Johnny Karlsson

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About Johnny Karlsson

  • Rank
    Level Head
  • Birthday March 15

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  • Location
    Los Angeles
  • Interested in Sound for Picture
  • About
    I have a grill and I'm gonna use it.

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  1. LOL! Metallica would agree.
  2. Bringing this topic back, as I'm also interested in hearing from someone who is using this. Please share any thoughts.
  3. Zaxcom makes a wide variety of gear and your question is very broad, so my best advise would be: use the setting that sounds best for your given application. Sorry if that sounds snarky, but I have no idea what you are trying to do or what other gear is in the chain.
  4. I have, and use both. Pick either one and get the other one later. The cardioid vs super cardioid difference is not as drastic as some may suggest, imho. The "more room" in a cardioid is a little misleading, but depends on the room. But consider that a super has a rear lobe, which is almost non-existent in the cardioid, so if you are close to a hard ceiling....
  5. That is a Thunderbolt 2 to Thunderbolt 3 adapter. I believe they also make a Thunderbolt 2 to Firewire adapter, but I am not 100% certain if daisy chaining the two would in fact work with, let's say, a Firewire audio interface....?
  6. While that looks pretty cool, you can simply get the cables for your existing devices. Cable Matters available on Amazon for example: I got a couple of those. Works with my WD MyPassport hard drive and Kingston SD/CF reader. Looks like they have a few different versions with micro USB etc. All around $7-9 a piece. (No FW versions as far as I know)
  7. Is nudging one frame a big enough issue for them to actually call you about it? Lol. You can always check the tentacles by plugging them tc in into the 633, go to tc jam menu to check incoming tc against the internal clock. If there's no offset there then you know it's something with the cameras. I would guess the cameras have their own offsets, since it is consistent, not drifting.
  8. Sure, but otoh it may set a precedent that we're all supposed to and expected have those. I usually tell production in the hiring process to make sure the camera rental house send one out with the camera if they would like sound recorded on camera. Never been a problem.
  9. I feel that a word of caution is in order here: if you plan to do this for a while, you will want to be able to hear above the tinnitus ringing, so don't monitor too loud in your headphones. Hearing damage can happen easier and faster than most people realize.
  10. I also got a YPA (TA5 to Sennheiser locking mini) that was snap-crackle-pop right out of the box. If anyone knows how to open these up, please let us know how, I would like to try re-soldering mine.
  11. Simply request a copy of the insurance certificate from the client that states that they have production insurance. Present that to the rental house.
  12. Reality check, responsible adult: If you already have a job, why do you need take these low-ball jobs? All you are doing is undermining the business for yourself and others. Actually - they do have the budgets, but since they know you are a pushover and will agree to these unicorn rates... You have set a low standard for yourself and these "clients" will never let you raise your rate. Then they will refer you to others, telling them that you will do it for that low rate. Then other sound mixers will hear about it and will not refer you to real clients, because they are afraid that you will undercut them and ruin their business. None of this will lead to anything good. Your reputation is everything. If you do things right and respect yourself, the fact that there are few sound mixers in San Diego, should work to your advantage and make you more valuable. You see, when they bring me or others from out of town, they need to pay milage, flights, hotels, per diems etc.
  13. I’m in the buy once, cry once camp. When I started, I first rented, then quickly bought the pieces that I knew I would need, for the jobs I was getting at the time, done properly. Gear that I could keep for a good long while. The first bits I bought were used; SD442, and a Lectrosonics UCR211 with a UM400 to go with it. I bought the following new: a K-tek Avalon graphite pole, Rycote softie, a 416, a COS11D and Sony 7506. Then I added a Lectrosonics 190 set from eBay as a backup wireless, which also came with a buttplug, which was useful for some gigs. I still have all of it, except the 211 set, the 442 and the Sony cans. I have of course added a million things along the way, as the jobs have required it. Personally for me that is the key: get the things that the job at hand requires - and charge a reasonable rate. Then when you get bigger and better jobs, add to the kit, If you are doing it right the gear should pay for itself, and you should still be make a living. - If it’s specific things that will not get used often, rent those and have production pay for it. Cheap gear will not help build your reputation. Be reliable, and bring quality both in terms of gear and your skills. Conclusion: my advise would be to not set up some arbitrary number like “3000”, just get what you need - if and when you need it. Little by little (if you keep doing this) you will accumulate $50,000 worth of gear before you even know what happened.
  14. Thanks SD!
  15. If implemented, I wish it would be selectable which tracks to auto-mute. For example to keep the boom fader up, or an input (or return?) to play some tunes while cut. Having some sound go to the Comteks at all times will save you from the "I think my Comtek is broken...".