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Everything posted by jgbsound

  1. AVID S3 controller has a stuck fader?

    Thanks guys. I'll give this a try. Weird thing is that I shut off the system, and let it cool down (it was a particularly hot day), and now it's behaving itself. I'll keep testing. John
  2. Hey does anyone else have an AVID S3 controller board? The 16th fader just malfunctioned and just pegs the fader at +12 (you actually hear a thunk when it does it). Has anyone else experienced this? What's so annoying is that the board is less than 2 years old. I tried resetting EuControl but to no avail. I also powered off the machine and rebooted my system thinking that perhaps the driver was being wonky. After a bit, you can hear the motor in the fader buzz just a bit, then the fader pegs back up to +12 again Thanks!
  3. iPower 520 Mah Li-Poly for FREE

    Sure I'll take some too! Sent from my iPhone using Tapatalk Pro
  4. Hello All, I asked a few mixers whom I greatly respect to help me to apply for CAS membership. Graciously they have agreed to sponsor me. However, the application calls for a "comprehensive letter of recommendation"? Can someone tell me exactly what CAS is looking for in one of these letters? I'm assuming they want to know the work history of said applicant, but that information is pretty much covered in the actual application. What exactly does CAS want to see in that letter? Thanks for any advice you can give me! John
  5. CAS Comprehensive Letter of Recommendation?

    I see what you mean. I'll contact them and find out what they need. Thanks.
  6. CAS Comprehensive Letter of Recommendation?

    Thanks for the info! Comprehensive sounded so detailed and exhaustive. I didn't want to bog down these guys with a crazy homework assignment! Sent from my iPhone using Tapatalk
  7. Family Guy last night

    I always have to resist the temptation to be draconian about the matter of getting RT. But to punish all those ADHD actors and crew that can't hold still for a half a minute sounds so delicious, so decadent, you could practically spread it on a muffin and call it a cupcake.
  8. Howdy Everyone! I am available for work in both Los Angeles and the San Francisco Bay Area as well (I can work as a local up there). I have: Zaxcom 12 Track deck 4x Wireless Lavs 2 Timecode Boxes 1 Smart Slate Schoeps CMIT5U /Boom Boundary Mic DPA 5100 5.1 surround Mic Thank you! John (415) 305-1667
  9. Does anyone know of an application that can convert broadcast waves that contain time code to an MP3 that has time code embedded? I run into this problem on a shoot today. They need transcripts right away and didn't want to wait to upload the full-size wave files because the interviews are two hours long. They Needed transcripts right away because it's a sports related show and didn't want to wait to upload the full-size wave files. I'm hoping there something out there. I gave them the mix track but they wanted an MP3 with timecode . thanks for any guidance you can give me, John
  10. Thanks everyone. Much appreciated.
  11. I have a fusion 12 that feature didn't exist when I bought it. John
  12. Thank you! I searched for MP3 & Timecode but didn't see this! Exactly what I needed!!! Thanks again, John
  13. Howdy Ladies and Gents, I'm hoping to find some work for production audio. I have a kit with: Boom Schoeps CMIT5U 4 zaxcom wireless kits, (2 900LTs, and 2 ZHDs, and two stereo receivers. Fusion 12 Deck, smart slate 2x Betso TC boxes 5 Zaxcom comtecs, and a DPA 5100 surround sound mic. OR any post mixing gig you may need help with (I have a studio built onto the back of my property). I have PT 12.6HD, AVID S3, AVID Dock, and can mix in 5.1 or 7.1. Also Neyrinck's Dolby Digital 2 plugin, and a whole host of other goodies. Thank you and have a great 2017! John
  14. Removing rough sea and wave noise?

    ADR it. You'll spend less time doing it and you'll need to process the crap out of it to try and save it. Steve hit it on the head. the sound fluctuates, (it's not a steady state sound which can be more easily be fingerprinted by BNR programs) . the amount of processing you'll wind up doing will make the audio sound terrible. Re-record it and drop in a beach SFX. That way you can control the ocean.
  15. Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably not be into because the performances are really good -- plus there's nothing really wrong with the sound other than the camera sound. I did try some BNR (iZotope's RX5) and that helped a little. I don't normally edit films shot on film so this is new to me. Any suggestions would be greatly appreciated!
  16. Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
  17. Workflow to match Lav feed with boom?

    Thanks for the suggestion, I'll give it a try!
  18. Removing Panavision 35mm mechanical sound?

    Yeah I finally talked him into some limited ADR but we'll see how far that goes...
  19. DPA 1500 5.1 Microphone

    I bought the DPA 5100 about a year back specifically for a documentary film I'm on for recordings in Costa Rica, Panama, Hawaii, and Indonesia. Besides just being plain old fun to make surround recordings, I found it quite durable and easy to pack away in my backpack. It has a top screw mount so I can place my CMIT on top of the mic for directional stuff. I haven't given this a try quite yet but that makes for a heavier load to tote around on a pole. I really have to be careful when recording field recordings. A longer cable is necessary, or at least the mic needs to be above your head so you don't block rear channel stuff. My only complaint is the LEMO cable. It's quite expensive if you want to replace it (to the tune of 600+ bucks). And since I rent it occasionally to others, I'm always worried about it being damaged.
  20. Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas on how best to achieve this sound? I wonder how do the big guys do it? It's a single shot to the head, execution style. I was planning to have a startled flock of birds fly off afterwards! I do have a DPA 5100 and could record the sfx myself, if need be. But I'd need to travel to the mountains to do it and find myself a luger since this guy is a WWII buff and would only want an authentic sound. Just hoping I can create something digitally. War is hell but editing the SFX is pretty friggin' fun! Thanks in advance! John
  21. Thanks guys. I have a pretty good sounding mockup and it seems to be working! Sounds good to me at least. I think it will work!
  22. Removing Panavision 35mm mechanical sound?

    Hi Phil, I'm hearing the actual mechanical sound of the film sprockets. It's not a constant hum which would be easier to remove since RX5 really works well with steady state background noise. I'll give declicking a try. I hadn't thought about that. Thanks!
  23. What Car Do You Drive?

    I have a Volvo C30 and with both back seats folded down, it's like a mini station wagon. Plenty of space for all things sound related. I can fit a cart, 2 full apples, and all my sound gear, PLUS, I even double up and fit all my partners camera gear. But that's loading it to the top. Not great visibility out the back if you do this however. This is without the back seats folded down but you get the idea.
  24. Thanks Jez, I found him! It's Greg Burmann and here's what he had to say about recording the sound of guns: I recorded most of the fx used on Thin Red Line, but not the live round105mm. If your recording for a feature, then I used lots of mics, and lotsof tracksThis is what I did that worked bestI used a Nagra 4S, and a Sony PCM800 8 track recorder.1 I put 2 dynamics (EV RE20, and EV667) about 3 metres from the weapon. 1mic (A) abeam the weapon pointed at the end of the barel, and Y corded that,via a 20dB pad, into the Nagra, and the Sony PCM800 track 3 (with the Sonyinput levels set to LINE level). The other mic (B) pointed at the weaponfrom behind , and Y corded that, via a 20dB pad, into the Nagra, and theSony PCM800 track 4 (with the Sony input levels set to LINE level)2 A stereo pain about 15 meters abeam of the weapon, into Sony track 5and 63 2 shotgun mics about 100 - 150 meters away, but each in a differentlocation (We recorded near a rock cliff in an disused quarry, so 1 shotgunwas near the cliff, the other behind the weapon, and angles to AVOID as muchof the cliff echo as possible4 I set the Nagra levels for a slight amound of tape saturation, themeter JUST hit top stick, but no more (I wanted the fx to be reasonablyclean, not too crunchy)5 Jam sync both machines, or log the start timecodes, so thet the Nagratapes can be dubbed to Sony tracks 1 & 2 in post-production. The soundeditor can then pull all the tracks into sync (or leave them out of sync),and by a simple mix, can set the perspective of the fx. I think that most shotgun mics would distort badly close to the weapon, so for the close-up mics, use mics that can handle the levels Have fun, firing a Tommy gun is fun!!! Regards Greg
  25. Hey Guys and Gals! So I'm editing this feature and I keep getting "Video Engine was unable to stop." Error. I'm able to remedy it easily by closing the session and relaunching Pro Tools but it's damned annoying to do. It seems that it happens when I click into the timeline someplace, but my hand isn't perfectly steady, so I accidentally make a micro selection of a tiny tiny region. I went up AVID's support site found a few postings where others have been fuming about this issue not being addressed back even in PT11? I didn't want to waste my "1 per month" tech support ticket with AVID on an issue that is known and not yet fixed so I wanted to check if others are having this problem and possibly found a solution for this? I'm running PT 12.4HD native on a Windows machine. Thank you for any suggestions you have! John