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The Immoral Mr Teas

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About The Immoral Mr Teas

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    Hero Member

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  • Location
    UK, Europe, Asia and occasionally the States
  • Interested in Sound for Picture
  • About
    Film Sound

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  1. Underwater Mics

    Although I own and use a Bruel & Kjaer hydrophone I have had great results for many applications from simply submerging the Countryman B6 mic - which is tiny enough to simply trap a protective air bubble over the diaphragm. Unfortunately my B6 died on a shoot last year but I'm certain to replace it at some point since it's such a useful and compact 'hydrophone' to always have in my FX bag. Jez
  2. 'Being There'

    Jeff, that is one heartwarming and encouraging story! Many of us have been there without the fairytale ending! Jez
  3. Stellavox AMI-48

    LOTW, or as training demands, MPUX
  4. Sound Devices MixPre-10T new features overview

    ... the SX R4+ is already a beautiful solution, no? And an admirable development of the features/possibilities of the R82 / R4 era machines. As far as the new SDMP and Zoom F machines go, it is the lack of AES 3 (more so than 42 to me) that makes them less attractive to me than they could be - even in their price bracket (that of the MicPre D, Tascam 680, the old R4 Pro). Yet they clearly have their markets without (simple) AES IO. Still curious how the HDMI port might work with sync (tho admit haven't watched vid yet before replying to Dan's comment here ... ) Jez
  5. Line level recorder

    Yep, as Chris says, something as simple as an old microtrack (in my experience), or Tascam or zoom might do well, going line in, if line in at consumer level is an option.
  6. WTB 4 Channel Recorder for Tetrahedral Mic

    The SD 744 is a 2x preamp + 2x line in recorder - I presume you know this and I'm stating the obvious but I'll mention it anyway. Not sure what the sps does in output (does it need the preamp?) and the TC is a factor irrelevant for ambisonics but perhaps important for your other applications. The Zoom F4 and F8 as well as the SD new MixPre series and the Tascam 70 w tc are worth looking at. If you can forsake TC the Tascam DR70 or the new Marantz might be enough. As has been said multichannel gain matching might be required and is imo woefully non-implemented in recorders. The older, larger, Tascam DR680 I've been told has very good gain linking, and might be worth looking at. The original R4 was ideal for ambisonics and I'm sure the R4+ is as good and an improvement in every way.
  7. Guessing this is bad idea.. induction loop in car...

    Hi John, I'm not sure I'd be keen on driving any kind of car, let alone one unfamiliar to me, wearing earwigs - I find my ears a big part of the perceptive experience. So I wouldn't be too surprised if you occasionally came across a blank refusal and thus needed a fully implemented Plan B. Just a thought. Best, Jez
  8. Sony MDR 7506 coiled cable

    Thanks for the reminder of this Glen! It's been a couple of decades since I've been around the venerable 48. If I'm able to source a DT48 spare cable from Beyer I might well use it to construct a coiled cable for my DT150s (of course I'll have to find a suitable screwable 3.5/6mm stereo jack plug for the other end - what with the box at the other end this might get quite pricey). Jez (edit - the WK100.07 replacement cable might save me a lot of grief at a straight 32 euro purchase ... Not sure that it's quite the same heavy duty cable Glen was referring to for the old DT 48 though - I had a vague memory of something slightly wider and thicker)
  9. SQN 5S / 4S Bags

    Even dragons need to crap ... ? Interesting if Ian has started constructing framed bags and accessories, Malcolm. I have a few KT bags/add-ons and like the modular system quite a bit. Unfortunately the KT web site is still under construction (tho I can hardly complain about online apathy ...) As an aside (irrelevant to OP ...) I've just been playing with the hydrophone over the last week and had some pleasure using the old bashed up Optex bag I use for the setup - perfect side access system for the charge amplifier controls, and whilst unframed a very solid stable box due to the amount of corduroy employed. Jez
  10. Sony MDR 7506 coiled cable

    The cable is the only thing I like about my 7506's. I may be missing Glen's joke but I've often thought of rewiring my DT150 with one. I pack my 7506 folded, upside down and chuck the cable over the top - the only time the cable was wrapped around the phones was when I lent them to a friend (who wanted to experience for himself just how bloody horrible they sound). J
  11. What if audio post company does not have the software?

    Hear Hear! It was infuriating as an Audiovision user (as well as other early era systems) HOPING that standard Audiovision features might be adopted elsewhere, and especially onto Protools over many years and updates. I pity two poor US PT reps stuck taking a lift with myself and editor colleagues several years back at Shepperton - initially happy that we were cutting on Protools then mistakingly asking what we'd like to see added or changed. I'm still waiting for bins - sadly, now trying to explain to anyone even in the industry what a 'bin' is or was is already almost resigned to failure. (Wait - they still have them IN BLOODY AVID !?!) As an aside, I met two Proctor and Gamble folk on an international trip the other day and being on my way back from my own trip had my own Gillette razor in my bag - a perfectly serviceable 1950s model which they said they'd only come across in their 'Gillette museum'. Jez
  12. Large blimp vs smaller blimp

    Glen ... are YOU the Deathcat? That steely gaze ... I just thought ... ? Jez
  13. Deva 24 seminar

    One of many things I fail to see as an invention. Bell Labs, Harvey Fletcher and the like demonstrated in the 20s (in the USA) the pluses and minuses of two channel versus three channel sound for stereo sound ... and decided pretty adamantly upon 3 channel for film. Yet with some admirable exceptions and a renaissance in the 50s and 60s film sound stuck with mono. Stereo eventually came about (as a two channel stereo) in vinyl and tape. So I think in film production the first multitrack recorder was probably the Nagra IV-S in 1971 ish? There were of course multitrack recorders in areas other than film production ( possibly including broadcast ) ... music, data acquisition, even before the portable two channel stereo. So not an invention in my book - bringing a 3+ channel recorder on the market another matter. But only just. Sorry for being a twat, just wanted to point out a lack of invention. Jez and just to be a bigger twat, the stereo Nagras are all essentially three channel machines, just not designed to be readily so for production recording, yet it was always a possibility.
  14. How to hide a Sennheiser ME 2 on talent

    Daniel, from a quick look at the latest posts I would say look again to the posts of Dan and Mike. You are doing a low budget shoot which should be an OPPORTUNITY to communicate and work with Wardrobe (especially), Make-Up, Camera Dept and Production Design for ALL parties to learn from each other and get a better result from minimal resources. I posted a (good) low budget shoot fairly recently which my friend (the composer, director's friend) got me on to. Low budget, extended shoot, when possible, with three distinct sound recordists available when they were. Each recordist had a different style or workflow, so the tracks were different, but that was OK- they all did a pretty good job (often a vg job) to cope with their circumstances. What was a MAJOR issue for sound was that one of the two principles had an 'unmikable' noisy dress which (in a low budget scenario) SHOULD have been addressed BY SOUND beforehand. It wouldn't have mattered if it was a DPA 4060/1, COS 11 or whatever: the fault was in the preproduction - make the most use of preproduction in your 'low budget' status. Everybody learns. Talk to the director, get the phone numbers of the folks doing costume, makeup, figuring locations or doing sets - and make friends all around. In post we know how hard it is to shoot. It's hard in post too. It's only upsetting when we recognise when some major issue might have been avoided, such as "I won't be seeing outfits before Day 1" ... why the hell not? Have you seen a script? Sorry for being an ass ... Best, Jez
  15. Production Mix Structure

    James, Mike, Veit: Common practice in post to take a boom (master), pull the lav into precise sync and phase, then mix according to available elements. Thus getting a general balance across scenes which have both the 'omph' of the close lav and the 'ahh' of the natural boom. Outside of narrative (ie daytime tv style) I'm well aware of blending to get a similar result (especially where lavs = the bulk of the sound) but this is something which is fairly easy to achieve (and importantly not FU the tracks permanently) in post with the boom mic ON AXIS. I wouldn't be surprised if folk (especially folk used to mixing fast turnaround tv) are blending, but I would say it's a trick made obsolete by today's narrative ISO delivery for a careful post balance. Jez