joepfeil

Does anyone know if Remote audio modifies the products the buy/resell from Inspired Energy?

A good safety feature is to use appropriate levels through any signal flow; not to use a "black box" (32bit float magic), to relinquish the duty of maintaining appropriate levels through the signal chain. My 2 cents

If I were starting from scratch; I'd build the exact same package I have now, a full Zax ecosystem. I just finished the latest Gordon Ramsey show "Kitchen Nightmares", which was 100% zaxcom on the front end: 6 sound mixers , all with fully loaded Zaxcom Novas (2 MRX414 receivers, slot loaded modules) Zaxcom RX8 - dante - Broadcast/Studio mix Fully digital signal from the transmitter, to the nova to the broadcast mixer, to every IFB/CAM/satellite uplink Every sound mixer could retune and adjust gain of every talent at any time. So if I'm booming a scene I can whisper to a colleague that Gordon is about to get loud and maybe we should bring his gain down a scotch. I'm starting to see some production companies request Zaxcom audio systems specifically for the known attributes including onboard transmitter recording. The onboard recording is an enormous deal. I've used it to such a degree, so extensively, that I can with a high degree of confidence rely on that recording. Side note, any Zaxcom transmitter could be received by any Zaxcom URX50 IFB receiver, which is $650. This is a crazy deal, considering the quality of the receiver in the URX50 (very very good) and the fact that this is all you need to have a channel of Zaxcom. The 1/8" analog output of the URX50 is very good quality audio.

I'm using the 6061 with ZMT3, it's excellent and handles shouts

I’m using a right angle 1/8 to 1/4” so I can keep the headphones at 1/8, which makes plugging into my erx/urx much quicker. Also protects.

I was given one half a year ago, I’ll post some A/B comparison with the COS11

I switched from 3 SRb's to 3SRC's as soon as they were available. I've run them extensively in ratio and switch mode with 2 to 6 channels (a few times with an added 4 411a's for additional tracks). I've run them with LT's against SMQVs, SMV, SSM and the HMa. I've run them with walkies and in super extremely RF crowded events in NYC. I've recently inserted the Zaxcom Micplexer 2 in front of the SRC's using both whips and the RF Venue Diversity Fin Antenna. That all said, the SRC is a big improvement over the SRB. The SRC handles RF mayhem about as well as the 411a. Often times the SRC outperformed the 411a in switch mode, using whips. The power consumption on the SRC is up a bit from the SRb, still much less than the 411 per channel. The SRC's produce noticeably more heat than the SRb. The wideband transmitters have been performing about the exact same as the SMQV. I run the LT's and the SSM as my primary. I almost always run the boom through the HMa. The SSM with it's peak output of 50mW gets enough range and is my favorite piece of audio gear; it's just stellar. Tuning all the wideband transmitters through infrared is extremely efficient and has seriously sped my setup processes.

Jose uses the Kangaroo PC

Owned a Rode lav and had the connector completely fail after a small amount of work. Cheap, weak wiring.

2 years! My looooooord that's a lotta days! In that case, I'll be needing an SRb BK21 in the next half year.

Can we revisit these idea regarding playback flexibility?

Jan, you inspire me to be a better mixer. Keep it up! Regards, Joe

Next time I'm bringing my makeup kit, gonna add about 20 years to the face and dye the hair grey. Everyone trusts the grey bearded sound guy.... :-)

Hey guys, it was great to meet you all! Lets do it again. Regards, Joe

If I'm not working I will join and have some sound beers!

I've read on a few of these forums involving the Epic that the 1/8" out from the G3's would not pass any audio to the Epic as they are currently wired. One posted wrote that you have to bridge the ring and sleeve on the Epic end. Does that make sense? I thought it was a balanced input.

I use these: http://www.amazon.com/ColdGear-Liner-Gloves-Under-Armour/dp/B000VJ0NDE They're great, the grip is perfectly calibrated to my needs.

Amazing experiment Pete, that was really interesting. Thanks for diving deep into something we wouldn't dare destroy unless it's already destroyed. I would like to see dissections of other quality lavs and miniature mics to see what interesting engineering accomplishments they've come up with. The never ending creativity and craftsmanship from brilliant minds keeps me happily engaged with sound engineering.

I have had 3 Tekkeon MP3450's and they have ALL FAILED MISERABLY! The customer service guy treated me like an idiot while I explained that it kept shutting itself off from overload protection (even with no load on it). Do NOT buy Tekkeon batteries, if you search around you will see that a lot of people have had bad experiences with them.

I've used QC2 and QC15 on a feature with great success. The guilt of using consumer headphones though outweighed the wonderful sound they created and I eventually got a stellar pair of Sennheiser HD-25II's, which are pretty awesome. One major difference that makes the Bose an iffy choice is the weak build quality. You can only drop kick them 11 feet before they break!

Alaska. I was born and raised in Alaska, worked a few years in LA and now work mainly in NYC. I just spent the past 3 months in Alaska, where there is a gold rush of work in several industries, which is why Discovery shoots 20 shows here. I just spent the past month working at the Arctic Circle, on the Alaska/Canada border, where there is a massive gold rush going on. (Gold Rush Alaska shoots near Dawson City Canada, where I spent some fine party days.) The past 3 months weren't spend doing Production Sound, I had the opportunity to survey and log the Alaska Canada border for 100 miles on a sweet federal contract. If you like the outdoors and a lot of adventure, Alaska is the last frontier. Regards, Joe Pfeil

The line level inputs on the Zoom have less dynamic range than I find useable, making a sweet preamp, (like the SD products) unable to be properly recorded.

I've seen a few mixers list their day rates on their web pages, but I think it makes you look more like a commodity than a serious professional, who can scale to meet any need.

I wouldn't work with a client that tries to manipulate you or is anything but polite and trustworthy.

Some great advice that has been handed to me is to never chase low rates. When I'm offered a low rate, I always try to negotiate more value for a better rate. It almost always works now, because the client can tell that I care about their product.