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Everything posted by daniel

  1. Sound Devices Wireless (rebranded Audio Ltd)

    "I think the author of the article may have got his wires crossed. " He should have gone wireless.
  2. OT, but under the premise of 'disruptive' (and I don't mean the noisy gimbal), I wonder if someone, somewhere is close to reinventing the audio boom pole: https://shop.redrockmicro.com/product/digiboom-single/
  3. Induction Kitchen Nightmare

    Good to know. IIRC, my mid range sennheiser RMs were sensitive to the cauterising, the cheap Sony UWPs (i had as back up) worked fine.
  4. Induction Kitchen Nightmare

    I've had problems when recording surgical operations when they use a Electrocauter for cauterisation. I think it's creating a mini arc which results in a 'splat' on the channels of some radio mic (and a smell of burning flesh).
  5. Sound Devices recorders - which way to go?

    Obviously being just a humble bag guy there's something I'm missing here. I thought 688 and 788 were doing alright on carts and X3, 970 (and soon D24) are amongst the options available for higher track count work. Why rush a product to market? Aaton have delivered a 24 track machine in the last couple of years, Zaxcom are doing so, SD will do soon enough, hopefully taking advantage of their recent acquisitions when they do so. If they weren't interested in high end, why would they buy Audio Ltd? I don't get the pessimism or the why what they are doing is some kind of inconvenience. They have a wider range of mixer-recorders than any other manufacturer and look solid for it.
  6. Sound Devices recorders - which way to go?

    Lol. Is this really so bad? And why are you so sure it's at the expense of a high end recorder? If they are doing a control surface it'll be interesting to see how they feature and price the accessory.
  7. Bling your kit

    I would pay up for ultralight titanium XLR connectors - neutrik.
  8. When Production doesn’t rent your kit

    For me, it depends :-) - 1 way to look at it is to consider what you are 'saying' by how you manage the situation. I was booked on a live satellite broadcast last week. The week before I try to discuss some technical details with the client - not much by way of reply except to say they'd provide kit. Fair enough. In the end, I elected to bring a few bits and pieces I thought would make my life easier - most of them stayed in the bag. There were some technical matters which I had hoped to preempt when I first made contact the week before. End of the day, I supplied a bit more than asked for despite their lack of engagement and the technicals were resolved by me despite not having right equipment to do so (which I would have supplied given the chance). Early days for me and them, maybe I'll get bored with their 'lack', maybe I become their 'go to guy' because i was credible and showed willing. I do understand being 'generous' with gear invested in as part of a business plan can be counter productive but sometimes a 'loss leader' has it's place.
  9. Which needs an IFB or Nomad at the other end?
  10. Best Reporters Microphone

    I like that a few plug in transmitters have the option for headphones output, then the reporter can have a listen in to what s/he is doing with their earphones while they're shooting, and hopefully fix it themselves! (if their ears are not painted on....) I can only think of 1 (Røde), what the others?
  11. Sound Devices MixPre-3 vs Zoom F4

    So what solders are you recommending? I got the impression Inari was referencing the (mogami) balanced / quad cables and the connectors to indicate how potential RFI issues were mitigated. I was not aware particular solders had a bearing on this.
  12. Best Reporters Microphone

    I carry an RE50 - as much for a provisional VO as anything. NB. You'll often see a BBC reporter using a MKH60/416 as a reporter's mic - generally they hold it quite low and it is less conspicuous in frame (than RE50) especially when interviewing someone as the mic is re-angled instead of moved from mouth to mouth. I find the results quite good, even when used close to mouth (in a noisy environment, with HPF). MKH60 with HPF has virtually no handling noise btw. Of course, there are advantages to having a something like an RE50 ie. cheap, tough, doesn't need phantom and if the environment is really, really noisy then it will better under the nose than the shotgun. But a 416 handheld with HPF is quite workable in a lot of reporting situations.
  13. Show me your bag

    It is quite handy to detach the cable (when not in use :-). I've been using these for a while, which you can plug the cable into either side. I let the curly cable retract into side pocket of bag which seems to make headphones easier to stow.
  14. Sound Devices MixPre-3 vs Zoom F4

    Nicely done!
  15. Yep, I think I said as much many pages ago on this thread. DOP-Director had an Aaton XTR and 2 SNs, 1 piggybacked onto the SQN3m and the other with a lot of velcro he used to attach it to the camera mags (for OMBing). IIRC we had a blooper box for sync. He'd been using this set up since the since the 80's when he filmed the Afghan-Russian war (from both sides!). I actually got in contact with him last year to see if he'd sell me 1 of the recorders :-(. We were filming a salvage operation in the Med, early noughties, in quite a challenging environment. Although I was quite excited to be using such a piece of kit, coming from DAT, changing reels in some quite horrendous conditions was not so much fun (it took me 2 hands to do the procedure and something for me to wedge myself against). Fortunately he was still using his XTR (instead of video), so I was usually ready before he was (as i didn't need to faff around with a daylight changing bag, lol, remember those?). My favourite things about it were the size (considering it was 3 I/P) and the hand crank. Least favourite thing about it was the thought of dropping a spool onto the open deck of a ship pitching and rolling (yes, I did have the lid on but you never know). I also made sure i carried it such a way as to be able to get it all off me quickly in case I ended up going over board, it was a scary gig TBH - the director nearly died when a piece of marine equipment landed on him, we had a fire on board, heavy gear loose in stowage, floods, backfiring MSD and a nightly roach cull in the 'mess'. Needless to say, I got the gig when a more experienced colleague declined the offer. The ships engine rooms guys were great and I had some fun evenings with the PlayStation and their Filipino food, the rest of the ships crew were repulsive and to have 1s safety dependent on them was a bit uncomfortable, especially after the accident to the director who was 5 days from getting the medical treatment he needed. The SN was probably the best thing about the whole month.
  16. I have a medical advisory board gig pencilled and was considering stacking 2 x 10Ts to get the track count (20) instead of lugging a Joe Co and the rest through an airport. Client not asking for a mix down (as they want to transcribe each speaker separately) but i was going send 5 groups of 4 to my 633 for an automixed monitor O/P, blah blah blah. A cascade feature for these recorders, to put a mix of all I/Ps onto 1 recorder would have been pretty cool - I am guessing it's not possible to add this to the USB connectors through firmware.
  17. Sound Devices MixPre-3 vs Zoom F4

    I voted for M.P.3 but if you want a control surface on a budget then the Zoom is a lot cheaper than anything else.
  18. On My Radio

  19. The acquisition of Audio Ltd suggests (to me) they intend to continue to develop the production sound side of business. An MI variant of an existing model (costing less than 1 channel of A10) seems like a obvious way to maximise the return from R&D in a product line. I've no idea of the actual numbers, but if a small tweak to an existing product opens sales up in another, much bigger sector, then I can imagine the increase in sales might be quite significant, which would hopefully mean more money to spend on R&D (of a bigger PS recorder?) and possibly more acquisitions. Personally, I find this more interesting than some of the legal stuff we've seen over the last few years (even if 1 is not a counter point to the other :-). 3 of the other 4 brands, seems to have concentrated on developing top end recorders and conceptually I like the way Sonosax have done so with a modular system that allows for relatively cheap entry point but can be scaled up (perhaps not quite to the level of an X3 or Deva24). I'd really like to see the granddaddy of brands synonymous with PS, squeeze the something like their 'VI' into a 'VII' sized box - but everyone has given up on this I think.
  20. Really? I didn't think either of those 2 brands were in a position to supply gear to as many countries and people as SD have. Of course I don't know the numbers but just guessing from what rental houses (outside US) stock.
  21. From Post to Field recording

    "Production will (have to) pay for it and you can save up for your own gear to buy later." Another perspective: Production should pay for kit but sometimes the rate on offer isn't covering it (and your daily rate the union would advise). And honestly, I don't believe many of us haven't got involved in 'loss-leaders' to get some experience or foster a new client. For 20 years I've worked in an industry full of folks coming from wealthy backgrounds who've thrown big money (1 way or another) to get a foot hold. People don't like to admit privilege was a part of their story or they took a hit to get on or brand names are part of their marketing but make no mistake, these are significant for owner operators and rental houses (who your kit package will be compared to). If you've got the money to invest in a career you really want, do it. The more expensive gear holds it's price better and why learn how to make crappy stuff work when there's more fun and a better rate making the better/best stuff work. Worse case scenario, you sell it. So you loose a bit, but it's not earning much interest in a bank account, so you invest in crypto currency or property instead? If you buy what you know you need at least you can say you gave it your best shot. In some of our markets it cost c.50k and takes 3 years to get an average degree - with no guarantees at the end of it. Well paying careers in creative industries are being chased by folks who've got the 'safe' degree (their parents wanted them to have) and then gone on to do another degree in something they 'really' want to do, often at independent institutions like SAE. I'm sure as an analogy this is not perfect, but if you consider the majority of taxis rides are taken by 1 passenger, it might be said a 3 door hatchback is a legitimate way to get into the trade but the reality is, when people book an uber or a minicab they expect to see a luxury german/swedish/japonese luxury saloon/estate/people carrier and would (rightly or wrongly) question the credibility of the driver who turns up in a hatchback. Sure, film and video production is an industry but it's not an industry like mining megatons of iron ore or producing chipsets for mobile phones - self marketing is a big part it.
  22. Content Jobs

    Although the definition (above) is applies, for me 'content' (in this context) has come to mean video content along with other types of content (text, photos, games etc) - very few sites have standalone video. My content(ment) with a new media production is proportional to the remuneration (as it is generally for me, with most booked work :-).
  23. 633 firmware improvements

    +1 "I would also l would love to be able to move the cursor through the text without deleting the text." (don't always want to be using wingman to text entry) I would like development of X1/2 routing. At present the short cut on PFL overrides what you may have done in the 'routing' screen but can only be restored by going back to the routing screen - this is a bit annoying especially if you had assigned the mix to go to X1/2 and made a mistake when in 'PFL'. I'm guessing the logic is a quick allocation of individual channels to the Aux bus would be more critical (and so takes precedence over) maintaining a mix on Aux that you probably have on Main Mix. 1 toggle of the PFL and another of the X1/2 option undoes and action which takes pressing MENU > I/P > AUX Routing and then scrolling and clicking the encoder. Further more you can't send MIX AND ISO to Aux1/2 - which is a shame because when I use the Dugan Automix I sometimes want to combine this with manually faded elements, using the Aux bus feels safer than doing this on Main bus. being able to invert phase of individual element going to Aux1/2 would also be advantageous for a mix-minus. There is something of this logic replicated in the the editing of track names. You can save previously used track names and scroll through these if you are going via the Menu key but if you go through PFL you have to manually type them in - a drop down with the previous options (via the PFL) would be very nice.
  24. The Lav Mic in the Uniform

    Probably not of use to you Jan, but I often find myself thinking about a kind of hybrid 'wardrobe/props-sound department' when dealing with a noisy outfit but with loads or potential for cleaver ways to hide mics. Buttons, chin straps, pens, stethoscopes, mobile phone ear buds, walkie-talkie antenna, badges, necklaces and jewellery, lanyards, prosthetics, hair extensions, spectacles etc. Probably not too practical in reality as swapping out a lav could be nightmarish. I saw somene had tried doing lav concealment jewellery. I do a thing with a little bit rubber cord and a røde concealer, which effectively turns the lav into a pendant/necklace where the lave wire goes over the shoulder (to the belt pack), it's not really meant for 'view', more a way of quickly getting a mic on someone and repositioned when necessary because it doesn't need to be stuck to anything so changes in the layers of costume are easier to accommodate.
  25. The "Best client/producer/agency quotes" thread

    Run a second recorder (zoom h1) at 96khz from O/Ps from the 48khz recorder (sound devices) - and charge them an extra 50 - until they say stop.