Jim Feeley

I *think* the Super-Shield and the Super-Blimp are mostly the same. My memory is the the Super-Blimp was made specifically for some Rode microphones...perhaps it was some sort of cross-promotion or bundle. Maybe check to see if they have the same strength Lyre mounts... If those are the same (and they're what you want for a 416) and the Super-Blimp is a lot less expensive, then maybe it'll work just fine. Perhaps compare the isolation you get with the Super-Shield's cable compared to Rycote's (more expensive) Modular Windshield with its conn box.

Huh. I had a different take. Considering how noisy drones are and that the noise reduction was pretty much real time, I thought the noise reduction was pretty impressive. Sure the dialog didn't sound great, but it was fairly clear. And as a device for search & rescue (which is one of the described uses), perhaps it could be useful.

Maybe a mix of the first Cantar being pre RoHS (ie- perhaps some parts weren't compliant), and Aaton being acquired by Transvideo 10ish years after the first Cantar was released? But that's just me guessing. Worth contacting Aaton (or a good dealer)....

Here's the Summary Of Investigation report from New Mexico OHSB. Eleven pages (but big type) detailing the producers' "plain indifference to the recognized hazards associated with the use of firearms on set." Some sad details of what led to the avoidable tragedy. https://www.env.nm.gov/occupational_health_safety/wp-content/uploads/sites/12/2022/04/2022-04-19-NM-OSHA-Rust-Summary-of-Investigation.pdf And the local paper says, "It’s unclear what impact the environment department’s findings could have on the multiple lawsuits filed against Baldwin, or the ongoing criminal investigation into the incident.... Santa Fe County Sheriff Adan Mendoza said the department is working on a news release for Monday to update the investigation." Rust Movie Productions Fined New Mexico Environment Department concludes production company knew safety procedures were not being followed before fatal shooting https://www.sfreporter.com/news/2022/04/20/rust-movie-productions-fined/ Baldwin's lawyer says the report exonerates Baldwin, but he's paid to say stuff like that. https://deadline.com/2022/04/alec-baldwin-lawyer-says-osha-report-exonerates-baldwin-1235007363/ Damn.

Great find Jon! Bill Thompson sure looks like he has the background to do a solid job with these conversions. (I'll ask him if he'll also do 416T-->416P 🙂)

I was talking with a friend about how hard it might be to restore a Wurlitzer electric piano, as one does, and that led to a chain of thoughts that led to a Google search that brought up this blast from the past. From Re/p, Sept 1970 (on that site Al McGuire discovered). https://worldradiohistory.com/Archive-All-Audio/Archive-Recording-Engineer/70s/Recording-1970-09.pdf Because of this mic and the tape recorder mod, Brad Miller sent Carl each Original Master Recording LP as they were released. I just dig that sort of thing...

Bernie, you have an older edition, and pretty much a different/narrower book, than the one ycainjo has. Ycainjo's book pretty much updates and expands on the one you have and the one osa has. So I've been in touch with the Routledge editors, and they're looking into all this. Basically---how can they make the files and perhaps website available again. Cool that they're responsive. Still waiting on a followup.

The Noises plugin from AudioThing and Hainbach looks pretty cool. Wonder how it pairs with iZotope RX... A 12-minute demo. Check out his old test equipment starting around 3:09:

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/

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)

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.

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.

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

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. ,

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...

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...

Allen, the metal pipes work well with my portable echo chamber (notice the wheels).

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]

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.

Thanks for the input everyone!

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)?

Pete, your earlier posts about the mic played a part in me giving it a try and then buying one. So thanks.

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)?

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/

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.