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About berniebeaudry

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  • Birthday 07/25/1954

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  1. Totally agree with all the points JB made! And indeed the best reason is the last one. I really enjoyed meeting everyone in person the two times I was able to attend. Wish I could go this year but its not to be.
  2. Happy happy Birthday Jeff!
  3. Jim what's the deadline? I'm still trying to work some things out.
  4. I agree with John on the logistics of using a parabolic mic at a basketball game, but I do have to say with a full size, well tuned parab you could get you something if you're able to get into a spot that allows you to aim properly and if the coach and or players are shouting. Other factors would be if they're playing loud music and the crowd is really loud. When I do pro football with the units John mentioned I can actually hear stuff a very long distance away if the conditions are right. I don't know how much level there is at the mixer but there is something there. A basketball court is a much smaller area but that makes the background noise more concentrated. I don't have any experience with the smaller dishes like the Telinga but it would be far less obtrusive but would likely sound even thinner than a full sized dish.
  5. I have four of the LR/LT units and they are working well. My understanding is they are in between the 401 and 411 in terms of front end tracking. I don't have an issue with the controls being on the front. Not the most convenient but you adapt. I really appreciate the smaller size and lighter weight. I'm using battery replacers to power the receivers and all four are running into a PSC RF Multi SMA so I don't have the forest of antennas sticking out of the bag. My antennas are home brew coaxial dipoles.
  6. So you'd roll the cord onto the reel, then connect the next one to that and reel that one on and so on? Might be a slick way to do it if the connectors don't mess up the way the cable rolls onto the reel. You could have one reel for 25s and one for 50s so you can keep them sorted. The plastic ones wouldn't get too heavy I'm thinking.
  7. Very nice work! I have a D-4 as well and mounting it is often a serious hassle. The rx doesn't get powered directly from the battery from what I can see. Is that correct? How much do you charge for the D-4 mount?
  8. Give this one a try: They have a free trial too. I've gotten better results with this one compared to RX4.
  9. I have two of the Ikea chargers. The one issue I have is some of my older Eneloop Pro batteries won't charge in them. I can take them off of my Titanium charger (showing full charge) and put them on the Ikea charger and I get the x over the top of the battery icon. I can also put a depleted Eneloop Pro in it and it shows empty with the x over it and the battery won't charge. So its a little fussy that way. I have lots of the Ikea 2450 batteries and of course it works well with those. Some of my pros have damaged skins so I wonder if that's the issue. Here's a general NIMH battery question: Is it ok to leave the batteries in the chargers in between shoots? Say for a week or longer? Or is always best to charge the night before?
  10. That's a good price for that pump! I don't own one but I do have the braid. If I'm recycling xlrs I'll heat the solder to flowing and then just do a flick of the connecter and all of the solder comes out. Careful to use a tool to hold the connector so you don't get burned, or splatter the melted solder on yourself.
  11. Hi Mark, I'm linking to Masque Sounds blog. Lot's of good mic mounting techniques there. As for the pack itself waist, ankle, or thigh straps from Neopax, Versaflex, or other manufacturers would work well. Here's some other useful links. Not necessarily about your specific question though.
  12. I'm also a huge fan of my Piano used with a CMIT5U! Love it!
  13. Is that power distro on the right side?
  14. I really try not to bust a take unless its really, really a forgone conclusion that the noise is unworkable. I do a lot of home improvement shows, industrials, mostly small crew stuff. I'll catch the producer/directors eye and make an appropriate gesture to indicate there's potentially an issue. Then after we cut I'll ask for another go at the same question if I think its bad enough to warrant it. In interview situations this is really important I think. Other wise a potentially wonderful sound bite might get cut off prematurely and the person being interviewed could completely lose their train of thought. If its a really emotional moment even more so since that can't easily be recalled or recreated. This approach has worked well for me. I also try to keep it positive and upbeat. I've gotten new work because the producer's usual sound person showed up on set with a sour attitude and put everyone on edge.
  15. I've done hundreds of just these types of shows and everything you say is spot on.