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Oscar Sound Tech-lavs Re-visited.


Rasmus Wedin

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I know what you mean. I've noticed, though, that somehow Midgley's movies always sound similar. Do they send it to the same post house? The same re-recording mixer?

- Yeap. Different post house. Different Re-Recording Mixer. But. In X movie you love the sound from dialogues (Tram lavaliers). In Y movie you don't like the sound from dialogues (Tram lavaliers). It's not only the Re-Recording Mixer story but story from lavalier technique, production mixer, aesthetic mixing technique and more...

After seeing it a few times, I started to hear the gating, the clothing noise, and other "production" sounds.

- The gating it's from post house. The "noise" or better "self noise" in quite room (from movie) it's from production. Compress. So that mean be careful and easy with compression. Clothing noise story now. Hmmm. For example the frame it's in the hand from talent. Talent puts hand in the jacket. And? And foley. Or "live foley" from production. The director maybe wants that sounds. Who knows. BTW I think in King's Speech the post house is not amauters to "forget" the clothing noise or something else.

I'd figure they'd need to do less ADR since everyone's wired.

- I agree.

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I know what you mean. I've noticed, though, that somehow Midgley's movies always sound similar. Do they send it to the same post house? The same re-recording mixer?

- Yeap. Different post house. Different Re-Recording Mixer. But. In X movie you love the sound from dialogues (Tram lavaliers). In Y movie you don't like the sound from dialogues (Tram lavaliers). It's not only the Re-Recording Mixer story but story from lavalier technique, production mixer, aesthetic mixing technique and more..



I wonder if that's why some people prefer "colored" microphones over "flat" microphones and so forth. So they know it'll sound good if it never reaches post. Sometimes I really hate how trams or whichever microphones I've used have come to the final version, and sometimes I've loved the result. I guess it depends on how much work, and quality of it, was done in post.

- The gating it's from post house. The "noise" or better "self noise" in quite room (from movie) it's from production. Compress. So that mean be careful and easy with compression. Clothing noise story now. Hmmm. For example the frame it's in the hand from talent. Talent puts hand in the jacket. And? And foley. Or "live foley" from production. The director maybe wants that sounds. Who knows. BTW I think in King's Speech the post house is not amauters to "forget" the clothing noise or something else.



I'm not saying they don't know what they're doing. According to that interview at Soundworks that Midgley gave, the costume department was not sound-friendly, and therefore there probably was a lot of rustle to deal with. If they kept the production dialogue, which it seems like they did, there's only so much they could do. Of course they did a great job. It's barely audible. You would need your speakers in a certain arrangement to be able to hear such low, bassy sounds. Also it might not be "clothing noise". I just hear it as gating. The sound that comes up during the dialogue kind of sounds like clothing noise, but I personally don't have the massive speakers to amplify it to hear what it might be.
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I wonder if that's why some people prefer "colored" microphones over "flat" microphones and so forth.

- In conclusion: If sounds good, sounds good. If they are Sanken or DPA or Sennheiser I don't care. For me it's all about aesthetic. The only sure it's the results. If the results it's good, well done!

So they know it'll sound good if it never reaches post. Sometimes I really hate how trams or whichever microphones I've used have come to the final version, and sometimes I've loved the result. I guess it depends on how much work, and quality of it, was done in post.

I'm not saying they don't know what they're doing. According to that interview at Soundworks that Midgley gave, the costume department was not sound-friendly, and therefore there probably was a lot of rustle to deal with. If they kept the production dialogue, which it seems like they did, there's only so much they could do. Of course they did a great job. It's barely audible. You would need your speakers in a certain arrangement to be able to hear such low, bassy sounds. Also it might not be "clothing noise". I just hear it as gating. The sound that comes up during the dialogue kind of sounds like clothing noise, but I personally don't have the massive speakers to amplify it to hear what it might be.

- I agree with all!

:)

( with this purple color I'm looking gay?)

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I know they do 3 pin lemos, Just wanted to know if they also had any interference problems that some lavs have with Zaxcom digital wireless systems. Like for example older COS11s or x had

According to Chris McCallum (also on this board) they are fine at 50mW (Trx900LT). Not sure about higher powered transmitters.

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I have tl40s on my lectro digital hybrid system.. along with sanken cos11 ds.. and a few akg 417l mics as well....

like them all... in some cases the OST TL40s have seemed to be a little brighter than the sankens... but they have worked very well overall...

their price has made them the go to in cases where the mic is likely to be damaged.. but they sound good,and I would not hesitate to use them on the A talent..

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So, I just wanted to check up and see if people are still enjoying using their TL-40's and 801's/ 802's? How are they holding up? Well built? Sounding good, working fine?

I'm asking cause last spring there was lots of talk about people receiving faulty mics (myself included), and lots of problems, but some seemed very pleased. Have they got it sorted out by now? Is it worth taking another look at these mics?



Makes me wonder why we would buy OST for any reason other than the price? If price were not an issue, would you still get Trams over these microphones? What do we pay for with the extra $100?

EDIT:

My listening tests are that the Oscar Tech 801's sound 100% identical to a new Tram TR-50. Note that the microphones do change in sound quality over time, and my oldest lavs tend to sound more "rolled-off" over time.



I just noticed you said this, Marc. Does that mean you'll never buy a tram again?
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What country are you in, resonate? Looks like the dealer is trying to rip folks off. Why don't you write an email to OST and tell them about this? Who knows, maybe they will ship to you then. Because either that or you'll go and buy Sankens for that price, right?

Christian, i'm in Poland. And the worst part is that i know the guy who is this 'distributor'. Hmm might shoot them an email about this. Anyway, thanks for the tips Jim, maybe i will try to order directly from Pro Sound US.

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Makes me wonder why we would buy OST for any reason other than the price? If price were not an issue, would you still get Trams over these microphones? What do we pay for with the extra $100?

Good point. Unlucky for me they apperantly don't make them for Sennheisers 2000-systems. Damn that suck.

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Good point. Unlucky for me they apperantly don't make them for Sennheisers 2000-systems. Damn that suck.



Maybe Pro Sound Services (this one's in New York) or other sound place (someone else might know?) could convert it for you? If the voltages are compatible it wouldn't be an issue. Also, there could be other stuff they could do to make those voltages compatible.

Just an idea.


Good luck!
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I just noticed you said this, Marc. Does that mean you'll never buy a tram again?

Never say never! But I've been happy enough with the OST 801's that those and the B6's are my go-to lavs. I make the decision whether to use one or the other depending on conditions, how much wear and tear we have to deal with, costuming, and so on.

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Maybe Pro Sound Services (this one's in New York) or other sound place (someone else might know?) could convert it for you? If the voltages are compatible it wouldn't be an issue. Also, there could be other stuff they could do to make those voltages compatible.

Just an idea.

Good luck!

Sawrab

Why not? Is there some powering difference between the 200 series and Zaxcom - it's the same connector (slightly different wiring) and I know they can be made to work on Zaxcom...

I don't really know what the difference is. I guess it has to do with the wireing. I sent another mail to OST, but have yet to get a response. In their last mail Dave told me that they "don't support the 2000-system", but not why.

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You ll love them and your clients will definetly appreciate that you have different color lavs. A quarter of the price for an almost inaudible sound difference. A no brainer

Yeah, I've been thinking about these for quite some time. As of now, my wireless are just G2s, but I kind of weigh that up with DPA lavs, which I love, but ost lavs seem to be as lovely and for that price I can still afford to have DPA lavs for those higher end jobs.

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Yeah, I've been thinking about these for quite some time. As of now, my wireless are just G2s, but I kind of weigh that up with DPA lavs, which I love, but ost lavs seem to be as lovely and for that price I can still afford to have DPA lavs for those higher end jobs.

Careful, I found the TL40 to sound screechy with G2/G3s. Seem to not work very well with that compander. Qualitywise way below what you can get out of a DPA on a G2 in my opinion. 801/802s sound okay on G2s though. As do TL40s on my Hybrid Lectros, by the way.

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" have DPA lavs for those higher end jobs. "

... if that makes you feel better.

Of course it does, why else would I write something like that?

And also, clients over here now know a DPA from any other lav, at least that's my experience. Dpas are the standard, even in reality shows and eng.

Thanks to the heads up Christian! And that's why I'm also sticking with dpas for now, I trust that I can get good enough sound with my current setup, and til I buy a new wireless system ill just leave my current one as is.

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