Wandering Ear

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About Wandering Ear

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    Hero Member
  • Birthday January 1

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  • Interests
    Sound, Bikes, Beer.
  • Interested in Sound for Picture
  • About
    I am a production/post sound mixer. My work covers a wide range including television, movies, and commercials.
  1. I have had no problems chaining through a thunderbolt 2 adaptor so far. After using the MBP for a few months now, I don't mind the switch to USB-C/TB3. I bought a few cables to connect the things I need without dongles, and never looked back. I do miss having a mag safe power connector though. Charging through either side of the computer is convenient, but losing magsafe is probably my only complaint about the machine. To my surprise, PT HD 11 hasn't had any problems running on it on Sierra, despite not being qualified. The internal storage is impressively fast, I'm very glad I spent the money for 1TB internal instead of just relying on slower external SSD's.
  2. I've used Apple boxes to scare away loud birds right above set, but it doesn't really help with the ambient level of birds all around. I have seen a house here that has high pitched chirping played from pizzo electric horns mounted with the security lights, I assumed it was to keep birds and rodents away from the house and lawn features. If it actually works you could potentially playback really high pitched noise on set to quiet the birds. I'll pm you info about the house so you can check it out.
  3. My time is my time, regardless of what I'm doing. Travel, Scout, Mix, Idle, I charge the same labor rate, otherwise I expect that I can be available for other work if it comes up.
  4. Thanks for the insights. I agree about the wire mesh interference tube. I'm always nervous they will get crushed.
  5. John, have you had any issues with the small rubber suspension that holds the 4080? I demo'd some 4099's hoping the suspension would help with vibration noise, but the thin rubber that suspends the mic felt so flimsy to me I didn't trust it would hold up. I find the 4098's to be fragile enough, I was worried the 4099 wouldn't handle any real production work. I'm assuming the 4080 suspension is the same as the 4099.
  6. Personally, I keep cables for all the cameras. Currently I only keep 1 cable for the mini, and I request that if there is a b cam it has an A box. I'll probably add a second cable though since most of my work recently has been 2 mini's. I don't charge for specific cables, I include them as part of my timecode package which is an add-on to my base package for any TC capable camera. I charge for a TC option which includes a TC slate and 1 ERX (with cables), then I charge a per additional camera fee. So far it's worked well for me and more than covered the cost of the dozen cables I have to keep.
  7. I would 2nd the suggestion for 2 booms, 1 that follows each camera, or just split the table in zones. If production won't go for that, I would look at and evaluate what portion of the table you can easily and quickly cover with your boom from one spot, then use plant mics to cover the (hopefully) 1 or 2 people you can't cover. Work with the cam ops to see if they can generally cover the scene around your spot that gives you the most coverage of the table. Maybe leave a seat open at the table where you would stand so they have no incentive to shoot that way and giving you a space to live that isn't restricted by lighting etc. This is assuming a little bit of preparation on the day. If you walk into the house rolling, well, then it's all up to your instincts and experience at that point. The other thing I'd suggest is talk to the director and see if it's more important to cover every speaker and all of the exchanges so they can use the convo on it's own, or if it's more important to just follow who's on the lens.
  8. I now put small hair rubber bands on the bottom of the foam windscreen to hold them on since they fall off so easily. I also keep small pieces of 1/4" neoprene to isolate a plant mic/TX from vibration. It's been working well for me.
  9. IME on lower budgeted films (union and non), if they don't want to hire VTR, video monitoring is given to the camera department, who usually doesn't want to be responsible for it. Then they want to do playback off of camera. 600 and 695 both fight this, especially focusing on the playback from camera part, but I still see it happen on union films. I personally would not take on the responsibility of video playback as a sound mixer. I don't see how I could still be an effective mixer while tied to video playback when I should be addressing noise issues and working toward the next scene. They can ask, but you don't have to say yes (and to this you shouldn't)
  10. I didn't consider using the DNS to help you set a threshold for what post can and can't easily take out later. Basically a live audition. That could be very handy.
  11. With ever increasing track counts already, I think there would have to be a lot of benefit to doing the processing in production and doubling the track count to record unprocessed and processes. The trade off is a lot more time in post managing tracks, choosing which version to use when etc. Seems like that would waste as much time as it takes to just do the processing in post. Now if the noise reduction box had a way that worked significantly better in the field than in post, like mics in the room dynamically processing the background (hypothetical of course), then I could see the reason, but until something like that comes around, double tracking everything seems like more trouble than benefit. I haven't used the DNS though, so I'm just speculating.
  12. I don't remember having trouble filling it out on a mac.
  13. If you're on set, can you plug it into a camera and see if you see the same behavior? I am both suggesting eliminating a common denominator in your signal chain, and relating to experiences I have had. I don't know for sure what your issue is, but I can relate to the trouble that loud low frequency sounds can cause.
  14. http://wanderingear.net/products/bwav-to-tc-mp3/
  15. It does sound like momentary overloading caused by LF rumble. The bit of static hiss you are hearing may possibly be the higher noise floor of the 2nd ADC in the Nomad. It's rare that I can ever hear that in the Nomad, but it used to be i big problem for me in the TRX742. Howy adjusted the timing a while back which made it much better. What happens if you replace the Nomad with another non neverclip mixer?