Doc Justice

COGA HSE clean.mov

HSE-mixercage.mp4

Hollywood Sound Expo Invite.mp4 www.hollywoodsoundexpo.com HSE - Ktek.mp4 www.hollywoodsoundexpo.com

The Hollywood Sound Expo is a love letter to the SoCal production sound community! Join us in Burbank on Saturday, June 26th for an afternoon filled with gear from local manufacturers, networking, and great food. For those who can’t make it in person, the Expo goes virtual on Sunday, June 27th. We can’t wait to (finally!) see you all again! Visit the website for details and FREE registration! http://www.hollywoodsoundexpo.com

Halter Technical is proud to introduce the ALL NEW Scene Monitor, completely rebuilt based on YOUR feedback. The original was already the runaway winner in its class, and now the new Scene Monitor features a more durable build, upgraded earpads, dual-shielded cabling, and improved professional stereo drivers. Available individually or in a 10-Pack for your next production! #forinnovators #neversettleforstandard Visit https://www.haltertechnical.com for more info

No, it hasn't been replaced with anything else. Let's just say my business interests have changed dramatically over the past few years.

I owned a QL1 for many years, only recently departing with it. I've only found three negatives with it in regards to a sound cart: 1. Weight 2. Power 3. Lack of a trim knob per channel Other than that, I think it's STILL my favorite board available, some 7 years after its release. There is just so much that it offers that other boards of its size doesn't, and the audio I turn in at the end of the day is better because of it. Some of my favorite features: 1. Built in Dugan Auto Mixer with weighting options 2. RTA's so my HPF and LPF can be much harsher without any fear of being destructive 3. Submixes at the press of a button (Sends on Fader) 4. Dual FX channels for each track to add compressors/limiters There is just so much you can do with this board. I'm happy to talk more with you about it. You can tell I'm a big fan.

Yesterday, along with Chris Howland and the LA Sound Mixers, I hosted a seminar called The Unscripted Sound. In it, we discussed what goes into recording audio for reality tv shows, and the differences between scripted and unscripted mixing. You can watch the recording of it here (even without a facebook account): https://www.facebook.com/LASoundMixers/videos/886368908570884/ And of course, you all know I love talking all things audio. If anyone has any questions, or want to talk one on one, please reach out and we can discuss it further! Thanks!

I have routinely combined 4 Comtek BST-25 base stations into a single Phase-Right or Mini Mite antenna with fine results. As long as the impedance of the cables and splitter match correctly, you likely won't be able to notice and real world differences.

My friend, a wonderful world of AoIP awaits you! Dante protocols are pretty ubiquitous in the gear you’re looking for, but there’s also AES67, Ravenna, Rocknet, Cobranet, and others. Check out audinate’s own website to see the thousands of Dante enabled products. There are many options, made by many different brands, that can do precisely what you’re looking for.

Just to help spread the word... NAB Show 2021 is scheduled for October 10th - 13th this year. There's no telling if it will stick to this schedule or move back to April afterward.

I use the Rii Bluetooth Mini keyboard with its included USB dongle. It works not only with the 970/270 rackmount recorders, but also the 6 series (and I assume 8 series) SD mixer/recorders. It's great for entering metadata, and it can also utilize the keyboard shortcuts. It's definitely great. But the truth is, if your 970 is connected to a computer via Dante, another external keyboard isn't necessary. You can use Dante Controller to edit track names, and other metadata via PIXNET. It's a very versatile machine, so you have plenty of options.

I'm referring to people who aren't necessarily monitoring IFB audio. Camera operators (typically in unscripted environments) usually monitor the audio being delivered from stereo hops. The adapter will allow them to hear both channels of the camera's output without the need for the camera itself to be set to mix these signals to mono. This depends on the camera, of course, but it's a good failsafe for any cameras that don't have the ability to switch or mix channels in a menu. The same goes for dailies editors, loggers, assistant editors, or anyone else that needs to quickly confirm two channels and wants to keep an ear open or not where over-the-head cans. Plug the Field Monitor into a computer with the adapter, and get both channels in a single ear. Otherwise, they would only hear the left channel. And of course, there are some stereo IFB systems that don't allow for mixing down to mono either. Users of the Sennheiser IEM or the Shure PSM series can use the adapter to hear both channels in a single ear, if they choose. Basically, the adapter is included for flexibility. It seems to me that the highest number of users monitor a single audio channel with the Field Monitor, but with the adapter we were able to not leave anybody unserved.

The PR-216 is a much more fascinating device when you dive into the wiring of it. I ran into the same troubles that Bubblebee is experiencing when we came out with the very first Field Monitor. The Field Monitor originally had a TRRS connector on it. The thought was that this would ensure it would be compatible not just with all IFBs, but with phones and laptops and anything else. The PR-216 proved to be the exception, and would not pass audio. That’s when I reach out to our friends at Comtek to work with them on their signal path. It’s not just that the two poles are out of phase, there is much more going on in the wiring. For example, did you know that there is an Option-7 for the receiver as well as the transmitter? This allows the PR-216 to RECEIVE PHANTOM POWER to power it instead of a battery. They don’t advertise this feature well, but it’s to be used on permanent installs of speakers in locations where running a cable is problematic. I say that as just an example of the unorthodox nature of the headphone jack. Anyway, after figuring out that combining signals to a single earbud just flat out won’t work on the PR-216, we came out with the second generation Field Monitor (the one that’s in stores today). For the people who really want to listen to two channels on audio in a single ear, we include a mono-stereo adapter in the package. This is mostly for camera operators who don’t have menu control over what they’re monitoring, or for dailies editors who hate headphones. Unfortunately, as Comtek themselves confirmed, this was the only solution. I suppose if you want your Bubblebee Sidekick to work exclusively with the PR-216 you could cut off the existing connector and solder on a new connector that is truly mono and not combining signals. Moving forward, Bubblebee will have to make a similar decision that we had to. They can either offer the Sidekick as is, and tell PR-216 users to use an adapter, or they can alter the wiring to be true mono and have stereo users need the adapter. Either way it’s not ideal, it’s just a matter of figuring out which appeals to the highest number of customers. This is also where I point out that the Sidekick is indeed an awesome product, and Poul and Caleb already know I’m big fans of their work.

Here's what I've learned masks need to be comfortable enough to wear all day. 1. It must not sit on your lips. Have space between the fabric and your nostrils and lips. This feels more natural and won't muffle your speech. 2. It must has an internal or external nose guard. Many disposable masks have a wire inside to pinch around the nose. This helps glasses and shields from fogging up, and keeps the mask in place. For masks that don't have one, there are plenty of sellers online who have metal nose guards available. 3. It must not live on your ears. There are options that tie around your head and neck. There are plenty of options for moving earloops off of your ears (the Ursa Maskie, a piece of velcro, bongo ties, etc..). Getting it off your ears is more comfortable, and easier to deal with when wearing headphones or IEMs. If you can find a mask that accomplishes all three, or if you can put together one that does, you'll be golden. Stay safe out there!

Eric was one of a kind, and helped mold all of us in his image. Though I didn’t get to know him until later in life, he had a great impact on me. I, and the community, will miss him.

This week, we begin a series of free online seminars focusing on financial success for freelance sound pros. We start with two dates for New York area pros, followed by Texas/Georgia and Los Angeles over the coming weeks. Visit haltertechnical.com for registration links! RSVP now as spots are first come, first served! Note: This is for US residents only. If you live in a state or region not represented here, you can still attend. The Texas/Georgia will likely have more open spots and more general information, but please feel free to pick from the dates and regions that fit you best.

This post is about me, and the Strictly Sound Gear group on Facebook. Early this year, Rado put up a series of posts in the SSG group about the politics of voting for the CAS awards. They were disparaging, crude, and broke several of the group’s rules. As the admin of the group, I replied and asked to please keep the conversation focused on the gear (as that is the entire purpose of the group, to discuss the merits of the gear itself). None of those posts were deleted, and they’re still visible in the group. Rado took that reply as an opportunity to attack me personally. He claimed I was committing “thought suppression” and “censure.” His posts clearly broke the rules of the group again, and his account was blocked from the group. Those posts have of course been deleted. On Saturday, he messaged me about it. You can see the interaction in the attachment. And apparently, he also posted here. While I appreciate Rado’s knowledge and abilities as a Sound Professional, I can not tolerate his bullying, nor his unprofessional tact in these spaces. Rado, I ask you to stop this campaign of harassment and lay it all to rest.

Check out our new spot and see what Halter Technical is all about. For more info, visit www.haltertechnical.com

IMG_0856.mov Check out Allen Williams' stress test of the Elite Monitor. Not only does it sound and look great, it can take a beating too!

Introducing the all new Halter Technical Elite Monitor! The Elite Monitor Headphones have been specifically designed for creative professional use. The Elite Monitor features 40mm studio-grade drivers with full frequency response for incredible fidelity and clarity. The rubberized matte-black coating eliminates handling noise, and won’t reflect light in the studio or on stage. The vented earpad and headband cushions offer maximum comfort and minimum fatigue, and can be easily worn for an entire production day. Its collapsible and durable build provide for fast and easy storage. The single-sided 3-foot cable with stereo connector is perfect to plug into any IFB/Comtek on a belt without any excess cable. With the Elite Monitor, Executives and VIP’s now have an audio monitoring option that they can rely on to help them create the amazing content that they’re working for. Retail Price: $25US Available now from all of our retail partners www.haltertechnical.com

The final interview of the season is live today. Thanks to everybody who participated, viewed, and supported the Pro Jam series!

Introducing the Halter Technical Pro Jam! The Halter Technical Pro Jam is a fast-paced interview series with Sound Pros across production genres. Each episode will feature a new guest offering their perspectives and experiences in their career. Throughout the series, you'll see the commonalities between professionals, as well as the unique qualities that each person has. New episodes go live on YouTube each Monday, Wednesday, and Friday. The playlist will be updated here as episodes are added. Thanks for watching! https://www.youtube.com/playlist?list=PLKnxJ6JEwFFXwd2D6uYizVy7PP63ctPnW 4/29 - Steve Morrow 5/1 - Richard Lightstone 5/4 - Kally Williams 5/6 - Michael Wynne 5/8 - Allie Boettger 5/11 - Chris Howland 5/13 - Lucretia Miller 5/15 - Tony Smyles

I have a theory to why the -20 output on receivers became common practice. When portable analog mixers were prevalent in the field, many were prone to channel bleeding. Particularly on the Wendt X4 and X5 mixers, if the signal was too hot coming in, it would bleed into the channels next to it and into the mix. So to compensate, the output levels on the receivers were lowered to -20 and the mixers were set to -10. Even when the gear no longer required doing this, people continued to do it out of habit. Rental houses still often send out packages like this by default. That all being said, there are some cart mixers who even pad down their receivers so that they can set their trim levels on their consoles near noon so that they have room on either end to adjust. I know this was common when the 01V was popular. It all boils down to learning best practices, and then adjusting your strategy as you need to.

Jan, You are an absolute inspiration in the community. The lessons that I've taken from you (ex: it's the "little things" that matter) are numerous and important, and that's only from reading your words. I'm jealous of those that were lucky enough to work alongside you. Your professionalism and kindness have always been evident on this crazy world wide web, and we're all better off for it. I hope you remain active in the community, and help us all to grow. Even more, I hope you keep writing, writing, writing. Congrats on the next chapter. Enjoy it!