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John Blankenship

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Everything posted by John Blankenship

  1. Headphone

    Available now from those wonderful folks who bring you "Magic Microphone," the one and only microphone you'll ever need for a career in sound mixing -- it's "Hyper Headphone," the one headphone that sounds better than any other to every user with every type of ears, head, and experience! Order a "Hyper Headphone" now and receive a "Magic Microphone" free -- just pay shipping and an additional fee! Order now and you can have both at this amazing low price -- only slightly higher than buying each individually! Yes, you too can become a professional sound mixer overnight with our expedited shipping option -- not available where prohibited by law! You'll walk with a new swagger to your step! You'll spout impressive terms like, "dynamic range," "sampling rate," and "hyper-cardioid"! You will even learn the super-secret sound mixer handshake! Buy now and be great!
  2. Just a rant

    That call sheet is frighteningly true. The one thing that could be added: "The L&G crew rigs for the next shot while we're rolling."
  3. Remote Audio BDSv4U Connection

    Call a proper location sound dealer and they will fix you up.
  4. DPA 4098 - first impressions

    Gee, Glen, i guess I have to spell it out... My intent is not that it has to be identically designed, but that a cardioid with this size and form form factor with a flatter low end, would be a great addition for car miking. Stating a desire for a 4080 without the low end rolloff is a shorthand way to communicate that to DPA, rather than asking everyone to specifically state, “this size — this form factor — same or similar mount — full sensitivity — cardioid pickup pattern — and flat response.” Are you claiming that DPA lacks the expertise to design and build such a mic? If so, i hope they take it as a challenge. I have no doubt they can do it. Sorry if I wasn’t sufficiently detailed. When I’ve talked with DPA engineers, they seem to understand the request, now we need enough end users to ask for it in order to establish the need.
  5. DPA 4098 - first impressions

    Which takes us back to my request of DPA for a 4080 version with no low frequency roll-off. If enough of us ask for it, then it's more likely to happen.
  6. Which Schoeps mics for documentaries?

    Boom technique is often more important than mic choice. Many here have quite successfully used a variety of mics -- including the 416 -- on group discussions with people talking quickly back and forth. Bernie mentioned booming from below. If that's an option -- sunny days with lots of shadows, etc. -- then the hero mic is a Sanken CS3e. They work great from below due to being a short shotgun with very little rear lobe. Mics are tools -- the right tool for the right job -- and they're basic tools in our world. An important part of being a professional is knowing your tools. There is no automatic microphone that will do the job for you.
  7. NFL sideline mic

    This Sundays Twickenham game is Cardinals vs Rams; next week's is Vikings vs Browns.
  8. P48 to T-Power converter?

    +1 for Pete's work. I didn't mention it because the O.P. is in South Africa.
  9. P48 to T-Power converter?

    Yes to all your questions. The only real downside to an 816 is its weight. Like the 416 -- a workhorse. PSC makes a reasonably priced adapter barrel. I like the older version of the barrel better, though -- metal rather than plastic -- a tad more weight, but less susceptible to hum (maybe they've switched back over the years -- it's been a long time since I bought one.) A legendary mic.
  10. Alexa Mini TC sync

    The last two Minis I worked with this month were both time code challenged.
  11. NFL sideline mic

    +1 what others have said. Based on what one would guess you'll be doing, the most common sideline boom these days is a Schoeps CMIT. Also used is Sanken CS3e, and Sennheiser MKH-70. Absolute minimum pole length is 12', but as mentioned, 17' is better. I'll be there, care to recommend a good pub?
  12. Ask yourself this, "Would you rather charge proper rates and be considered for recommendation by other professionals in the sound community, or charge sub-standard rates and therefore considered a clueless amateur by experienced mixers. In the first case you make more per job and get more referrals for gigs, in the second, you make less per gig and no working professional will recommend you. Do the math -- one is a living, and the other is a hobby.
  13. Best mic for specific location

    For me, the dominate choices in the situation you describe would be: 1). Schoeps 641 -- The smooth pattern of an MK41 capsule makes it a particularly good selection in reverberant spaces. A smaller mic allows you to be in a bit closer which also helps. Yes, you will hear some of the reverb, but the naturalness and presence of this mic will allow your subject the be heard and understood clearly. If the camera person has any savvy, they'll allow you in close enough that this will be an excellent choice. 2). Sanken CS3e -- has less rear lobe than most shotgun mics, which means you could even mic from below if overhead lights cause shadow challenges. 3). DPA 4080 directional lav. Since the lav can be seen, you're in just the situation this mic was designed for. It has a fairly steep low freq roll-off which is there to compensate for the proximity effect of a close mic'd cardioid. 4). I've not used a Super-CMIT, but would consider it as a possible candidate based on what others have said.
  14. NEW SMWB and SMDWB Lectrosonic units Announced..

    So many attorneys moonlighting as sound mixers...
  15. Digital-analog sync sound

    Love it.
  16. Coax cable for use with passive antenna?

    What you're thinking of doing cable-wise will work fine. However, shark fins will yield a significantly greater improvement than any concern with cables or connectors at the lengths you're working with. It's about much more than just gain. With an antenna system, you can also have too much gain, which will overload the front end.
  17. It is seldom a good idea to lay AC cables next to -- and parallel with -- audio runs. Doing so is asking for induced hum. If you must put power next to audio, keep it DC. If you include a monitor return in a unified cable, be prepared to deal with ground loop issues. Do what you can to eliminate those with the cable grounding scheme, and also be prepared to not use the video return when (not if) an unwanted gremlin appears. With taped-down cables, keep in mind that -- in respect to a tripping hazard -- one bigger cable can sometimes present more of a hazard than two two smaller taped-down cables.
  18. Story boards and shotlists?

    All the above. There are still some productions that have a plan and stick to it. There are some productions that have a plan and don't stick to it. And there are some productions that don't have a plan and stick to it.
  19. TA3f to TA5f (Lectrosonics)

    Especially when the person doesn't fully understand what they're reading but tries hard to be an instant expert.
  20. QRX200 internal PSU introduces noise

    I should add, with QRXs on my cart I don't recall any noise anomalies, either. Question: Do you have an IFB100 or IFB200 running nearby. Those are a known source of induced whine -- especially if it's on the same power supply. (Sorry, don't have time to read back through the thread to see if this has already been addressed.)
  21. TA3f to TA5f (Lectrosonics)

    Close enough. Not an issue.
  22. TA3f to TA5f (Lectrosonics)

    What Eric said. They're both actually the same diagram except that the first one shows that if you're coming from a balanced output you'd tie pin 3 to ground in the XLR3 or TA3 connector. BTW, to eliminate a common misconception among the unknowing: Even though balanced outputs typically use one of the above two connectors (or sometimes a TRS phone plug), the connector is not what makes an output balanced. An output being balanced is due to the circuitry of the output having an equal potential of each signal leg to ground).
  23. QRX200 internal PSU introduces noise

    QRX200s in a bag feeding a Nomad 12. QRX is using both analog outputs. Common power supply using NP-1s, feeding everything in the bag which includes a Comtek transmitter, a Zaxcom transmitter (currently on block 26), and I have to crank the Nomad gain way up to hear any noise at all -- just hiss when I turn it up enough.
  24. Speedy Recovery

    We've missed you, Jeff! ...Healing thoughts from Indy.
  25. 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."