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RPSharman

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Everything posted by RPSharman

  1. Searching for a splitter

    Seems like a lot of trouble. Why not just record an emergency mix if you want to run a back-up? I know this has been discussed a lot, but with carts needing to get smaller and smaller with more and more practical locations and less and less preparation, seems logical to just ditch the back-up. I haven't run one in 6 or 7 years, without regret.
  2. Question about passive splitter for bag use

    That is correct. You can use two different kinds of antennas, but you need two different antennas for sure. Two antennas, two splitters, into two receiver antenna inputs.
  3. Question about passive splitter for bag use

    Unless it isn't clear. Two antennas. Two splitters. Two antenna inputs on each receiver.
  4. Question about passive splitter for bag use

    With great success, I use the 3-way passive splitter with 3 x 411a receivers on a process trailer - using 25ft of high loss 50 ohm BNC cable. The factor which gives me success is putting the antennas on the back of the truck, only 15ft or so from the car with the actors in it. But I have also used this rig with free driving, or on a mini cart. In all cases, the fact that the antennas were clear of as many obstacles as possible was enough to compensate for the loss in the system. There's a lot of science to all of this, and the biggest misconception is increasing transmitter power will improve range. I can't tell you the number of mixers who struggle with reception, and are convinced they're doing everything they can by using powered antennas and running their transmitters at 250mW. There are other mixers who have no issues at all running SSMs at 50mW. My experience has been to only add cable if it will significantly improve line of sight, enough to compensate for line loss. I have never used powered antennas, and almost always run at 100mW. The few times I've gone to 250mW seems to have made virtually no difference.
  5. Lectrosonics UCR211 problem!

    14 years is an eternity for most electronics. That said, I still have 200 series, and they still work. That's what makes Lectro so great! I have 411s of similar vintage, and first run SMs that are getting long in the tooth. Given the abuse these things take, it's nothing short of a miracle they work as long as they do. My "very old" comment was simply to say that at some point, everything fails. Based on the latest description, I'd say perhaps there's dirt build up on/around the white plastic part of the switch cover that is perhaps misaligning the connection. With the cover off, a little deoxit gold applied with a q-tip to clean the sleeve and button might help, as it also contains a lubricant.
  6. Lectrosonics UCR211 problem!

    If it's going in anyway, there's no harm in opening the top and trying to clean it out, in case there is dirt in the switches. If you send it in, have them replace the on/off switch too while they are in there. And the other buttons too. Same service charge.
  7. Lectrosonics UCR211 problem!

    The 211 is a very old receiver. The button has likely failed. Sorry, but there really isn't any other explanation.
  8. Cantar X3 Mini

    I saw the Aaton Wisy demo at Trew Audio the other day. It was seriously impressive. THey're not quite there yet in terms of how to display multiple receivers and menus to allow seeing 2 or 10 receivers, and how to select the one you want to adjust, etc. But they're very close! Wisy has some seriously amazing tech, but if anything rather big and heavy transmitters. The receivers will be across all blocks, and ought to be able to tune in other manufacturers, and their new antennas can not only supply varying amounts of gain, but can also apply an RF filter to block out everything on either side of where you're transmitting.
  9. Reblocking question / Looking for suggestions

    Someone has just requested to buy B25 SRB on JWSound - I'd sell it to them and buy another SRC
  10. I am so disappointed. I can only hope they have something amazing, and it wasn't quite ready to show.
  11. So... Nothing new from SD at NAB, I guess.

    This is why I don’t really expect to see something new and high-end from SD. It was just some wishful thinking. There’s probably very little profit in a machine like that unless you charge $12k+, and that’s never been SD’s style. They’ve locked in the upper/middle market with 6-series, they’ve brought in the less expensive market with the great MixPres, and they’ll surely bring Audio Limited some new business. Makes sense to let Zaxcom and Aaton chase the “elite”.
  12. So... Nothing new from SD at NAB, I guess.

    Still lacks outputs for feature and TV cart mixers. Lots of great products out there for everyone else. If you want a panel, they already have that with the very successful CL12, which works with 664,633,688 and is superior. What I am hoping for is a higher end recorder with a higher end mix panel to compete with Cantar and Zaxcom.
  13. Sound Devices recorders - which way to go?

    12 inputs with limiters and easily accessible gain on all inputs would be ok for now. But seems unlikely I’d buy anything with fewer than 16 inputs. Buying a high end wireless company indicates a business decision and has nothing to do with recorders.
  14. The "Best client/producer/agency quotes" thread

    “Camera reloads” ”We don’t have time to reload. We’ve got to shoot!!!”
  15. Sound Devices recorders - which way to go?

    I’m not criticizing either, but I can no longer get away with 8 inputs and want to stay with SD. 970 isn’t an option with my setup, and frankly the 6-series isn’t enough for me either. I’ll hobble along as long as I can, but soon I’ll need something new. I don’t see how buying a wireless company has anything to do with making new recorders. They’re just making themselves a stronger and more diversified company. I’m hopeful they’ll come out with something, but I don’t believe there’s much profit in it, and I fear they’ll stick to a sensible business plan. As they should.
  16. Sound Devices recorders - which way to go?

    EXACTLY Unfortunately, unless SD comes out at NAB with some great machine to compete with D24 or X3, they might as well not do it at all. I was thinking about it yesterday. There are only a few types of mixers that would want or use this type of item. One - A few remaining relics like me who want to hold onto my analog board, and need something to plug the outputs into. Two - Mixers who are on high track counts and bigger cart setups who are on Midas or Yamaha or the like, with Dante, that already have the 970 as a great option. Three - Mixers who are perfectly happy with the 688/CL12 combo, and who likely won't want to spend the extra money if they're happy with the current situation. There seems to be no profit in developing and manufacturing a whole new box. I hope I am wrong.
  17. Sound Devices recorders - which way to go?

    We know Zaxcom will tell you about a machine. Sound Devices will just appear with one. It's doubtful it'll be a new 6-series. Those machines are doing well as is. If they're planning anything at all, I really hope they're going high end, to compete with the Deva 24 and Cantar X3.
  18. Sound Devices recorders - which way to go?

    If only we could know for sure!!
  19. These contracts can be deemed invalid by any good lawyer as they can be seen as signed under duress as a condition of employment, without ample notice or representation. You also can’t sign away your legal rights. Flat rates are illegal. For a one day job, I’d sign and move on. For a long job, it’d be worth a conversation. The language in the beginning talks about the program not the production. So they’re saying if you are sued for recording someone, you won’t hold them responsible. Seems like a pretty unlikely scenario. But if that’s a possibility in the job you’re doing, then something to consider.
  20. Sound Devices recorders - which way to go?

    They are all machines of exceptionally high quality. It just depends on what you want it to do, and what you can afford to spend. I love my 664, but I have used 633 before too, and it's also great. I also have my 788T, which I like for many reasons and use as my primary machine, for now, but I prefer the analog front end of the 664. I still think nothing compares to the 442/744T combo. It's really just splitting hairs.
  21. How to wire a hairy talent

    I did one show with a crazy necklace they wanted the lead to wear. We had several walk and talks scripted. The character was frantic and walked briskly. I basically said that I would be happy to do whatever they wanted. If they wanted ADR and the necklace, I can do that. Happy to do it. But if they want to not have to ADR, then a different solution was required. They chose not to ADR.
  22. How to wire a hairy talent

    You need to have a real conversation with the costume designer and involve the producer if necessary. The compromise of an unseen undershirt in order to get better sound tracks should be made. Honestly, we're a department head too. Why are people so afraid of other department heads? We are their equals. If you need undershirts to get sound, then have them put on undershirts FFS!
  23. Gear Appraisal

    This is a pretty crazy topic. I think anyone who has been in the business for a while knows the resale value of the gear they have. Just agree to a number on each piece of gear, and move on. I did it when I needed to have a value for my gear. But there are many values. The value as a package. The value as a package for immediate sale. The value of a package for a less urgent sale. The same for each individual item. The problem in your case will be that one of you might have a couple of 211s that are worth $800 total, and another of you might have an SRC that's worth let's say $2800. They do the same thing. If you show up with 211s and turn in good tracks, or your partner shows up with an SRC and turns in good tracks, your rental will be the same. So really those pieces of gear have the same "value" in terms of your business. The best way to handle this, in my opinion, is to split proceeds 3 ways and share the gear your have already (assuming you all have a pretty comprehensive package). New gear acquisitions can be purchased by the company as required to improve the business. Good luck.
  24. When Production doesn’t rent your kit

    Yes. WB requires use of their equipment for WB produced TV shows shot on the WB lot, but that's it. They used to offer the mixer the higher daily rate, sometimes a 12 hour guarantee, and often little "kit rental" as compensation. No more, however. If you are on a WB TV show, you're on a weekly rate with no kit rental or guarantee. But for someone without a lot of gear, just moving up, or looking to simplify their career a bit, it's a very good opportunity.
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