audio input is now an unbalanced 3-pin mini-phone jack. Someone please speak up if the above isn't totally correct. This is based upon limited knowledge and only a tad of experience with the newest Reds. Worth noting is that I encountered an egregious problem -- possibly a ground loop issue -- when I powered an RX200 from an attached P-Tap on one of the newest Reds. Switching to internal batteries in the RX200 solved the issue, but I've not encountered such a problem with any other camera -- even the earlier Reds.
  14. Thanks, Larry, for correcting me. I didn't realize that there was that much isolation with a passive splitter. Please be careful, folks, which you use though, as some splitters -- especially the cheaper ones -- are more of the simple T adapter design. In choosing one, I would go with Larry's recommendations, especially the Lectro one.
  15. No, not the 4062, it's seldom a good choice for our work. The 4062 is a super low sensitivity version and is only suitable for dialog if you're wiring a screamer. You're probably thinking of the 4061 and 4063 (they're the same sensitivity; the 4063 is a low voltage version) and are suitable for dialog, as are the 4060 that you use.
  16. I'd be really wary of a passive combiner in this application. You would basically be feeding a power output into another power output which is never a good idea! An active combiner, designed for this purpose, should isolate outputs properly.
  17. I can tell you what their thought process is. It's, "What can I get by with?" If their clients judge them by what camera they use, then it'll be a higher end unit. If those clients don't make similar judgements in respect to sound, you'll find the disparity we too often encounter.
  18. The short answer is "wavelengths." However, it would appear you haven't "wondered this" enough to do even some basic internet research. There are dozens, more likely hundreds, of web sites that contain information about the whys and wherefores of antenna design -- even past discussions on this site about the topic. Study some of these and then come back with any specific questions. I wouldn't venture onto a web site by, and for, doctors and ask, "Surgeries have always interested me. How do you choose each of the tools you use?"
  19. It seems a tad disrespectful to walk up to a working professional -- someone you don't even know yet -- and saying, "I'm new at this, tell me everything I need to know about wireless." Like Constantin addressed, do your homework first. Then, ask a specific question or two. The world doesn't owe you knowledge, you need to seek it. There are many of us here who generosity share much of what we've learned, but respect given is respect received.
  20. I didn't get a timeline. The main difference is that the current Lite would set the mic a bit too high and not vertically centered in the Zep.
  21. The folks at the Rycote section of Redding Audio's NAB booth said no issue using a Softie with the new INV-Lite mount. The underside of the fur would press against the mount, but they said that wouldn't be an issue. They're working on a version of the Lite mount optimized for using in Rycote Windshield baskets.
  22. I heard it demoed at NAB and it appears to have some really useful tools. With the dialog samples they had it was quite impressive. I look forward to hearing how well it does on material from the varied conditions we encounter.
  23. per le orecchie
  24. Some of the most important prep is the conversations you should have ahead of time with the director, 1st AD, and producer. I include producer, as on small budget projects they are often tightly allied with the director. You need to be honest about any unrealistic expectations they may have and discuss things like acoustic treatments, wide and tight shots, background action (ball bouncing, sneaker squeaks, etc.), and more. They may say things like, "But sounds in the background are real," and you need to be prepared to gently explain the difference between narrative sound and documentary sound, as well as the ramifications and limitations that background sound can have on editing.
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