John Blankenship

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Everything posted by John Blankenship

  1. A few years ago I made a list of different connectors that have been used for time code by gear I've owned. I came up with about a dozen! and we need yet another?! For me -- NOT! Sorry, Timecode Systems -- (in my opinion) good folks who've made a bad decision.
  2. Top ten reasons to attend the NAB show: 10) Warm desert air 9) Cool neon signs A tax-deductable chance to get away 7) Bags of swag 6) To have "hands on" with both new and old gear 5) To get lingering questions answered by people who know what they're talking about -- sometimes even the actual design engineers 4) Awesome RAMPS/JWS party 3) Awesome RAMPS/JWS prizes 2) To meet people you've only interacted with online ...and the number one reason to attend the NAB show: 1) To be with sound folks you know and like, but don't get to see very often
  3. Someone must have convinced manufacturers that we have a burning desire to carry more and more specialty cables.
  4. I'm know I'm not alone when I say that my reputation is worth much more than anything I would sell. That's why it's valuable to do business with folks you've gotten to know here over time. If someone jumps on an item being sold by a newcomer, that buyer should have no complaint if something goes awry, as buying from an unknown person is not in keeping with the intent of the forum. Jeff's intent for this section is as an accommodation for active users. If you want to diminish the possibility of heartache, don't buy from someone who shows up here just to sell something -- do business with other users you've gotten to know.
  5. All sales come with a lifetime warranty -- based upon the presumption that when a device fails, its life is over.
  6. It sounds like your main purchasing criterion is to buy something that is recently released.
  7. A leaky capacitor is a likely suspect. You might wish to contact Pete Verrando and see if it's something he would tackle.
  8. Happy Birthday, Jeff -- our legendary host!
  9. +1 What ptalsky and Jeff said. Any warranty or checkout period offered by a seller is whatever they stated in the listing -- from none to some i.e. if they don't mention a checkout period, assume it's "none." If you're not comfortable with what they have, or haven't, stated in a listing, contact the seller directly beforehand to discuss any possibility of terms. It's nice doing business with people you know here. Another reason most of us use our real names.
  10. There seems to be some misunderstanding about “red band” lavs. A “red band” lav is one that is designed to be less sensitive than the standard, full-sensitivity version — typically, by about 10dB. The DPA 4063 is a “red band” lav. Other than the bias voltage, it has the same sensitivity and specs as the “red band” DPA 4061. The 4063 requires a lower bias voltage, therefore making it more ideally suited for use with the lower voltage supplied by Zaxcom transmitters. Some confusion enters because the 4063 uses a yellow tag to differentiate it from a 4061 that uses a red tag. When people refer to a “red band” lav, they are addressing the fact that it is a lower sensitivity mic, and not simply geeking out about the color of a label. Maybe this will help a bit: mic sensitivity ——————————————————————————————————————— DPA 4060 20 mV/Pa; -34 dB re. 1 V/Pa DPA 4061 6 mV/Pa; -44 dB re. 1 V/Pa DPA 4063 6 mV/Pa; -44 dB re. 1 V/Pa DPA 4062 1 mV/Pa; -60 dB re. 1 V/Pa If a lav has lower sensitivity, then it generates a lower output, therefore requiring more gain in the transmitter. That additional gain also brings the noise level up along with the signal. However, many of us are using 4063 lavs coupled with Zaxcom transmitters with great success, and noise hasn’t been an issue. Further muddying this discussion is comparing the noise when using a 4063 to that when using a Sanken COS-11D. The two mics have different sensitivities, making this an apples and oranges comparison. And naturally: “Your mileage may vary,” “plus tax and your old tire,” "some settling may occur," “void where prohibited by law,” and “results are typical but not guaranteed.”
  11. How many potential clients have passed you over because of gear you don't have or couldn't rent? In the final analysis, no one can determine what you need to serve your clients, but you. But, be aware, people won't flock to you just because you have a certain piece of gear. They'll call you because they think you're an experienced pro who can do the job. If you want to move up in this industry, getting experience is much more important than getting gear. When you need it -- you'll know it -- and at that point you'll also know what you need -- and then you can choose to either buy it or rent it.
  12. My experience is similar to Constantin, in that I have not used my long shotgun for over a year now, while my supercardioid and short shotgun arsenal sees regular use. Part of being a professional is knowing what tools will best serve your needs. So, despite the value of any advice offered here, it's definitely your choice to make. Whatever path you take, you'll learn from it and move forward.
  13. It appears your "all around" is much different from mine. If I were forced to use just one "all around" microphone, it would not be a long shotgun -- that would be my last choice.
  14. Like the majority of "What mic should I buy?" questions posed on this forum, the answer would be best determined by the information that was not supplied. Perhaps most beginners don't yet realize that mic choice depends upon specifics such as application, situation, acoustics, clientele, and numerous other information and factors that only they are privy to. A generalized short answer is: If you work almost exclusively outdoors, and often at some distance, then the MKH70 could be a good choice -- otherwise, there are mics that would be a much better tool. Almost any top notch mic designed for the type of situation you'd use it in would be a sizable improvement over the ME66. Also keep in mind that good mic choice depends more on situation and application than it does popularity.
  15. ...and that's from the most famous (or notorious) dish-slinging sound person on the planet!
  16. Just to eliminate some possible confusion: The 4063 is technically a red band mic, as it is just a lower voltage version of DPAs red band low sensitivity 4061. The 4063 has a yellow identifier to differentiate it from a 4061, but they both have the same output specs, which are about 10dB lower than a 4060. Having said that, the output level of a 4061/4063 pairs quite well with Zaxcom's transmitters and should work swimmingly with all but extremely low talkers -- who are a problem in other regards, too. There was a short time a few years back when DPA produced some 4063s that exhibited RF susceptibility issues and those can result in noise problems, but if this is a mic manufactured in the last two or three years it should be fine. One way to listen for the RF noise issue is to move the cable and transmitter around and see if the noise hash varies. DPA also has an extra-low sensitivity mic in the same series which has about 25dB less output. I don't recommend that version unless you have a special need.
  17. There are newer parabolics some of the networks use for NFL games, that I'm told sound pretty good (for what they are). However, you wouldn't be able to chase along the sidelines of a basketball court, and you wouldn't be allowed to obstruct the view of those behind you, as these units are rather large. So, that's a "no go" unless you're in some kind of a rare special circumstance. If you can obtain permission to have a position amongst the photographers on the floor at one end of the court, then you could likely capture some amount of good game audio when the action is at your end of the court. Be aware, you will get a lot of sneakers squeaking. If you want to try a long shotgun, be prepared with a suitable shorter choice, as something as long as an 816 would probably be too imposing to swing around.
  18. Two things to carry further into this conversation: 1). Only you can determine what you really need. 2). Only you can determine if something is a worthwhile investment for you. Having said that, yes, based on what you originally stated your need was, an IFB100 can meet those needs. However, what you've been told about form factor, etc. does apply. I use IFB100, IFB200, and Nomad on a regular basis. For many things I do, I prefer an IFB100. If I were using one strictly in a bag, the 200s form factor comes into play. One of the prime reasons I suggested that a used IFB100 might be right for you is the budget implications of your original post. Also, consider just how often you need to make those adjustments. Understand that with experience you'll acquire more knowledge of how to set a transmitter gain so less tweaking is necessary.
  19. If you call Lectrosonics on Monday, they'll not only know, but will likely send you a replacement at no charge. If you need it sooner than that, the small parts section of most hardware stores have screw guides that will make it easy to determine -- and they'll probably have a suitable replacement.
  20. https://www.amazon.com/leukoplast-Adult-Baseball-Small-Medium/dp/B01NGZF1CZ/ref=sr_1_11?ie=UTF8&qid=1491655034&sr=8-11&keywords=leukoplast
  21. I agree with Constantine, whatever solution you choose, just be prepared. I tell people that I carry more gear for Justin than I do for myself. (Justin Case)
  22. There are other options, such as a used IFB100, or via a Nomad mixer/recorder.
  23. Robert, Thanks for schooling me on what it takes to be a good sound mixer. Maybe some day I'll be as awesome as you. Until then I still think that, among other things, being a pro means choosing the right tool for the job, and if someone requires six inputs with limiters, a 633 is not the right choice. Perhaps that's why Sound Devices also makes the 688.
  24. The 633 is basically a 302 on steroids with a full-featured recorder built in. What's not to like! If someone finds the controls "wimpy," then it would appear they've chosen the wrong mixer. Limiters are not -- and should not be -- a substitute for proper gain staging and gain management. They're a worthwhile tool when really needed, but if a person can't function without them, then somethings wrong, and it's not the 633. Pretty much every Sound Devices mixer I've ever used has different limiters, each with their own character. The best use of limiters is to strive to never need them -- but have them kick in only on rare instances where they can add a bit of safety.
  25. Many productions would think nothing of sending a PA after batteries, but would be quite irritable at the suggestion of allowing sound fifteen minutes to charge a battery.