berniebeaudry

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About berniebeaudry

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  • Birthday 07/25/1954

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    Minnesota
  1. Hi Mario, I keep each of my LTs in a corrugated plastic tube that I made by rolling a piece long enough to include the tx and the antenna. I just put a heavy duty elastic around it to close the tube. I put the tubes in an upright carry all that has a slot for each tx. You could do a similar thing and make the tubes long enough to take up the space in the Lectro pouch. The tube doesn't add much size to the width of the tx and you should still be able to fit three to a side. You could leave the antennas on without worrying about damaging them. That would save you some set up time.
  2. I have four LT/LRs. I really like them! I usually run them at 50mw and don't have any range issues. I'm running through a PSC sm multi with two homemade coaxial dipoles that I clip to my harness. I love the infrared syncing and the menus are super easy to navigate. I went from four 211s to for LRs in my bag and saved a lot of weight!
  3. I went from RX4 to RX5 to get the free upgrade to six. I've been playing with it a bit on some of my field recordings and it works pretty well. As with any of these types of tools, less is more. You can over do it and get a duller sound, or worse yet have artifacts that are noticeable. I always monitor with headphones (Sennheiser HD280s) to make sure I'm not doing too much. I tried dialogue isolate on a track that had some ticking air handling noise along with the usual fan noise. First I tried dialogue isolate and it brought down the fan noise really well, but the ticking was still audible but reduced somewhat. So then I used the new dialogue denoiser first and got most of the fan noise but the ticking remained. I followed with dialogue isolate and got the majority of the ticking noise out. Without the fan noise it became apparent that the female subject could use some de essing, so I put that in the chain. I started with a preset but found it too aggressive. With a little tweaking I was able to get it sounding natural. The last thing I put in line was the deverb which I've never been able to get to work well. My goal was to reduce the slight roominess I was hearing on the boom track. For once I was able to find a setting that worked pretty well.
  4. Antenna contact with sweaty skin will give you range problemsl
  5. 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.
  6. Happy happy Birthday Jeff!
  7. Jim what's the deadline? I'm still trying to work some things out.
  8. 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.
  9. 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.
  10. 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.
  11. 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?
  12. Give this one a try: https://acondigital.com/products/deverberate/ They have a free trial too. I've gotten better results with this one compared to RX4.
  13. 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?
  14. 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.
  15. 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. http://www.masquesound.com/category/blog/ Here's some other useful links. Not necessarily about your specific question though. http://www.prosoundweb.com/channels/live-sound/capturing_the_stage_microphone_approaches_for_the_performing_arts/ http://www.bodymics.com/home.html