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Found 14 results

  1. What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
  2. I'm about to jump onto the DPA bandwagon. This going into my first wireless kit (only two at first), been renting before and used the 4061s. I'm debating with between buying the Slims and 60s. Which ones see more action or are better all arounders for mostly narrative work for you guys? And also if it's the 60s, the 60 or 61?
  3. Hello All, I would like to know if it's possible to get cleaner audio from a lav receiver to a Zoom H4N/H6? Is it possible to plug a 1/4 plug from the lav to the Zoom instead of the XLR to get better audio? Thank you.
  4. Hi everyone, I have spent a bit of time searching the forum for an answer to this question, but I have not been able to find any related threads. If this topic has been covered, please direct me to the right page. Thanks. I am a bit new to production sound, but have been trying to refine my techniques and knowledge on as many topics as possible. I rarely seem to have trouble concealing lavs on talent, with the exception of wiring people in business suits. It seems that no matter where I hide the mic (in the tie, in the dress shirt, under the lappelle, in the collar), and with any mounting options (hush lavs, RM-11. vampire clips, moleskin, overcovers/ undercovers, topstick, snot tape), nothing seems to work. All I get is constant clothing friction noise. Hopefully some of you would be nice enough to offer some useful tips & tricks to guide a newbie like me in the right direction? Please be kind. Thanks ahead of time.
  5. Wanting to find out from all the JW folk out there what you all use as a case/pouch/ bag for wireless lab kits like moleskin, topstick, medical, tape, extra mics, scissors, foam, etc for a more portable option. I've seen may guys out there use a briefcase type of case to hold all of that. I've used for years a tackle pouch type that opens up from a fold and it has visible see through pockets to get what you need in a hurry. Mine is starting to break and I cannot find where I bought it. They may not make it anymore. I'm looking for something that is relatively small, foldable and takes little space but can hold a lot. Yeah, I know I'm asking for basically a "D&D bag of infinite holding". Just wanted to see what all of you use as a way to keep all of you wiring needs in. Thanks for the help.
  6. Wanting to find out from all the JW folk out there what you all use as a case/pouch/ bag for wireless lab kits like moleskin, topstick, medical, tape, extra mics, scissors, foam, etc for a more portable option. I've seen many guys out there use a "briefcase" type of case to hold all of that and it's just not as convenient as I need. I've used for years a fishing tackle pouch type that opens up from a fold and it has visible see through pockets to get what you need in a hurry. Mine is starting to break and I cannot find where I bought it. They may not make it anymore. I'm looking for something that is relatively small, foldable and takes little space but can hold a lot. Yeah, I know I'm asking for basically a "D&D bag of infinite holding". Just wanted to see what all of you use as a way to keep all of you wiring needs in. Thanks for the help.
  7. Did anyone watch The Sound of Music Live on NBC last night/have any insight on how the sound was recorded? Definitely sounded like lavs, but I wonder about placement, how they dealt with costume changes, and playback. Watched the behind the scenes doc, but as usual there was not a single mention of the production sound crew. Just curious what folks thought over here. -Michael
  8. Hi Everyone-- I'm about to start a show where some of the talent will be wearing an ascot. Does anyone have any specifics about hiding a mic in an ascot? thanks
  9. So I'm shooting right now. And the Sennhesier G3 wireless is being strange. I'm using a SD 552 and have three lavs plug into to their inputs respectively. The signal seems to be going in and out, when I check them my voice varies in volume and the signal gets slightly louder then softer. Again they are g3 lavs and have OST mics on them. I've changed the frequencies to no avail, there is an ac on cause we haven't started shooting yet, but I don't think that would be effecting the signal level would it? The boom is ok though..any thoughts?
  10. Hi All, In a couple of weeks, I'll be recording sound for an unusual event: 10 row-boats will set out from a pier, each carrying one storyteller and 5 listeners (full occupancy). The boats will drop anchor 'within sight' of the pier, and will be 'not too close' to each other (that's as precise as the distance info gets unfortunately). Once in position the storytellers will begin to tell their stories concurrently which will last about 30 minutes. My job is to record 5 of the storytelers. There will be a run through in the afternoon before the performance in the evening. If range is an issue, it may be possible to get me on a searate boat to get near them. However, I would prefer to keep my Nomad on dry land. My plan is to radio 5 of the storytellers and record 5 iso tracks and a further 5 'safety' iso tracks (at a lower volume) as I can't predict when shouting may occur. My concerns are 1 - range 2 - wind protection 3 - waterproofing Range: Unfortunately I am working with G3s. I only have 2 of them so I will need to rent 3 more. As there are no cams, I can afford to mount the Tx up high on a shoulder or back. What have you all found to be the practical range of G3s? And how does that differ across water, if at all? Wind protection: As there may potentially be a lot of wind (or none), I feel I should conceal the lavs for the sake of extra wind resistance. OTOH this will lead to more clothing noise. So I really not sure what to do there. As there are no cams, perhaps I could build some kind of spacing-block to keep the cloting off the mic. Off the top of my head, something like a pair of rolled up bandages taped to the chest 2-3 inches apart, leaving space for the mic in between. Waterproofing: I will be asking production to buy/rent aquapacs to keep the TXs dry. Has anyone found any cheaper solutions that work? My lavs are DPA 4061s. Anyone know how they respond to water? How about salt water? (TBC) In the event of capsizing is there any way to waterprof a lav without totally killing the sound? I would love to hear your advice, ideas, suggestions on how you would do this, questions you would ask, and things you would look out for. Many thanks, B
  11. Hi everybody, I recently both a used lectrosonics um200b tx / ucr211 rx system (the first lectro I own) and finally I can buy the lav I want for it, a Sanken cos-11. There seems to be many different versions of the cos-11 and I'm not sure what's the best option for my wireless (at least all the diferent names listed in BH got me confused); I'll be using it for fiction and documentary work, mostly as a personal mic. Should I choose attenueted over not attenuated mic? What else should I consider? Thanks for your help. All the best, Andrés MD.
  12. Short version (if you don't have time to read the whole thing): I've been looking at the threads on lavs, and one thing I don't see discussed is which lavs are well-suited to mount to talents as fast as possible, with as little consequence as possible? (eg. as little trial and error as possible before I can get rid of muffled audio, clothing rustle, etc.). I will need to look at the following: - Accessories that will work wonders with the mic in question (eg. COS-11 Vampire clip). - Flat vs. other versions? - Cable noise? My budget is unlimited (since the most expensive lavs I know aren't more than $600-700). Background info (If you have an extra minute): I'm still pretty inexperienced, and have only used the COS-11, Trams, and some larger Sony ones (all of which were mostly impossible when it came to clothing noise! The only place I could get them working is in the middle of women's chest, if they had larger chests.). I will always, always boom as well, but I rarely know what the interviewee will wear beforehand, and I rarely know their body type, whether they have body hair or not, etc. Usually, I find out the details on the spot 10-20 minutes before we have to shoot. I'm gonna try to wear the worse possible fabric I have and go try some lavs out at the store, and/or rent a couple. I'm thinking about trying the following: - Tram -- I've tried it, and I may have been lucky on that shoot, but it worked really well! -- Some pretty good advice were given on mounting the Tram in the book Location Audio Simplified - COS-11 -- I've already tried it, and it took me ages to get it right, and with some of the talents I was taking too long so I was asked to just boom (but I didn't have the VCLIP and didn't know about it either. - EMW - B6 - DPA 4060 and 4061 (if they have them in store) - Any other recommendations? Note: I know the question/scenario is stupid, and I know that if I was more experienced I may have been able to get any lav to work with anybody. But I'm not, so if you find this thread stupid, please ignore it (and let it die), if you choose to answer, I will appreciate it.
  13. 1-Finishing up a low-balled sound gig on a TV pilot where lots of thought and money went into nearly everything within the well-written and well-acted script by an accomplished and talented director except what equipment was necessary to get good sound. When the UPM wouldn't budge on price, I gave him a kit list of what I would bring for that price...2 channel recording, no TC, a boom and 2 G3 wireless kits, no camera hops, and when asked for options, I include the search for someone with a bigger kit who would work for what they're offering. I discuss the script with the UPM, explain the inherent limitations of a restricted kit, he doesn't know what the "free prototype"cameras will be, I forget to ask the shooting style, the producer OK's the kit list, and I find myself neck-deep in a "wide and tight" shoot, struggling to keep a mic on every actor, and the director, producer, and DP asking me questions about why I wasn't jamming TC, sending a scratch track, or wiring every actor. The producer and editor take me aside yesterday and tell me they've listened to the sound files, are extremely pleased, and tell me I'm doing "hero work" with just 2 channels. I of course consider everything I've read here and wonder If I've somehow fucked up by making it work for their shoot, knowing how much better It could have been with a little planning, communication, and not that much more gear, and sending them on their merry way to the next unconscious sound decision.(I read it here that "low-ball" gigs force you to record bad sound.) 2- I get so nervous wiring up a well-known actor whose work I've admired, that I pull his fucking chest hair with double tap in front of the entire crew... instantly crushing my mojo and putting him in a foul mood...humiliating. 3- I ask the 2nd AD to ask the "pregnant actor" if she is OK wearing a wire (I read the thread here and thought I'd give the option). When he asks "which one" I incredulously tell him the only actor here who looks like she's suffering from Kwashiorker. He comes back saying "of course". I later wire her up and during the process tell her that my girlfriend just found out that she's pregnant and that we're very excited. "Thats great" she beams and asks me many friendly questions. When I ask if this is her first, she replies "First what?" "First baby" I state with the now creeping and familiar mojo-crushing gravity from earlier. "Pregnant?...this is a prosthetic, I'm not pregnant" I am reminded sometimes of that "demotivational" poster with the bow of a half-sunken ship jutting out of the water with the motto... "It could be that the purpose of your life is only to serve as a warning to others." Be warned, Steven
  14. Hello everyone. Thomas from Sound Guys Solutions here. I want to personally thank you for all the kind words about our products and updates! Here is a new video that shows exactly what our new product can do as well as how it can speed up your wiring time!