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About Mungo

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    ENG, EFP, Sound mixing post

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  1. You can select different line levels by that menu item. But it's not Mic level and not further adjustable.
  2. X1 and X2 are single symmetrical outputs and Tape Out is a 2ch left/right non-symmetrical output with a different level. Although they look the same, they are completely different.
  3. And how about TRIM on inputs 4 to 6 to +22dB?
  4. No sorry, that is of course not correct. I meant carrier instead of bandwith. Oh dear.
  5. + 1 for LSP 500. Very useful tool for many situations. You can also use it for playback in the field to or as a live monitor...
  6. Digital transmitters emit a constant RF stream all over their bandwith. So they interfere more than the FM analogue ones.
  7. Yes, that's what I meant. Depends on director and talents. There are productions in which even I would never do it. I spoke of really serious problems like a lav having fallen off while boom is out of reach, breakdown of sound gear, constant heavy RF issues. And of course productions where there's no ADR planned and would let production costs explode. It's not about a plane or sledgehammer anybody can hear.
  8. Thank you both!
  9. Fascinating info, thanks Jeff! I will tell my students next time I'll show format examples. I'll grab a TCD-D10 out of the cellar and say: "Ghost - Nachricht von Sam (that's the German title) was recorded on this." They will be stunned!
  10. Wow, Michael! Everything in one rucksack - that's kind of great concept! If you upgrade to a 633 or Max you can do almost anything up to three lavs with this one bag. What is the blue box in the middle? It has a BNC connector and an 1/4 TRS.
  11. Narrow band receivers allow filters which are more precise. That's physics. But today everybody wants and needs universal broadband receivers - that's why an old UCR210 or Sennheiser 3041 for example will probably perform better in that category. But newer receivers often perform better in precise tuning, so "it depends" if they will really do a worse job in RF crowded situations.
  12. Well nobody I know, including me, used to understand that concept at once. :-D I guess they searched for a way to one-man-crew having some audio value visible in that viewfinder and being able to change it without grabbing around the head.
  13. 744T was the first SD product I used, in the year 2005 I think. It was their breakthrough and their showreel of service, innovation, sound and build quality. Now I find myself every day between 633's, 664's, 302's... We have still some 744T, but for today it's a little bit too complex and heavy for what it can do.
  14. There is a moment when the director gets in love with a take and will definitely want to use it for the film. That's the point of no return - but if there is something not right with sound, you just have to say it after the camera has stopped. By mentioning it while there is the possibility to do it again, you're out of responsibility. But they will use that beloved scene anyway, eventually with ADR. It's useless to discuss and be that naysayer. If a serious problem shows up BEFORE that "love" moment, don't hesitate to stop that take. It's not so hard for them to start again then. Gear: Compare your sound recording to a meal in a restaurant and your gear to the ingredients: If all the ingredients are of high quality and chef's work is good the meal will be fine. If all the ingredients are of perfect quality and expensive but chef has no talent that meal won't be good. If just one or two of the ingredients are cheap or of minor quality, but all the other ingredients are perfect and chef's work is very good, the meal will also be very fine. If many of the ingredients are cheap and low quality that meal won't be good it no matter how good the chef is.