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Moesound

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  • Location
    Hollywood USA
  • About
    I'm Moe Chamberlain, and I mix commercials.
    My brother is the famous and talented Crew Chamberlain, who introduced me to this business 25 years ago. I love films and sound, wife and kids (and depending on the day, sometimes in that order!).
  • Interested in Sound for Picture
    Yes

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  1. Hello, and welcome. I guarantee you that Glen Trew can help you solve your dilemma. He is based in Nashville. Regards, Moe
  2. I was saddened to hear that John Coffey passed away recently. I’m sure that others who knew him better than I will have already heard this news, but I thought this sound community should know of his passing. His “ little shop that could “ up on Cahuenga here in LA was my first introduction to professional location sound equipment. He would let you walk out of there with thousands of dollars of gear on just a handshake. John would give you his home phone number in case you needed anything after hours or on weekends. Crazy way to run a business, but he made me a loyal customer up until the day he sold the place to Glen Trew. Here’s hoping you’re at peace, John. Regards, Moe
  3. Hello Ben, By bridging the ground to the shell, this solved our noise problem with the older mics we sometimes use, like the Neumann 81 & 82. With my Schoeps CMC641’s, no bridging was necessary. The original blue capped cables that Audio Ltd provided were useless, but the more recent ones work perfectly for us. We also made a couple of longer cables (around 18”) that seem to help. The other tips to avoid RF hash I’ve mentioned before. Hope this helps. Moe
  4. Doug, That is some excellent and well researched advice regarding the selling of our gear. I’m sure your experience will help all of those wondering how best to part with a careers worth of sound equipment when the time comes. Myself included. Thank you! Along those lines, a mixer and good friend of mine decided recently when he retired to sell his entire package for a shockingly low price, with the caveat that the buyer take it all, down to the very last adapter and carpet. As I happen to know both the buyer and seller, I know that this arrangement worked out very well for both parties. The retiring mixer cleared out his garage, made a fair dollar (all things considered), and paid it forward. The young mixer just starting out got a feature package, albeit slightly dated, for a song. Both were winners, and good karma prevailed. Moe
  5. While I haven’t used the X-1 or X-2, I do own the X-3 and X-3 Mini, and I have found the tech support from Aaton to be both timely and informative. They will be able to steer you in the right direction regarding hard drive replacement and CF bay. Regards, Moe
  6. We do this all the time on our show. You’ll need two Comtek systems. You mic the actor. However you send the directors feed to the actors (earwig, earbud, one ear), use one transmitter that’s sending only the VOG mic. The other transmitter (on a separate frequency, of course) you feed the actors mic. Director hears actor only, actor hears VOG only. Regards, Moe
  7. Many electric vans/cargo options on the near horizon. The market is there and will be filled soon, I believe. Been reading a lot about this very question, and it seems that most of the manufacturers have cargo vehicles in the pipeline. Here’s hoping! Best, Moe
  8. The man was ahead of his time! It was because of Jeff that more than a few of us bought our first Devas. Best, Moe
  9. Hey Fred, Here in the states, Sound and VTR are part of the same local (695) within the union (IA). That’s probably the reason. Regards, Moe
  10. Hello Fred, We just used some thin Canare cable, about 14 inches. No RFI filter. And yes, bridging ground to shell. I think the length of the cable helps, a lot. Regards, Moe
  11. Hello Fred, Yes, replacing the original Audio Ltd provided cables was practically the first thing I did. Those were useless. Once we made our own lemo to XLR, the hiss issue was solved...for my Schoeps anyway. For my older Neumann 81’s and 82’s, we still got the hiss. For those, we found that the hiss was present no matter what we did. Until we happened upon a strange solution: by placing electric tape over the release of the female XLR, slightly depressed, the problem was eliminated. We have since made a few new cables that bridge the ground, which we now use with our Neumann mics. Problem solved. The only suggestions I can make regarding the Schoeps, you probably already know. 1) You want to operate the A-10 on low power. 2) You need to use a late model Schoeps, or one updated to the gold backing. 3) You want to keep the cable as straight and extended as possible (we use a hair tie), and avoid crossing the antenna as much as possible. Warmest regards, Moe Hey Ronen, I don’t work out of a traditional “bag”, per se. The vast majority of my work is done off my cart. But I do run both digital and analog radio mics through the same Audio Wireless antenna distribution, with no issues. When I go “remote”, I use my Cantar Mini, 1 A-10 RX and 4 2040 analog RX’s through the same antenna distribution. So in theory, combing systems shouldn’t be an issue. But I can’t say for certain. According to another thread recently, some have had issues. Regards, Moe
  12. Hello Ronen, I’ve been using the A-10’s since they were released. We use them for our booms as well as on actors. They are my first 8 channels. If we get beyond that, I break out the older 2040 analog systems. Mainly we use DPA 4060’s, but also Sankens and in certain odd situations, the old Sonotrims. I’m a big fan of Audio Ltd, and have used their radio mics for many years now. Sound Devices owns them now, so I can’t comment on whether or not they are still built in England. The sound is the main factor in my choice. That should be the main consideration, in my opinion. You ask about battery life. We use 2 lithium AA’s, which get us 11 hours or so on the lowest power setting; 8 hours at medium; 5 to 6 on high. When powering a 48v Schoeps, at low power we get around 8 hours. The limiters are either on or off. We use them, and I find them to be virtually transparent. The mic preamp is excellent, as far as these things go. Obviously, it’s not a hard line into a Sonosax preamp, but for a radio mic, I’ve not heard better. Now, for the range. Keeping in mind that they are digital, I find for the most part that they compare favorably to most analog systems. Having said that, when used on talent I find that in general they don’t perform as well as my analog 2040’s...for the most part. Occasionally they are better, but not often. Mounted on a boom pole, we get exceptional range. As one would expect. I’ve done a number of antenna tests over the years, and now use the Lectrosonics SNA600 exclusively. Let me know if you have any specific questions, and I’ll do my best to answer. Regards, Moe
  13. Monte, Yes, I’m referring to a Schoeps CMC6, with a 41 capsule. Best mic ever, man Moe
  14. Hello Blackdawg, Preferences about subjective choices (such as microphones) seldom reveal anything new in such a small community as ours, mainly because there are relatively few to choose from. And everybody has a favorite and most of us think we’re right, and we never miss an opportunity to express our opinion. So I’ll continue the tradition: The CMIT is a fantastic microphone in the right circumstances (certain exteriors), but rarely my choice on any interior scene. That’s why I have one, and love it when the situation calls for it. But 90% of the time I choose the Schoeps 641. Interior and most exterior scenes it’s my first choice. But I’d say once or twice a year I’ll break out the old Neumann 82 (extreme wind, etc). Also, in the right hands and circumstances, a Neumann 81 is a handy old standby. BTW, you can’t go wrong with any of the mics you mentioned above. I’ve owned and used them all. There you have it: another old mixers opinion on the record! Regards, Moe
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