joecrabb

How does the Senator weigh in on this?

Hey guys. I use exposed mics for a lot of the work that I do, and while I prefer the sound of the Sanken COS11's, their tie clips can be a bit annoying. If you need to switch the direction of the clip from the left to the right lapel for example, you have to remove the mic from the clip to turn it around. I always liked the way my Sennheiser MKE2's can spin in their "double tie clip", but the little plastic "post" piece grabs the cable instead of the mic, so it wouldn't work for the longer Sankens. I found these clips online that are designed to grab the Sanken by the shaft and fit into the Sennheiser tie clip. So far I love them. He's got them listed on ebay--Mic Clip Adapter | eBay And he also has a website --157 Clip | Clip Adapter for Lavalier Microphones

Senator: Yes I'm serious. Absolutely I agree that this is a specialized situation requiring a specialized mic. That's why I asked for suggestions. I realize that dynamics are best for high SPL's (thus the 58's), I just want to know if there's anyone out there who has worked with something that I don't know about that's ideally suited for this purpose. In other words...exactly the reason that this forum exists. Eric: Yeah, the 1000' run has me worried also, I've never tried anything approaching that distance that wasn't a line level signal.

Hi all, So I'm looking for suggestions for a specific use microphone. A client is looking to set a permanent installation outdoors to record a rocket launch. What I'm asking for suggestions about is an extremely rugged mic (weather issues) that can handle super high SPL's and still get a good signal with up to 1000' cable runs. I'm not sure yet if building a small shelter over the mic(s) is an option or not to help with the weather. Current thoughts are a mix of Shure sm58's and sm27's at various distances from the launch area. Any thoughts? thanks Joe

I've got a friend who's looking for a mixer in Austin on March 30-April 7. I'm not totally up on the exact gig, but from what I gather, its a sit down interview gig. Recording straight to camera (not sure what camera), small ENG kit. No idea what the rate is, but it's not going to be commercial rates I can guess. Probably low, but fair. Negotiate what you can get Her name is Kurra and her contact info is: kht.turner@gmail.com She's an awsome person, if stymied by her budget *shrug* Sent from my iPhone using Tapatalk

Hi Orlando peeps. I've got a friend who's looking for a mixer in Orlando on March 21-23. I'm not totally up on the exact gig, but from what I gather, its an audience reaction after a play gig. Recording straight to camera (not sure what camera), small ENG kit (boom, handmic, no wireless needed). No idea what the rate is, but it's not going to be commercial rates I can guess. Probably low, but fair. Her name is Kurra and her contact info is: kht.turner@gmail.com She's an awsome person, if stymied by her budget *shrug*

As a fellow owner, Steve, I put in my vote for a little depth on the offensive line. It would be nice to have a semblance of a running game.

Wow! Thanks everyone. That's a great jumping off point for what to suggest to them. The computer as a recorder option won't fly with them for whatever reason, it was actually the first thing I suggested. They have a 16 channel analog Mackie (1602 I think) built in already and are looking to use that as the start of the chain. I'll let you know what they end up with. In the meantime, we'll keep using the Fusion and I'll keep being happy with the lovely tracks that I get with it

So here's the deal... I've got a client that is putting together a "live truck" to be used for internet content. They understand the concept of good gear and they always pay the rates, both for mixing and for rental gear. The question is, they are asking me to recommend a low end multitrack recorder to live in the truck for those times when they need to have a multitrack. Currently when that happens, I'll bring in a 788T or a Deva Fusion to handle the job (depending on which one my sources has available). I have told them that the best item for them is the 788T, (easy of use, versatility, cost) but there's no way they are going to spend that amount to buy the unit. They are throwing the Zoom R16 or R24 out there as options (purely cost based) and I honestly don't know anything other than the professional gear, so I can't speak to how those would work. I've had all of the conversations with them about quality, pointing out that you get what you pay for..., in the end, spending the money is always worth it..., etc., but they are dead set on buying a cheapo system. They will still rent a "real" recorder from me when the situation requires it, but there are other times when the budget will dictate using this new one. My question is, does anyone have any suggestions for what might be a good low cost recorder in this situation? I'm going to have to use whatever they end up with at some time or another, so I'd like to at least steer them in the right direction, but I don't really know the lower end "garage band" recorders that well. Also, if there's one that'd fit in a rack mount, that's a bonus (space is limited in the truck) Thanks for any feedback. Joe

That's awesome! Congratulations!

That seems to be the one! Thanks Matt. It's the wiring diagram on the bottom of the page.

I checked around on the forum first to see if this was posted already, but I can't seem to find it. Does anyone have the correct wiring for a Line to Mic built in padded cable--TA5f to XLRF? I use it for taking a feed from the mixer when I'm working a behind the scenes gig, and mine went to shit on a gig recently. I built the cable originally 15 years ago, using resistors from Radio Shack and an odd wiring scheme and I can't for the life of me remember how I did it, also I can't really decipher it. It worked like a champ for all that time...and then it didn't. Anyway, I have a workaround in the meantime, but I'd like to rebuild it if someone can remind me what I did lo those many years ago... Or perhaps you have a cleaner neater way of soldering it (mine was kinda bulky inside the connector).

+1 On top of that I always stipulate that the 5 hours is portal-to-portal, 70% rate, 100% gear. That way, if it's a true half-day, i.e. a single interview lasting a few minutes, no b-roll, everyone is happy. I explain this up front to the producers who seem to appreciate the openness. I have had one producer try to ambitiously fit the day into 5 hours the first time I worked with him, but when it went over he gladly bumped my rate to a full day. We even finished within the 5 hours, but I still had drive time. Because I was upfront about my rates, he totally understood. I probably would have caved on the rate since it was just for the drive time, but he said, "A deal is a deal." I've worked with him ever since. He's one of my favorite clients, if he asks me for a break on a rate because he's getting squeezed, I will always work with him on the rate, but if he has the money, he will always pay my rate without question. Also, now when he asks me for a half day, I know the day isn't going to be for more than 1-2 hours. If I'm free I'll always take the day with him.

I always say, "We are looking to find the air gap." Then I point out that it's much easier to hide mics on women than men, this always seems to make the less savvy smile and lightens the mood considerably.

If I see a frame of The Princess Bride, I'm hooked for the long haul. Sometimes I have to quote the dialogue in time with the movie. "Inconceivable" "You keep on using that word. I do not think it means what you think it means."