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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. I actually liked the wood - but am also into 'non-wood' ... Being quite an admirer of the Cantar (I used either the X1 or X2 on features but not the X3) I understand why users might prefer the TA3 inputs for radio mics but for me there should always have been a factory option (or plug-plate block thing) for XLRs. This 'run around' pic for me really sums it up ... might, or could, Aaton be able to make an XLR option? Seemed like there was the height space to do so when the Mini was introduced. Six full sized (and full weight) XLRs on a sled seems to miss much of the point of 'mini' (although I'm sure many Mini owners looked, like I myself did, at having the X3 features we needed at a lesser price than the X3). Jez Adamson
  2. The Immoral Mr Teas

    Harmonized Tax codes for Transmitters, Receivers, Microphones

    Ha, Jim, sorry I'm not going to be of any help here but Constantin already has been I hope - so just a minor anecdote: getting a cheap K-Tec cabled boompole nearly impounded as it hit so many (aluminium - electrical... ) targets. Presumably when we leave the EU trade will revert to our Golden Age of East India Company etc and we can wave goodbye to such "square bananas" like daft tariffs for bloody metal sticks! Jez
  3. The Immoral Mr Teas

    New to Nagra!!

    Not quite sure what you mean here Gustavo - the Nagra is mono so it's up to you if you want to work with a mono channel or sum some kind of stereo input (presumably line level and already mixed) into it - or indeed send a mono signal identically twice to a stereo input. What exactly am I missing in what you want to do with using a mono vintage tape machine (knowing you have stereo tape machines to hand) ? Jez Just realised Philip is answering your need but still not sure why you would want to 'combine' stereo onto a Nagra III ...
  4. The Immoral Mr Teas

    HVAC astonishment

    Entertaining thread! This is like "nobody paying attention to health and safety gone mad!" Is anybody listening? Is anybody listening?
  5. The Immoral Mr Teas

    Sanken Cs-M1 new mike

    Yeah I was about to say the same thing. And they came development-wise from pre-polarised instrumentation mics from Bruel & Kjaer, who (possibly) pioneered pre-polar' electret design tested to ... several decades of re-calibration life. So whilst it is cheaper to produce a crap pre-polar a decent one will be good enough for Airbus, Boeing, NASA ... Looks an interesting mic. Used the CS1 once, liked it.
  6. The Immoral Mr Teas

    On My Radio

    On my radio (the BBC that is) today ... Giles Cooper's somewhat experimental radio black comedy drama "The Disagreeable Oyster" in it's first repeat since 1957 apparently (although it was released as a record back in the day). Very funny, quite disturbing and masterful use of sound montage and sound processing in the name of spinning a great yarn. 9.15pm on BBC Radio 4 Extra. 45 minutes.
  7. The Immoral Mr Teas

    New to Nagra!!

    Hi Gustavo! Re - the graphic EQ - do you not like the mid frequencies or are you just into Betty Boop eyebrows? ! Seriously, I've never been too worried on running the Nagra on anything other than batteries: it's now the retired thoroughbred and no longer the workhorse and comes out for shows rather than the morning shift! And batteries will run it a surprisingly long time. I have two IV-S in 'service' (ready and willing) but would love their older brother the III to join them on the shelf (or indeed Wunderkammer) one day ... along with a David Lane Playback Mod ... and my dream would be their wayward sister the Crevette appears! Enjoy your III - if you haven't seen it already look up 'Images Of Interest' on this site for much more Nagra stories. Best, Jez
  8. The Immoral Mr Teas

    start up gear for field recording

    Kisaha, I also picked up an AT 4025 'predecessor' several years back, the AT822 (and my friend had the similar balanced 825). I agree, a lot of mic for the money, especially when it came out. The mic has been on 'perpetual loan' to a friend who has both been my assistant and my employer for a long time now (much like my borrowed ECM50 for Siberia) and the BBG has sat pristine in the cupboard since! I did recommend the 822 to a director I was working with 15 years back (who was into his sound, music and art) when he wanted a simple 'old fashioned point and shoot' mic to collect sound and still think them a good solution and mic. I do though very much advocate people using twin cardioids with a stereo bar and getting to experience recording angles rather than adhering religiously to a fixed technique such as XY or ORTF: so often something slightly 'off' might be perfect and likewise often something not 'perfectly aligned' might actually be as good or better for the situation. (AT - good reliable mic though). Having recently, after noticing it at release several years back, picked up the Rode Micro Boom Pole Pro ( the 3 section thin fixed carbon fibre one) I'm actually quite delighted with it - it's not a boom in our traditional sense in that it doesn't extend or contract (so it definitely doesn't meet all demands or replace the norm) - but it is light, well made, great as a 'stick' for fx, adaptable as a tripod extension, etc. Now I've finally tried it I intend to pick up another one or two for minimalist tripod constructions and lightweight travel use.
  9. The Immoral Mr Teas

    The enduring magic of the BBC's Radiophonic Workshop

    Plenty there to keep the curious busy! I should point out that this year's Prom No 13 was a performance of Daphne Oram's 1949 piece Still Point. For those in the so-called "United" Kingdom (doesn't even SOUND democratic!) you can hear it from the Radio 3 broadcast of Monday 23 July or see it on the tv BBC4 broadcast of Friday 27th on bbc.co.uk . Terrorists and perverts can probably find it on the dark web.
  10. The Immoral Mr Teas

    Need mic recommendations for recording car exhaust

    Not sure if you mean to picture or wild for fx. Not that it matters. I'd usually try to have the recorder inside the car anyway if this is an option (it often isn't I know). I'd probably be inside the car if recording wild fx, and my simplest setup for engine and exterior would be DPA4060/1/2 so I'd use the standard (thin but robust) DPA microdot extension cable which should feed through door or window or back hatch if lucky depending on car. Sometimes it's necessary anyway to record interiors and exterior fx on separate passes ... If you're having to feed through an open window watch out in advance for electric windows - it can be useful to have a piece of tough safety rubber either around the cable or beside it to avoid accidental damage. And let others know (actors - drivers ...) that you're routing cable so they understand they can't close a window or open a door. Safety (feet, hands, necks, escape!) obviously is the crucial factor with cars and cables. Nevertheless, a few high quality thin but tough cables are always a good starting point, but have normal thick ones to hand too. Jez
  11. The Immoral Mr Teas

    start up gear for field recording

    There are several regulars here who have a wide experience of recording outside film: field recording, radio, music, ambisonics, VR are discussed fairly frequently. So welcome! My first decent personal kit (to travel across USSR etc) was a Sony Pro Walkman and a (very long term) borrowed ECM50. My next purchase was a Sennheiser ME40 + ME80. Granted I was doing field recording, then post production (rather than 'starting out' as a production recordist) but had I waited until I could afford a Nagra (or fair enough an HHB), an SQN-4S, two MKH mics etc I'd have recorded nothing in the 80s and precious little in the 90s - outside of work that is. So I'm all in favour of building up sensible kit to a budget, then adding and upgrading when you can. I've never cried that I only had an ME40 and not an MKH40 until years later: I learnt my trade with that ME40 (and of course used world class mics at work). I'm not trying to say that crap gear can start one off on a great career - many career paths will need a fairly substantial minimum budget (or access to certain quality products through hiring or otherwise). But building up a basic kit for field recording, fx recording, interviews and personal use is nowadays especially easy. So in this OP's case I would: 1: Look around for hire facilities and dealers in your area. Find out what is (and isn't) available to hire from former and get to 'try before you buy' from the latter. 2: Buy a decent first recorder - either try a few options from SD, Zoom, Tascam, Sony etc or just get the MP6 which I'm sure will serve you just as well. 3: Buy a pair of mics so you always have access to a pair when needed. If you can increase your budget to MKH8040s they will serve you brilliantly - they have me. But if you can't then still get something cheaper - even much cheaper - so that you have something half decent you can use. 4: Mics, because they keep their value, are relatively cheap to hire - so hire MKHs if necessary when you need the noise floor and better quality; a figure of 8 (or MS kit) if you want to experiment with MS (and for museum objects and odd instruments you may well decide this is a good technique). I personally wouldn't buy an ambisonic mic or an expensive figure 8 mic until you know this or that is a technique that you're doing a lot of - although a Soundfield is a relatively expensive sound hire it's preferable to blowing half one's budget on a toy that may not be required much - so I would hire first and wait and see. 5: Buy the other essentials - ie budget for them - headphones, stereo bar, simple windscreens, a simple boompole, tripod. Although you'll probably end up with higher quality windscreens and accessories I'd hold off until I knew what I needed before blowing a lot of money on something less useful than something else ... Best of luck again. Try to find dealers and hire places within travel ... Jez
  12. The Immoral Mr Teas

    start up gear for field recording

    I think the CM3 could be a decent cheap first pair, particularly for atmos. SD, Zoom 4/8 or a Tascam likewise: depends a lot on what you have/want to spend and want to use. K+M Stereo bar (cheap as chips and absolutely crucial), a Cullmann Magnesit Copter mini-tripod/grip (you'll have to get a 'camera to 3/8" thread adapter from a camera shop) and start off with 'softies' or similar substitutes. Less wind protection but if it's too windy just don't record! (Not even full windshields are completely perfect - but on a film take they are generally a necessary best compromise to awful recording conditions). It might help with the CM3s to cut some bike handlebar foam to cover the exposed mic bodies ( to soak up light wind hitting the rest of the mic). If you do start DIY-ing fitting a K+M stereo bar into the older style Rycote large windshields size D or E might work well for the CM3s with low profile XLRs but you still won't get optimal spacing inside the windshield - so again, not perfect. I would start simply with softie-like windshields. Not sure if a different power option is necessary starting out. Wait and see how you go on AAs/ rechargeables. Unless you have a recording setup requiring the unit being turned on constantly. Of course there are cheaper options than production recordists might use if you're only needing a 5v feed or something... And my second most important recommendation (after the stereo bar) is free! Download Michael Williams' booklet The Stereophonic Zoom from the Rycote website. An invaluable intro and guide to stereo recording angles. Bear in mind that the CM3s will fall somewhere between a 'perfect cardioid' and a 'perfect omni' response when interpreting / using his charts / curves. Jez
  13. The Immoral Mr Teas

    Keeping current and abreast of new techniques

    ... likewise, I hadn't even realised there were alternatives to Mit Out Sound ... but then we here in England all learnt Nagra IS as being Idioten System. Why, you'd think we liked nothing better than making fun of the Germans. Long live the 48% ... J
  14. The Immoral Mr Teas

    A tour of the Ampex ATR-124 Multitrack Analog Tape Recorder

    Ah OK, so I presume it was developed as a 'no expense spared' thing for government but always with the idea it could be a straight audio machine and the top of their line ... Could explain too why so few were made (or sold in such a config) if they were 'the audio ones' he was talking about. Any idea if Ampex did higher speed machines than 30ips prior to this? 1980 was of course the era for a big shift to digital for data etc, and the new rivals like DASH for us. Cheers again, Al - I never came across these in Europe. I also mostly used the Otari. Jez
  15. The Immoral Mr Teas

    A tour of the Ampex ATR-124 Multitrack Analog Tape Recorder

    I thought at first you meant JUST 7.5ips, Al ! Can't think of a specific military use though (3 speeds but top at 30 - hardly data/instrumentation speeds for a machine that big, whether or not it carried FM card options ... mention that they made ONLY 70 (???) machines suggests to me it was one of that era's 'potentials' for audio and audio for picture work, rather than (ahem), "real" industry! But then I cannot believe there were only 50-70 (shit did I actually mishear)? I used the Mitsubishi X-80 - another stunning machine - as a retro-toy in the nineties. Missed the DASH as a tape-op but thinking back I came across it a couple of times perhaps as a trainee. Cheers again for the post. Love the wagons! What I liked most about this one was the buttons/graphics - really of their era, the early "soft". Jez
  16. The Immoral Mr Teas

    Micing an old car for effects: a Ford Model T.

    Hey, we live and learn. I was astonished once recording an animal with an MKH40 - dozens of perfectly good recordings then one situation hit the roof (on transients if I remember- confined, reverberant cage). The MKH pad would have done it but no second chance. Not crucial though. So long as you were just recording general ticking over and drive from there at 15-25mph there's probably plenty of library stuff to cover it. And your own stuff will be a nice new set of recordings. Let post know the situation (or the director?) so they know what works and what doesn't: if they just listen to the distorted stuff they may not bother with the good stuff - conversely, if they hear the good stuff first, they may expect the rest to be the same quality and not have time to listen properly until too late. Very nice looking clamp, by the way. I'm sure it's pretty standard (for other prod sound tasks) but it's new to me. Probably too big/heavy for me to want to adopt in a kit but it looks good. Cheers for the honest write-up! Jez Adamson
  17. The Immoral Mr Teas

    Do you really work alone on a fiction feature film?

    110% ? Your metadata failed because your maths failed! Sorry Daniel, couldn't resist (... should be read aloud in the voice/accent of Edward Woodward in character by the way). Cheers, Jez
  18. The Immoral Mr Teas

    Zoom F8n.

    Mono, brilliant! And Jim - brilliant also and unexpectedly inspirational!
  19. The Immoral Mr Teas

    This reminds me of my previous life, minus the Pro Tools

    Great shit, Al. Just two things to say - shame your country doesn't have the "squatter culture", and "It's a Mother"
  20. The Immoral Mr Teas

    Good price on 7506 headphones!

    Really? Oh shit ... I have two pairs of 7506, and use them because they are very comfortable and perhaps 'bring problems to the fore'. But they are the most (unpleasantly) coloured sounding pro phones I know. (And the isolation is dreadful). Jez
  21. The Immoral Mr Teas

    This reminds me of my previous life, minus the Pro Tools

    I arrived London from Asia in the earlyish digital era when De Lane Lea (now WB) let go their Trident. Was trained on a DDA ... ... and "nowhere near" several Neves as the 'prentice J
  22. The Immoral Mr Teas

    "Like" button

    Jeff, does the graphic belong to 'Josef K' ? If so I might be tempted to stay away ... I used to 'LIKE(TM)' fb but in England (at least) apparently they recently "have changed" ... for better or for worse I cannot be sure. So now I don't know whether to change 'LIKE(TM)' to 'UNLIKE(SIC-TM)'. I had a recent job interview recently with Uxbridge Anal-Itchy-Arse and I had to get from Pinewood to Pimlico in a sports bag before they would consider me. FAKE-LIKE! FAKE-LIKE(TM)!
  23. The Immoral Mr Teas

    Do you really work alone on a fiction feature film?

    What Phil says, what Mike says ... You argue 'a case' and/or you make a choice. I will agree wholeheartedly that attempting to do scenes you have studied without the necessary team or support will not work - your own experience, and plenty of the rest of us. You can only (if you really: love the script, love the people, or unfortunately need the money - though I hope this isn't the case) argue what you think should be done if you are involved. Even then, it might not work. A 'producer' might be persuaded to trust your experienced judgement and what I expect to be a 'compromise solution' - but when the inevitable shit happened, if you're not the saviour, you could easily be the fall guy. Take the script, argue your points, find out how post-sound might be involved (or not) and what they expect from the producer/director - then tell them the obvious - then make the decision. Cheers, salut, Jez The obvious 'solution' of course might have been to "bring their own guy in" AND to hire you (the local) as the essential 'other half' of the sound team. Then you get the cultural exchange, the happy experience, and hopefully the "shots in the can". But even then an experienced producer knows that filmmaking is not a piece of cake.
  24. The Immoral Mr Teas

    AATON Cantar Mini VS. Sonosax SX-R4+

    Back to 'yizhye20's original post both (admittedly gorgeous) machines are seriously different (and as Constantin points out might yet not be the ideal for your current situation ...) You really need to find a dealer, rent if need be and assess on your own? Is there such a dealer (with these Euro products) in or in useful distance from Savannah Georgia? Jez
  25. The Immoral Mr Teas

    Micing an old car for effects: a Ford Model T.

    Make sure you make best of the opportunity to get recordings both inside (on board) and out, so factor for that especially if on your own. Try to find out from the end user (presumably the supervising sound editor) rather than just the job source what is or might be required, and if possible draw up a priority list. Make sure you (do your best to) cover everything on the list but don't lose your chance to get a good range of sounds or especially an interesting unexpected sound. Can you use the COS-11s directly into a preamp bypassing the lectros? If not it might be well worth bringing the idea of additional (small cost) mic rental of Sanken adapters, or DPA lavs, to the job. To make sure you're not missing a good recording opportunity. I would (at the least) grab onboards of cabin, fixed distance (ie boom or lav on stick from onboard), engine and exhaust; then cover as much externals (following and passbys) as I could. MKH50 perfect for latter. Understand that there are quite a few Model T recordings out there in libraries and from previous films, so it really is good to find out if possible from sound post what is actually needed (ie missing) and then what is preferred that you might get. If the film is shot look over the footage with the sound editor - it might be the case that the 'gold' is just a couple of shots at a particular speed that couldn't be covered by library sound. Quite often we (editors) are missing 'normal speed' stuff for a certain vehicle where we're well supplied by speedy pass-bys - etc etc. If it's not yet shot study the script and if possible have a little discussion with director, possibly editor or even DP on what is intended visually (or story) and use your judgement what is needed. Hope this helps Daniel - didn't mean to be so long winded - in fact we love in post whatever we get (so long as the shit is well recorded!) - cheers, Jez
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