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Jim Feeley

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Everything posted by Jim Feeley

  1. Beer

    Interesting. Thanks. Seems like there's a bit of a(nother of the periodic) backlash(es) against overly-elaborate beer. Here's one from one of the original American better-beer breweries. I don't drink much and don't know much about beer, but this tasted OK to me (and I generally don't like this style of beer): Beer for Drinking There are days when you want a beer—just a beer—that hits all the right spots. Well, this is it. No snifters required, no special occasions—just an unfussy, uncomplicated, hoppy blonde ale brewed to fit in no matter where it goes. This isn’t beer for collecting, this is beer for drinking.
  2. SONY MDR-7506

    God yes. Dod you all remember this GREAT paper from REP about 30 years ago? Graphs and everything. Examining the Yamaha NS-10M “Tissue Paper Phenomenon”An Analysis of the Industry-Wide Practice of Using a Tissue-Paper Layer to Reduce High-Frequency OutputRecording Engineer/Producer Magazine, February 1986 – by Bob Hodas http://www.bobhodas.com/examining-the-yamaha-ns-10m.php
  3. When the DP goes really wide

    ...kept alive by the fans! ;-)
  4. Naked Audio

    To be clear, I was just joking. And as all our wild guesses show, you're right. Thanks for playing! :-)
  5. Naked Audio

    My guess is either no compression/dynamics processing during recording...or maybe capture the sounds of the pans, whisks, etc. But I guess the main meta-answer here is that "naked audio" doesn't seem to be a universal term in production sound so your-no-fun Johnny K has the best answer: ask the client. And then let us know what the heck they mean!
  6. Sound Devices Wireless (rebranded Audio Ltd)

    Nyuk, nyuk. Newsshooter is one of the better blog/mag/news sites covering production. But they have too many new-product stories (though that's understandable during NAB, IBC, etc), and not enough case studies & interviews, user reports/reviews, etc. And they really do need to step up the quality of their audio reporting; like a lot of sites run by camera peeps, they have this sort of "This $50,000 camera is OK but not perfect.... And this $200 microphone is AMAZING...as good as sheps!" (yes, my spelling there serves a purpose). But unlike a lot of blog/sites, I think most of the Newssshooter gang really do work in production. If they added a couple audio-savvy people to their crew, that'd be a good thing.
  7. Sound Devices Wireless (rebranded Audio Ltd)

    Maybe I missed it, but I spent 20min or so chatting with Sound Devices people about the new Audio Ltd systems. I don't recall any mention of "Sound Devices branded wireless transmitters and receivers." Could be they'd do that, but considering Audio Ltd's brand recognition, I guess I'd want confirmation from SD or someone here who heard it directly from SD.
  8. Zoom F8n.

    That's Samuel in the video in post #2. He sometimes posts here as ZoomOfficial. Today's the last day of the NAB trade show, but perhaps in a few days before he can fill us in a bit...
  9. So... Nothing new from SD at NAB, I guess.

    Maybe SD will release a MixPre 10M panel sometime after NAB (since it wouldn't really be a NAB product and why have it lost in the noise) and no later than late June for the Summer NAMM, a music industry show: https://www.namm.org/summer/2018 Or just whenever it's ready and available. :-)
  10. They plan to merge with PRG and during the re-org "will continue to provide our clients with the largest inventory of equipment and unmatched reliability and expertise." VER Announces Agreement to Merge with Production Resource Group LLC Receives Commitment of Financing to Support Its Continued Operations LOS ANGELES, April 5, 2018 /PRNewswire/ -- VER today announced that, as part of a comprehensive transaction supported by its second lien lenders, including funds managed by GSO Capital Partners, it has entered into an agreement to merge with an entity controlled by Production Resource Group LLC ("PRG"). To facilitate the implementation of this pre-negotiated transaction, VER today filed voluntary petitions for reorganization under Chapter 11 of the U.S. Bankruptcy Code in the U.S. Bankruptcy Court for the District of Delaware. These filings only affect the Company's North American operations. By uniting, PRG and VER will meet evolving client needs and offer solutions, resources and expertise in ways neither company could achieve independently. Clients will have access to an extraordinary array of equipment and services, and the most talented team in the industry. VER will continue operating in the normal course during the Chapter 11 process. Clients who have on-going productions as well as new clients who sign on with the company during the process, can be confident that their project will not be interrupted. Rest of the press release: https://www.prnewswire.com/news-releases/ver-announces-agreement-to-merge-with-production-resource-group-llc-300625134.html
  11. R.A.M.P.S./JWSOUND Party - NAB 2018

    Just about last call to register for our RAMPS/JWSound party. If you're planning on joining us, please register within the next two days so we know how much food to order. Also: The registration link and secret word has been passed around on various spots on the net. That might mean that Firefly is a bit crowded with mixers we don't know from here. Mixed bag (<--- almost a pun): more new people to meet, but we're getting close to capacity. Looks like we'll be fine and will all have a good time, but I ask that you not share this registration info elsewhere. We want to make sure all interested RAMPS/JWSound denizens get in. Does that sound good? (<-- almost another pun) So register now and see you next week.
  12. Sound Devices recorders - which way to go?

    I don't know. The press announcement says, "Audio Ltd., now a wholly-owned subsidiary of Sound Devices, continues to operate out of its Watford, UK offices with Kishore Patel and Lee Stone continuing as managing director and technical director, respectively." https://www.sounddevices.com/news/sound-devices-news/sound-devices-acquires-audio-ltd So perhaps the Wisconsin SD people will keep working on their stuff and let the UK-based people keep designing wireless. If SD basically acquired IP from Audio Ltd and didn't keep a lot of the staff (and I don't know how many staffers they kept), then I'd agree with you. But if SD is providing a stronger channel for Audio Ltd and some money for them to beef up their engineering and manufacturing teams, then it might not slow down mixer & recorder development. I guess we'll get some hints at NAB in a couple weeks (and more so at AES in the fall & NAB next year)...
  13. But you'll mostly likely need to pay a lawyer to get them to agree on that (or to get a court to force them to agree to that). But it's a good talking point. Then would you have a good case that you and not they hold the copyright to any audio recordings made during the gig? Who wants to go there, but perhaps an example of how the current wording of the deal memo probably doesn't work for either them or you. Even if the prodco is mostly honest, they may say "no one else has ever complained about this agreement." But you have a good list of questions in your above post. Send them an email or give them a call mid-morning Monday (since this is, after all, the weekend). Since you got the memo Friday night, that's a reasonable response time. Try to work things out, be ready to say "sorry, this doesn't work for me at this time." Then they can get someone else. When/if they complain about you bailing, a reasonable response is that the terms were nonstandard and left you too exposed, and you weren't informed of them when you agreed to the gig...you only saw them in their Friday-night memo. They last-minute negotiations are all on them (though you don't need to say it that way :-) ) And for the record, yep I've walked away from gigs because of contract terms like this...mainly my gut was telling me that the people didn't quite get how production usually works. Usually, my replacement had no issues. A couple of times, they had huge hassles getting paid and/or reimbursed for L&D. Good luck Bob!
  14. Insuremyequipment.com is a service from Heffernan, one of the three main brokers I hear about in my slice of the biz. The other two are Charles Whelan and Athos (Athos started by Kat Wong who, iirc, used to be at Heffernan). All have pretty good reputations, and they know are biz, are brokers rather than direct employees of a singular insurance company (I think), and are good about COIs, explaining what the hell is going on, etc. [Sidebar: I'd be grateful to hear people's recommendations for other brokers and agents that they've worked with] But will any insurance company offer liability insurance that covers a super-broad/blanket indemnity clause like the one Bob's facing? I'd guess (1) they don't offer such coverage or (2) they'd charge a super high premium... I think (1) is more likely...like "you're going to cover every dumbass thing they might do? And you're agreeing to be their E&O insurer? Yah right, friend." My liability and E&O insurance polices cover dumbass things I (or those I employ) might do...not dumbass things others might do. If the company is reasonable, I think they'll agree to drop the indemnification and hourly-rate stuff. But again, who there has the authority to make those changes to the contract? If they don't agree to the changes, walk away. I mean, probably nothing will happen, but why take the risk?
  15. I'd probably send it back unsigned with a note saying something like "there are a couple/few parts of the contract that don't work for me. Specifically, the indemnification section and the rate/OT section. As a policy, I don't indemnify companies that hire me. And I usually work on a 10-hour day plus overtime. In the attached PDF you'll see that I crossed out the indemnification section and added the rate/OT info in the margin. Should I sign this changed form, do you want to send me an updated contract, or do you want to talk about this? :-) I hope we can work this out." The problem, of course, could be that the person you're dealing with doesn't have the authority and/or experience to handle requested/needed contract changes. I deal with indemnification clauses all the time, though mainly in my jobs as a writer and producer. I can't count the number of times I've been asked to indemnify multibillion-dollar corporations from their own potential boneheaded actions. I've actually had some luck getting indemnification clauses changed or deleted, but it sometimes takes a week or two for things to go through their lawyers...For a one-day job where there are actual chances of tripping and injury, this might be a deal killer. Are indemnification policies enforceable? It depends, say lawyers I've worked with. Will the production company come after you? Probably not...but would their insurance company come after you to avoid paying a claim from their own pockets? Maybe.... and would you want to pay the legal fees (and huge hassle) to have a court declare an indemnification clause deemed invalid? Some good background reading: Indemnification Provisions in Contracts An indemnification provision allocates the risk and expense in the event of a breach, default, or misconduct by one of the parties. https://www.nolo.com/legal-encyclopedia/indemnification-provisions-contracts.html [This is general background from my go-to resource for legal & business info... doesn't replace the occasional need for a lawyer, but since Nolo's stuff is written and/or edited by lawyers, at least I understand the general issues I face] How to Deal with Warranty and Indemnification Clauses http://www.writersandeditors.com/blog.htm?post=869703 [This was targeted at the needs of writers and authors, but I've used this very language to get changes that publishers and a few production clients could live with] And insurance you can get. But not right away and it might take a while to get a policy that'll cover stuff like this (I have media perils insurance...which is sort of like a blanket Errors & Omissions policy...and general liability, but as you probably know, it's not something you can get delivered from Amazon in two days). Good luck Bob!
  16. Gear Appraisal

    Austin, any idea why they didn't want to do the appraisal? Concerns about liability, just don't want the hassle (even if you paid them for their time at something like their hourly repair rate), or what? Why do you want the appraisal? For insurance purposes, to establish how much $$/gear each person is contributing to the effort? Is the idea that you want a third party to give number that will stand up to scrutiny from insurers? Anyway, perhaps try an out-of-town reseller/rental house? I'm thinking someone like Trew who's big enough to perhaps have enough staff to have the bandwidth to take on the project for the right fee. Or maybe your insurance broker can recommend someone? Sorry I don't have much to offer...
  17. Bling your kit

    From Neutrik's description: Fancy, noble, valuable, attractive - the crystalCON connectors made with Swarovski crystals are eye catchers. That's awesome! Maybe those were made for the Eurovision Song Contest, April Fools, a particular artist, or something like that. Or maybe lots of people want them? Anyway, I've chatted with the Neutrik engineers/designers at a couple of trade shows. I had some questions about something, and they totally dug pictures of a crappy/oddball right-angle mod I'd done to one of their XLRM connectors. A nice bunch of people who clearly love their jobs and coming up with useful products. And occasionally products like crystalCON.
  18. When Production doesn’t rent your kit

    You crack me up! And that you may require on-the-clock time to reconfigure and reset the kit so it works as needed and expected. And you're still likely to be blamed when something out of your control goes wrong...
  19. Wireless upgrade Lectrosonics?

    I have six Lectro systems (very few compared to lots of people here). But since Lectro (and Zaxcom and other top brands) last a long time, you could consider looking at used systems. If you can get the frequency blocks that work in your neighborhood (sorry; I can't recall if things in the UK are as up in the air as are things here in the US), you can save a lot of money and get serious solid equipment at a reasonable price. One advantage of Lectro, beyond reliability and audio quality: you can drive over their transmitters with a truck. Yep, I've "tested" that feature. Ya, that's silly and atypical, but I do appreciate that their stuff holds up to the abuse I and the people I wire subject my equipment to.
  20. Best ENG boom pole

    Nothing against VDB poles; I've never used them but lots of mixers better than me do (and that's A LOT of mixers). But for my ENG/doc work, I think I prefer fewer sections. Mainly because as I go from office to elevator to car to field to press scrum while following someone around, I appreciate being able to collapse and extend my poles quickly... and in that case, fewer sections means fewer collars to twist. But then looks like Pindrop makes 6 sections works for him. I'm in the K-Tek camp and am happy with them (also have some old LTMs that are relegated to boom-on-stand use). But I find internal cables, either side or bottom exit (not that big a deal to me; probably just because I'm used to both and have enough other things to complain about). And I find a 9-foot (or so) pole to be a useful length... though sometimes an extra few feet (i.e.- a 12-foot pole) comes in handy, but then is less easy to collapse into tight spaces. I have a 6-foot "travel" pole which is a great backup when traveling, but is pretty short for lots of work... Manuel, since you're in LA, you can go try all the lengths out (lucky dude: we have no location audio dealers up here in the San Francisco area). Try a 9-foot pole from a few manufacturers... see if that length works for you. And then let us know what you decide!
  21. Wireless

    Arnold, looking at your recent posts, I see a lot of anti-Senator sentiment: http://jwsoundgroup.net/index.php?/profile/276-arnold-f/ I don't know the history, and I'll grant that Senator Mike is an acquired taste...as are all of us. But Mike's a good, smart, and generous guy. And as you can tell, on balance, there's a lot of good will towards him. I suggest following Elsa's advice: Life's too short. Best, Jim
  22. Best Reporters Microphone

    I think of the Sennheiser e835 as a budget mic live vocals rather than something for spoken word/reporting. I like the RE50L.... same as basic RE50, but with a longer handle... About 2 inches / 50mm longer, but that's just an estimate. GTS for specifics. I've also used a Sennheiser MD46 cardioid which is nice in noisier environments so long and whomever holds the mic takes just a bit of care with positioning the mic. Never seen the Rode in the wild, so no opinion. So if you're just buying one mic and don't know the person with the mic will know what they're doing, I'd go for the RE50L. But that's just one opinion.
  23. Next level on-camera microphone in M/S

    Interesting. Let us know how this works out for you in the field!
  24. R.A.M.P.S./JWSOUND Party - NAB 2018

    Hi Everyone, As we get closer to NAB, hopefully more people have decided if they will or won't be attending this year. If you will be at NAB and plan to attend the RAMPS/JWSound party, please RSVP as soon as you can. That really helps us plan the event. RSVP link: http://bit.ly/2BLf7ZH Secret word: Topstick Thanks!
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