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Doc Justice

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About Doc Justice

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    Audio Justice, Inc / Halter Technical LLC
  • Birthday August 7

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  • Location
    Los Angeles, CA
  • Interested in Sound for Picture
  • About
    Audio Justice, Inc. / Halter Technical LLC
  1. Sound Devices Mix Pre 6 With Zax wireless

    This is my “Tiny Rig” set up. Mix Pre 6 QRX200 IFB200 Anker Batt w/DC and USB Outputs Four pieces of hardware make up the entirety of the kit. The IFB200 is what ties the whole thing together. The IFB200 is the TC master, feeding into the Aux-In on the MP6. It is also my L/R Mix backup recorder, and my transmitter to the ERX’s in use as IFB’s and Camera Hop. It also controls my Zaxcom ZMT transmitters (frequency, gain, and roll record). The output on the MP6 is just barely sufficient to feed the IFB200. I wish there was more gain there, but I work with what it does. The particular Anker battery I’m using is an older 20,000mah battery. It has USB-A out which powers the USB-C on the MP6. The DC-out uses the same plug as BDS, so I have a BDS Y-cable made to power the QRX200 and IFB200. Add in some low profile cables, and it makes for one powerful, versatile, really small rig.
  2. Wireless

    I can chime in with at least some experience, since I've owned all of these brands of wireless at one point or another. I'll put them in your order: Lectrosonics - The SRC is a great receiver. There were early issues in the A1 band, but Lectrosonics has taken care of customers by recalling the boards and replacing them quickly. If I were a potential buyer of a Lectrosonics slot receiver, I would not consider buying an SRB over an SRC. The front end tracking is a big benefit over the SRB, not to mention all of the other feature upgrades that the SRC presents. As for the SSM, it's a fantastic little transmitter that many shows rely on now. The SMWB has not been in the field long enough for me to have an opinion on yet, but Lectro has plenty of transmitter options for you. Zaxcom - The QRX200 has been available for some time now, and over its life continues to receive firmware upgrades that expand its functionality. Plus, when paired with a QIFB option, they can control the transmitters remotely using Zaxnet directly on themselves. It's a feature that's to go without once you've had some time with it. The ZMT is just an awesome transmitter. You probably know all of the features (NeverClip, Zaxnet, on-board recording, etc..), but when you finally hold one in your hand you'll know right away it's the real deal. The construction of it is solid. In fact, I've worn the ZMT in my own sock myself, with no strap or pocket. Unless you're doing some extreme productions where you're submitting the transmitter to harsh environments, you can rest easy about the build quality. Zaxcom's older, discontinued transmitters had some quality control issues (particularly when it came to the battery door), but there have been vast improvements since then. The new stuff is just plain great. Wisycom - The MCR-42 receiver is the most versatile in the bunch, since its compatible with many other brands of wireless (and you can add on other companders later). It has some clever design tricks, like the screws being used to pass power through its battery case. There are many mixers who use the MCR-42 with Lectrosonics transmitters, since its just so flexible. The MTP-41 is a cool little transmitter that takes only 1 AA battery. It can be difficult to choose which compander is best in different situations, but the options are there. Like the Zaxcom transmitters, they come in two different frequency ranges. So in short, IT DEPENDS! I'm sure there's a rental house or retail store nearby you that you can rent and try out these different brands. Many users will tell you which ones they own, and defend their brand loyalty 'til the death, but it's really up to you to decide which brand is the right one for your needs. Feel free to reach out to me personally if you want to talk more about your choices.
  3. Today's "Job I Wish I Was On" : Adele Car Karaoke

    While I have not worked on Carpool Karaoke, I was the audio supervisor for a similar show called Car-aoke Showdown with Craig Robinson. The gag here is that the show is sort of a mashup between Carpool Karaoke and Cash Cab, where "unsuspecting" (read: careful casted) taxi patrons play karaoke style games on the way to their destination, and the top two teams would compete in some sort of live concert karaoke competition. We had a sprinter van tricked out with cameras, lights, and lots of sound power. There were CUB-01's and MKH50's all over the car, in addition to the talent's lavs. All of that, plus the producer's music from a laptop were being fed into a Mackie DL32R. A Sound Devices 970 was the recorder of choice, which had a lot of tracks going at any one point in time. The Mackie is a rackmount mixer that works via Wifi through an iPad. A wifi router was installed on TOP of the Sprinter van, to allow mixing from the follow vehicle. This was important because talent would get in and out of the car, the mic's that were best used were continuously changing, and routing needed to be adjusted as well. There were times where the music would need to be routed to the exterior speakers so that passers-by could sing and dance along as well. This was a POWERFUL build. It contained a lot of firepower, and was extremely flexible for a demanding show. It took some serious engineering to power the audio and video racks in the vehicle, and keep heat from being a problem. In the end, the sound turned out pretty amazing.
  4. Reality TV Gear Setup/Worflow

    Hi Sean. As one of the few people here who admits to having a career in reality tv, I'd be happy to help answer your questions. Or, more realistically, to help you find the right questions to ask. To get you started, I'd suggest asking more about the show itself and how the producers intend to shoot it. Obviously a "Kardashian-style" follow-show is very different than an "American Idol" or "Survivor," or even "The Real World. The thing about reality tv, is that you need to be able to tailor the gear and the workflows to the show in order to have a successful shoot. Feel free to reach out to me on Facebook, and I'll help out how I can!
  5. Alteros Wireless (a new branch of Audio Technica)

    I spent a LOT of time at their booth at NAB this year. The technical aspects of this new system are pretty mind boggling. The "Ultra Wide Band" that they speak of is just a 6GHz frequency. The biggest difference is that ALL of the transmitters are operating on the same frequency. They use TDMA rather than the FDMA transmissions that we're used to. BUT, it's not designed for location sound or field productions. It's made for a broadcast studio, where their "antennas" (actual receivers, rather than just antennas) can be placed around the perimeter to circle the area. All of the transmitters are wirelessly controllable via the base station, which also has Dante connection. It's a pretty incredible system, and I'm hopeful that either Alteros (an offshoot of Audio Technica) will design something for location sound utilizing the technology, or it will at least inspire another manufacturer to look into it!
  6. Cheapo boom pole

    I'd like to point out that the boom pole holder that David Waelder posted is in fact the Boom Mate, created and distributed by Marty Truman. Apart from possibly needing new powder coating after a few thousand days of use, the Boom Mate will never fail. It can be bought from any/all of the usual suspects. https://www.trewaudio.com/product/boom-mate/
  7. Yamaha QL1 Soundcart

    I've been using the QL1 and Sound Devices 970 for a couple of years now, and highly recommend it. Like any console, it takes a bit to get adapted to it, but now I feel like I can offer the best audio possible directly because of this combination. Some of the biggest benefits are: Dugan Automix - Has the ability to run 3 automix programs at the same time, with weighting options RTA's - Allow me to roll off unwanted sounds (wind, generator), and know very objectively that I'm not touching the dialogue track. This allows to EQ non-destructively, which is huge for location work. Dante - Using Dante lets me use the 970's ins and outs for extra analog connections. It also allows me to plug in a computer to back up to Boom Recorder, and lets me use Dante Via for playback. Sends On Fader - Takes a minute to get used to from the "Aux Mode/Fader Mode" from the older Yamaha consoles, but makes routing incredibly flexible. There are trade-offs, of course. Some people won't get over the AC power, the weight, the lack of trims per channel, etc. I don't begrudge anybody who says the board isn't for them, but for me there's still nothing better on the market.
  8. Dante Via is a great suggestion. I'd also suggest looking at Ecamm software for even more flexibility. You can place incoming and outgoing audio on separate tracks and also record video.
  9. Mix Assist questions, thanks to Gotham Sound!

    In certain situations, the Dugan Automixer in the Yamaha QL and CL has allowed me to create better mixes than would be possible without it. I think the biggest takeaway from the Gotham video is that these auto mixers are just another tool for our tool belt. They are not a "cure-all" for every situation, and they won't fix poor room treatment or bad mic positioning. I'm sure that everybody on these message boards does everything in their power to record the best sound that we possibly can, and if someone can make their mix better by using an auto mixer, then more power to them.
  10. LA Rental source for Sound Devices 970s

    Clair Global 9420 Telfair Avenue Sun Valley, CA, 91352 (818) 787-2226 www.clairglobal.com Ask for Erica Bell. Tell her that Doc referred you.
  11. Halter Technical Field Monitor

    I'll speak very frankly about the Field Monitor, since we're all friends here. The "standard" headset for reality TV IFB's is the Tactical Ear Gadgets "Rabbit" headset. This is a headset that is marketed towards walkie-talkie users as a "listen-only" device. It has a mono connector, a coiled cable, and a speaker made specifically for walkie-talkie use. It is not intended for IFB use. Jan, you hit the nail on the head here with the words "purpose-built." I grew very tired of hearing producers, campers operators and sound mixers complaining about the Ear Gadget, and I decided to do something about it. The Field Monitor has a stereo connector (actually a TRRS so that it will work in iDevices as well) and a high fidelity speaker. The ear hook was designed to be much lighter, thinner, and more comfortable than the Ear Gadget. And for those people that don't want the hook, it can simply be removed. As of last week's launch, the Field Monitor is only available at Trew Audio (Burbank Location) and Audio Department. As word spreads and demand dictates, I will be able to offer it in more locations. The retail price is $25, which is comparable to the Ear Gadget. For anybody that needs to hear a program mix in one ear, I think this is the best solution available. I invite everybody in the LA area to A/B the Field Monitor with the Ear Gadget at Trew or Audio Dept to hear and feel the difference.
  12. I'm proud to introduce a new company and new product. Halter Technical LLC presents to you the Field Monitor. It's a new headset created with producers in mind, designed specifically for use with all IFB models. No longer will anybody be subject to dealing with kinked coil cables, uncomfortable ear hooks, or speakers that sound like telephones. Experience the clarity, comfort, and ease of the HT Field Monitor on your next production! Available NOW at Trew Audio and Audio Department. Check out www.haltertechnical.com for more info!
  13. On-Set comm/talkback rigs for sound crew

    Here's a +1 for a product that doesn't get enough exposure: The Tony Smyles Comm-Biner http://www.trewaudio.com/store/The-Smyles-Comm-Biner.html With a comm-biner, you could use production-issued walkies as a comms source throughout the whole department, and not have to rely on more expensive TX+RX options. The added benefit is that the comm-biner kit comes with a rewired push-to-talk surveillance headset and mic so that it can be used with or without headphones. This way, you're always wired into each other, even between shots. The new version of the comm-biner is has the upgrade of having each ear switchable, to rout comms to either the L, R, or both ears. It's a nice touch, in a package that's much nicer than the 1st gen. This is an inexpensive way to add communication throughout the whole department, without switching out any of your existing gear. I highly recommend it!
  14. Worst double feature possible

    Interesting interview from Miles Teller back in October: http://www.huffingtonpost.com/2014/10/08/miles-teller-whiplash_n_5947824.html The part I found crazy was this: I don't think I've ever seen an actor talk negatively about sound before, especially the choice of mics. Obviously, the end results are award-winning, so many people disagree with him. I'm just not sure what he had to gain by that statement.
  15. ******* The Reunion A yearly charity benefit to meet and reunite with crew, producers, post and production staff, all to celebrate our community. This year, all proceeds will benefit the children of Hollywood Heart, "A non profit that provides opportunities for young adults affected by HIV/AIDS and other at-risk youth to build confidence as well as interpersonal and career skills through our various arts programs and annual summer camp. Our goal is to open the door to a successful future for a growing number of these young people in the Los Angeles area and around the United States." Sponsored by our generous friends at RGEAR! *******