JonG

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Everything posted by JonG

  1. I use my cl-9 with my 788 because of the flexible routing and dedicated functions. It is a nice and compact control surface. However when I can get away with it, I like to use my analog mixer because the sound is really something impressive. Yes it is big and heavy and draws a lot of power, and all those cables are a pain. But it's worth it for the right projects
  2. My solution is not much better than your original setup, but it works for me. I use the pouch that my 788 came in from SD, put three on either side of the divider, and keep the antennae in a mic pouch that an SM58 came in, along with the tx so that they are always together. Works well for me.
  3. Shooting with this today. It's been a while. I'm just disappointed that they didn't ask me to bring in a Nagra!
  4. I used to work in a studio where we specialized in restoration and remixing sound for TV and film. For pops and clicks, we would manually fix every one of them in Pro-Tools, so you'd never know that they were there. For situations where noise reduction was necessary, we used some really specialized plug-ins that, to be honest, I cannot name because they were not household names like iZotope RX or Waves. But I can say is that they were very expensive, probably no longer available, and worked extremely well. When iZotope RX was released I thought it was a joke, because the plug-ins that I had used years before were far superior in their operation. Wish I could remember what they were though! So back to your original question: I can go both ways. When watching an old film, I kind of take it for granted that it probably won't sound or look as good as the original tapes/film due to the edit/transfer processes of the day. So it doesn't really bother me at all. I guess I'm just used to it. A version that is cleaned up well? Sure, I'll check it out. If it sacrifices the quality in some other way then maybe I'll pass. Guess it depends upon how distracting it is.
  5. Have you tried connecting your XLR to anything?
  6. Are you connecting it to anything with phantom power engaged? we are usually more helpful if you say exactly what you are doing
  7. Use in full range. If you run out of juice it'll either switch to another connected power source or it'll power down. That's all.
  8. I want to know too
  9. Ambient makes this: http://ambient.de/en/product/underwater-housing/
  10. M-Audio Microtrack II $100 Sound Devices MM-1 $400 a used mkh 415 $400 headphones and cables I already owned $0 and a home-made boom pole. $20 I used this on student films and shorts until I could afford a couple of Sennheiser G2s. Once I had a couple wireless mics, I got real busy and was able to eventually buy a Tascam DR-680, an mkh416 (the 415 didn't last long), and a Gitzo boom pole (which came with my used 416). I think the upgrade was about $3000. After adding a couple more Sennheiser wireless to my kit, my next big purchase was my 788T. Quite a jump. But I was doing reality TV at that point and could suddenly afford serious gear. I still have and use my 788T and 416. Both a couple of the best investments I've ever made.
  11. I love the mkh70 and use it quite often when I'm doing ENG run'n'gun stuff outdoors. Indoors I'll often go with its companion, the mkh50. But if you are out in the sticks looking to get your first "all arounder", I think the mkh 416 still holds its place there. It is a great mic, works well "all around", and is bulletproof. The 8060 is certainly a fancy mic, but if I only had that to rely on, I'd probably be a bit nervous. I'm not sure how durable of a mic it is, but it seems to be susceptible to the elements from what I've read. In any case, like others have said here, it all depends upon the type of work that you do. My two cents is that if you are a sound mixer of any sort, you should own a 416, at least one. They won't let you down.
  12. Usually, as is the case with most other BDS', is that it will simply shut off.
  13. Yeah it could just be a single component that needs replacing. Most likely not the capsule.
  14. I'd definitely want to buy something that won't break, and a 744 has already proven itself. It also has two top notch mic pres and teo additional line-ins for your lavs. I think that plus a good stereo mic or pair is going to give you ehat you want. Yout rode and g2 will be ok for your interviews, but not the right tool for your ambiance recordings. As a side note: you may want to consider recording not just serene silent nature, but also comment on mans encroaching presence everywhere, since there are very few places left without man made sounds. Might make good social commentary. Just a thought
  15. That's the sound of it dying. However it can be brought back to life chez Sennheiser.
  16. I had a used 70 start to exhibit signs of death. Sent it in and a few weeks later, it came back good as new.
  17. Could be for T power or a Sennheiser only power used briefly. I'm guessing it's the ladder.
  18. There are a number of models available including B, D, L and LE which are all part of the IV family and have varying amounts of features. I'd say that the 4.2 will be the most expensive out of your choices, and the III will be thr hardest to find in working condition. All will be difficult to find 100% functional. I have five Nagras and the only two that work 100% were either never used or completely restored. The others had a great deal of use and have a number of issues each.
  19. After playing around with it I can see that it is a far superior app than TV Timecard. I think that this would be very useful, especially with the payroll templates and batch mode. This will surely transition us toward going all digital quickly.
  20. Thanks for the app. Downloading it now to give it a test drive. I've had TV Timecard for a couple of years and it is mostly a pretty good app. I've used it to keep track of things for myself, but realistically productions want a paper one to go in a file with the rest of the time cards because having one out of the whole crew emailed in, usually gets lost, or the accountant or whomever doesn't like the format or some such hickup. I think that as time goes on we will see these becoming more prevalent, but productions I would guess generally want to still keep everyone on set (other than maybe dept heads) OFF their phones and tablets while on set.
  21. I don't think anyone here is saying all or nothing, black or white, yes or no. No need to get defensive about your opinions. We all have loyal clients that understand the importance of who we are and what we do. No one is debating that. But I do see the advent of a "sound pa" for some jobs, and 4-6 $600/day mixers turning into a single sup and a number of eager "sound pa's" willing to bust their buns for a low rate in order to further themselves. Why not? How many people here got their start doing craigslist gigs, giving away a ton of gear and working for peanuts? Probably a pretty large number. Why? Because they didn't know any better, and they had bills to pay. There are already plenty of sounds sups out there that hire legions of young ignorant types, sending them out on jobs with their gear, taking the rental and skimming their rates. It is not unheard of, and it can easily get worse. Not black or white, not 0 or 100, all or nothing. Just something else chipping away at the stone.
  22. I think that people are forgetting that even if you're the best and the nicest, your job comes across some bean counters desk and that's the chopping block. How many times does some producer tell you the sound budget for a project and it is completely inadequate? I remember a job where they had enough money for me and a basic kit. But I actually also needed two boom ops! Not in the budget. What happened to that show? Never came out. Wires weren't the answer and I couldn't save it on my own. That producer got hired on the next one because she came in under budget. Even though it cost the outcome of the show. But to them, that's my fault. Even though I told them what was needed. Even put it in my report. But I was the one who was blamed and not called back. It always comes down to money.
  23. The MKH20-70 all have a "deep rich bassy" sound as well as crisp highs. Like a radio voice. You really can't get more descriptive than that. I suppose you'd really need to compare mics to understand. The MKh416 is not the same family as the MKH70. It is more closely related to the MKH80xx family like mentioned above. If you are buying two mics and have a 416 (as everyone should), I'd go with an mkh50 and mkh70 since you seem to be inclined towards that series. They sound good and sound alike. You do not need a blimp of any kind if you are shooting indoors, so just get a foam windscreen and save on weight. You can use common sense here. Outdoors the 70 shines very well. I use mine is a traditional Rycote blimp which is light weight and works very well. I'm not a fan of cyclones, and I do not believe that they make one for long shotguns anyways.
  24. There are already shows that have no sound crew. Just camera guys using ZFRs on talent. Granted they are usually disasters because the camera guys don't know how to lav, and can't monitor anything. But it is another step closer. I agree that having an FCC license or something should be a prerequisite for the Dugan, and it should not be available to production companies (eh hem VER). Wish all that were possible but in the end, it's up to us to make ourselves more valuable than the machine that we use, and saying no to gigs that want to provide the gear. Our species has already done a pretty good job of making ourselves obsolete in regards to usefulness. Just remember that when you're on the job.