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Jim Feeley

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Everything posted by Jim Feeley

  1. The files most likely still belong to either the book's publisher or to Jay's heirs. (I was Jay's editor at Digital Video magazine and helped him shape his first book. We became friends). I just sent a note to who I think is the correct and current contact at the publisher, Routledge. I asked if they can make the files available or are OK with them being shared and/or posted elsewhere (such as somewhere on this site). Here's the Routledge page with a link to the defunct website. https://www.routledge.com/Producing-Great-Sound-for-Film-and-Video-Expert-Tips-from-Preproduction/Rose/p/book/9780415722070 Also, following Rick's suggestion, here's one Wayback Machine snapshot of Jay's greatsound.info site. I didn't try to download the files, but looks like they may be there: https://web.archive.org/web/20190212161531/http://www.greatsound.info/
  2. Who hasn't said these exact words? 😀 (Not sure I got the mic model correct. But I'm sure that's a Fender Bass VI)
  3. It's interesting that many of the new 32-bit equipment is lower-end prosumer gear. Perhaps for 8-series, Nova, and similar professional recorders there's something in the 32-bit chip sets that isn't quite up to what the engineers want. Like some minor A/D S/N thing, or some limiting factor on designing lovely pre-amps. So many the manufacturers are waiting for the next-gen chips... I guess 32-bit stuff is fine, but I'm still rolling OK with 24-bit recorders. But then, I don't do sfx or sound design. And I could see buying a MixPre-class recorder. Warning: I know nothing.
  4. I'm guessing the issue may be similar to the stories of people frying the HDMI ports on their prosumer/BMD/Canon cameras when running a small external external monitor off an unshielded D-Tap connection on the battery running the camera. Basically, if you first cable your accessory (monitor and now apparently RX ) to the camera, and then plug in an unshielded power cable, then if the positive pin connects first, the audio/monitor cable completes the circuit and you can fry your HDMI or SDI ports (and I guess more for Venice). So the general approach is use shielded cables/connectors, connect power first, and then connect the monitor or RX (or whatever). Dig it: A few months ago Arri put out a short advisory on this. Preventing Damage to SDI Outputs Please correct any mistakes, and I don't know if this is the issue affecting Venice cameras, but it may at least point towards a solution.
  5. Interesting. Those have four-inch/100mm and one-inch/25mm drivers. Tiny. You using them to mix dialog, music, both, more? https://www.neumann.com/homestudio/en/kh-80 Also: $1000USD/pair. https://www.sweetwater.com/store/detail/KH80--neumann-kh-80-dsp-4-inch-powered-studio-monitor
  6. There's some interesting discussion of the Rack-N-Bag in this thread. And Ken Martini, the guy behind the system, participates. But ya, if anyone has more recent experiences, would be interesting to hear them. ,
  7. Don't know if it drips.... Drop a line to Rick at Austin. He's a surf dude, so he probably at least thought about it. I saw another "digital spring" pedal... The TC Electronic Drip! The Surfy Bear stuff looks cool. Must have been fun to mod...
  8. My fave new reverb pedal (that I don't own) is the Summer Reverb from Austin Microphones. If you tap/kick it, the digital "springs" crash in a random way. More info: https://www.austinmics.com/delay-reverb-kits/ Watch at least the first 40-seconds of this demo video. Fun...Also sounds decent...
  9. Allen, the metal pipes work well with my portable echo chamber (notice the wheels).
  10. I want to be ahead of the rush... From a local news site: ‘Granny chic’: Are San Francisco Victorian speaking tubes making a comeback? [snip] “Why are we able to hear a great distance through a speaking tube?” the snippet reads before explaining the science: “When we speak into a tube, the sound waves cannot scatter, but must travel within the tube, and so we can hear at a much greater distance.” Relics of the speaking tube can still be found in old houses, including some of the many Victorians around San Francisco. In some cases, the tube has been removed, leaving a curious small hole in the wall where it once protruded. [rest of the article at link above]
  11. The PSC/Garfield Headphone Softies came in two sizes. Perhaps they still do. I use the "regular" softies on all my 7506 cans. I think the smaller size was designed for Sennheiser HD25 and HD26. A good location-audio dealer should still be able to get them.
  12. Remember this from SD's Facebook page in June? I'm not trying to throw shade, but looks like 833s are still backordered at some usual-suspects dealers. Has anyone seen any official word from Sound Devices on when they will (or did) start making the 833 again? Is it mentioned in the video (which I obviously haven't yet watched)?
  13. Pete, your earlier posts about the mic played a part in me giving it a try and then buying one. So thanks.
  14. Daniel, thanks for sharing your experiences. Just so I'm clear: You're saying it takes about one second to open the stream, or that even after a connection is established, the audio latency is about one second? And usual reliable range appears to be about 10 meters / 30 yards or so (depending on various factors)?
  15. A couple months ago, I bought a Sanken CS-M1. About 100mm (4-inches) long, supercardioid, sounds good. Also, US$900. Perhaps more than you want to spend, but it also works on a boom. 🙂 I like compact size; so do camera operators. Can you swing by a place and compare something like the CS-M1, the AT875, and something from your homies at Rode? https://www.sankenmicrophones.com/production/shotgun/cs-m1/
  16. Unfortunately, it doesn't. The second time my neighbor was robbed, he had a security guy with him. By all reports, a good guy. Ex-cop who was good at de-escalating situations, and all that. So the second robbery occurred on a weekday afternoon in Golden Gate Park, a big city space in San Francisco. The robbers walked up behind my neighbor and the security guy, pepper sprayed them, grabbed the camera, and ran. The rules of engagement (I don't think that's the actual term, but let's roll with it) are you don't shoot at people fleeing, especially over a property crime. And the tear gas. So he chased them... and then the robber holding the camera was hit by the getaway car and dropped (and broke) the camera. And then: Security guard for TV news crew killed during Oakland robbery attempt As mentioned above, we've been in touch with Roy Peck, CPJ, and some other filmmakers who've dealt with this stuff and have experience working with security people while filming sensitive stuff. We're planning for security, thinking of dropping some scenes, etc. And I'm one of the producers. Thanks. And yes, that's the primary goal. But for JWS, I'm focusing on gathering advice about lowering our visual profile, reducing the cost of equipment that might get stolen (vs. my current Lectros), while still getting the sound and pix we need.
  17. Thanks again everyone. So we're usually rolling just two channels of wireless, a boom mic (as I said, sometimes without boom), recorder in a bag. And TC on the camera, along with a camera mic for yucks. But that's with me wearing a bag. If we go to two small cameras, then I'm not sure... Maybe decent mic (e.g., CS-M1) and one channel of wireless on each camera... Still thinking that through. So the Sennheiser AVX system that Phil mentions does seem cool. But the cute XLR RX would take a little rigging to work in a bag, I think. Though it might be great on a camera. See the picture below. https://en-us.sennheiser.com/camera-wireless-lavalier-microphone-system-set-avx-mke2 The Deity system would fit in a bag but the RX seems kinda big to go on a small camera. And the Sennheiser G2/G3/G4 systems kinda work on either. All those systems totally fit in the budget (and the hopefully unneeded replacement budget). I'm intrigued by the Wisycom MPR52 bundle.. (picture below_. Really small two-channel RX that'll easily work on even a small camera, good user reports, but US$3200... That's fine, but not disposable. The body pack recorder idea I'll explore some more. But not being able to monitor people wearing winter clothing wigs me out (Zaxcom recorder/transmitters would solve that problem, but not at a walk-away-price). Well thanks everyone. More discussion welcome. I'll let you know what we end up doing... Sigh...
  18. I left the wrong impression in my first note. Sorry about that. As I just added to my original post, this isn't a war-zone or a follow-the-criminal-while-they-do-crimes doc. Just covering some public-health stuff, and we want footage of the people doing their outside work. It's what I'd previously consider just regular doc work. But this year there have been a few high-profile robberies of TV news crews around here, a few others of news still photogs, I had one extra-worrisome load out of a corp job in Oakland, and I hear stories of indie people being robbed. And there's been one recent death. That's on top of a high number of smash and grab thefts. And usually during daylight hours, and not on stories or in locations that'd I'd consider especially risky. Here's a story of my neighbor's first time getting robbed this year (and links under to similar stories). He was robbed again a few months later, that time when with a security guard: Reporter’s Camera Stolen at Gunpoint During Interview About Robberies And for yucks, there's this from last month: Bay Area Photographer Warns Others After Being Followed and Robbed of Equipment While the thieves may not know the difference between cheap gear and expensive gear, they sure seem to know where to fence the stuff. So it seems like they'll smash-and-grab anything, and some will rob people with what they guess is $1000+ worth of gear. Also, we've received some great advice and support from The Roy Peck Trust, The Committee to Protect Journalists, and a couple Frontline producers. And some cops. But still... I have insurance, but I figure that's good for one theft at best (and even one would hurt my premium). I just want to be able to say, "OK, you have have the equipment" without going broke. I just want to be able to back away from the equipment without even briefly (and stupidly) thinking about the cost... And on a fairly low-risk story in "typical" city neighborhoods. ===== So anyway, we've been doing me on sound and my partner on camera. Already stopped using a boom and cans on some days; instead, a CS-M1 on a handgrip, and a single earbud (and wireless & recorder). We may shift to two small cameras, one focusing on sound, the other on picture... Just so we can be lower profile, and maybe have a slightly increased chance of only being robbed of half our equipment... One advantage of body-pack recorders: I'm guessing they're more likely to not get stolen and then we'd at least have some audio (I don't want to ask thieves if we can keep the cards). I REALLY appreciate the comments and suggestions so far. And I'd love to read more.
  19. Working on a public-affairs documentary. Almost robbed a few days ago. Neighbor, a TV camop, has been robbed twice this year while on stories. Not isolated events. Some guns. Plenty of you have heard the stories. So lots of rethinking going on. Key questions: Should we shift or just drop this story? If we continue, how can we stay safe? [Edit: To be clear, this isn't war photography, "hanging with criminals while they do crimes," or anything. Just following some public-health and similar people while they do their work. And also, load in and load out of buildings in neighborhoods with increasingly brazen smash-and-grab theft and robbery.] But the question I'm asking here: What's the lowest-profile and least-expensive wireless equipment we can use to get the footage we need? Also thinking about small body pack recorders such as Tentacle's hard to find Track E; but let's stick with wireless right now. Not really wanting to risk losing my main systems (Lectro). I'm specifically asking about people's experience here with low-cost wireless systems. What are people's first-hand experiences with Rode Wireless Go and similar 2.4GHz (or whatever) systems? By "first-hand" let's say used them in the field or worked with tracks from these systems. Bonus for small RX, btw. With a better than the bundled mic, are they acceptable for documentary dialog (ie- not for interviews, etc)? In a big-city downtown environment, what sort of range did you get when TX were placed normally (ie- not the TX clipped to front of shirt)? Almost no range? Too many dropouts? Just get some used(?) G3 systems or something? Which systems have you used successfully? If you've tried and been unsatisfied with these inexpensive systems, let me know that, too. Thanks.
  20. I think you're right about Beato's skill with the interview. Like at the beginning where he (fake) casually says, "[Your song that] uses the aeolian mode with a flat 6..." and then pulls back to describe the notes as surprises... Seems like Sting thinks, "Oh, this guy knows what's up musically, but not in a pedantic way...OK, I'll really talk to him... And hell, this may be fun." I haven't watched the whole thing, but will check out the rest. Thanks! So great that it was a fun gig for you!
  21. Paul, even after following the (not self-evident) mounting steps in the video Daniel posted above? That video may help avoid some potential problems... I'm not challenging your experience, just trying to figure out if the 4097 with a Windkiller will be useful to me... Thanks!
  22. Here's a 5:35 explainer video from the Imperial War Museum. And here's a 2018 blog from Coda to Coda, the sound design firm, with some info, some pix, and a reference to Laurie Anderson. Making a New World: Armistice Soundwave
  23. From HowSound on Transom.org (a great podcast and site, that describes itself as, "A Showcase and Workshop for New Public Radio"). A Sonic Conjuring (Rerun) by Rob Rosenthal | 11.09.21 Take a look at the photo above, the two strips of film from the collection at the Imperial War Museum in London. They document the sound of Armistice Day, the end of World War I, and the silencing of artillery. On the left, the war at full tilt a minute before the end of the war. On the right, peace — a minute after the end of the war. The juxtaposition is startling. Part of the film is missing, though. A full two minutes documenting the actual end of the war at 11 am on the 11th day of the 11th month, 1918. In 2018, for the hundredth anniversary of the war’s end, the museum reached out to a sound design company, Coda to Coda, and asked if they could produce an audio file of those missing minutes — to fill the gap between war and peace, sonically. They said yes, but the task was not easy. Those waveforms on the film aren’t actual sound. They’re just shadows depicting the sound captured on film. In other words, the staff at Coda to Coda couldn’t just take a listen to a recording, then reconstruct what might be missing. They had to learn to “read” the waveforms without hearing them. The story of what those waveforms are, and how Will Worsley and Sam Britton at Coda to Coda conjured the war in sound, on this archive episode of HowSound. You can listen to the 12:10 audio story and download a transcript here: https://transom.org/2021/a-sonic-conjuring-rerun
  24. “I Don’t Come Onstage To Pose and Play Some Pyrotechnic Scales. It’s To Kick Some Serious Ass”: Dick Dale Talks Gigs and Gear By Elliot Stephen Cohen 3 days ago In this priceless 2017 interview the King of Surf Guitar reveals how he helped develop the sound of electric guitar music alongside the legendary Leo Fender. From Guitar Player: https://www.guitarplayer.com/players/i-dont-come-onstage-to-pose-and-play-some-pyrotechnic-scales-its-to-kick-some-serious-ass-dick-dale-talks-gigs-and-gear
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