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About audiofp

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    Hero Member

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  • Location
    Tucson, Arizona
  • Interested in Sound for Picture
  • About
    Studio owner/engineer. Radio/TV/Film recording/ editing/mixing. Location sound. Commercial music composer.

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  1. Sound Devices Mix Pre-3 and Mix Pre-6

    I liked the grommet idea. Found this at Ace, part #405942-M. I.D. 5/16". Gives you a nice big diameter and still allows push to select.
  2. Sound Devices Mix Pre-3 and Mix Pre-6

    Yes, mine will output to two LTs. This is my backup/small bag alternative but got to thinking what a nice boom setup.
  3. Sound Devices Mix Pre-3 and Mix Pre-6

    MixPre-3 seems like a boom op alternative to an MM-1 with backup timecode recorder for $50 more. Just received one and these things are tiny! Impressive little gadget!
  4. Question about RF Scans

    That helps- Thanks Karl.
  5. Question about RF Scans

    Trying to allocate my bag freqs. Here in AZ I've had good success with talent transmitters in the A1 (470-537mhz) block. I currently send com and ref cam feeds on Senn, G band (566-608), usually in the higher freqs. Trying now to wedge an SRc for camera hop in B1 (537-608) fed by Blk. 21 (537-563) or 22 (563-588mhz) transmitters (50-100mw). At least 2 block (50mhz) separation between talent/hops/coms seems to be a good target. Antennas can be separated sometimes but usually they'll live in the bag. Suggestions?
  6. Phase Interference questions

    Since relative mics/mouth positions constantly change, mixing both mics is rarely a good idea as it will result in moving comb filter frequencies- an ugly sound at best. This can't be corrected by moving one track relative to the other in the timeline. Typically, for various reasons, one source will be more appropriate and the other can be feathered in for problems (clothing, distortion, off mic, etc.) On rare occasions I've delegated the two tracks to different frequency bands and been able to use them together. A good quality boom mic and similar sounding lav make it that much easier.
  7. Ambient Eumel & Lectro HMa

    I did a job using the Eumels and it was fine. Not having to change the HMa voltage is one less detail for this tired old brain.
  8. Ambient Eumel & Lectro HMa

    Thanks Karl
  9. Ambient Eumel & Lectro HMa

    Looking at purchasing a Lectro MCA5X for my HMa. I'm wondering if my two Ambient Eumels will work. Anyone have any experience with this?
  10. PS-1A to Lectrosonics LT

    Weird to this not too technical guy. No load voltage to ground is the same on both legs of the PS-1A. I don't understand the huge difference swapping phase. Oh well- it's working.
  11. PS-1A to Lectrosonics LT

    So l flipped the NTG3 cable phase and problem went away. NTG3 doesn't like portable 48v solutions. Weird.
  12. PS-1A to Lectrosonics LT

    That was my thought but the NTG3 works fine in the studio and hard wired to my 688. Looks like NTG3/PS1A compatibility problem.
  13. PS-1A to Lectrosonics LT

    I connected an SM81, same setup and it was fine. I remember the NTG needed a phase reverse barrel to work with an HM plug-on so perhaps it's related to that. Also Rode FAQ says: " Will the NTG-3 microphone work when connected to my wireless transmitter? There have been reports of compatibility issues with connecting the NTG-3 to a battery powered wireless transmitter such as the Lectrosonics UH400AAU. This is due to there not being enough power in the transmitter to power the mic. Most portable transmitters can only provide 4mA of current at 48V. The NTG3 requires at least 5mA.
  14. PS-1A to Lectrosonics LT

    Just received two stock Lectro MC41 cables and connected the NTG3, PS1A and Lectro LT. Both cables result in the same unusable noise floor- chatter, crackle over white noise. Yes there is a full bandwidth signal from the mic over the hash. Anyone experienced this?
  15. PS-1A to Lectrosonics LT

    Thank you!