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  1. Today
  2. You haven't mentioned it and you may have already tried it but have you tried swapping over the base plate on the receiver?
  3. Are the inputs on your recorder the same? Is one set to mic and one to line?
  4. Same as I told you on Facebook I think it’s an issue caused by phantom power
  5. Just buy a Zoom F8n and then do EQ in post using Reaper. Like Jon said, it really is nothing something you should be doing on location, but instead later on. And the production field recorders which do have the options of EQ built in are really expensive such as Sound Devices Scorpio, 688 / CL12, Zaxcom Deva, etc
  6. I have to ask: Is this in the style of surf music? Note: Nothing Fender on that stage.
  7. Perhaps the only good thing about wireless with less range then..
  8. If you’ve got the capital, it’s what I call a “spreadsheet decision”. Lease? What’s the total of your payments over time. Plus any cost to buy outright at the end of the term. Less how much the money you didn’t spend upfront would have earned you (here’s where the recursive feature of a spreadsheet really comes in handy, since that principal decreases with each lease payment). Buy? What’s the best cash deal you can make. Less any resale value if you don’t intend to keep it. If if you don’t have the capital, you still might be able to get a better deal ( or used or demo gear, often not available on lease) by borrowing cash, possibly secured by other gear. Often the interest rate will be less... and the loan may have better early termination terms than a lease, if you get some extra bucks and want to buy it out. In my experience, the tax implications are often minor. You can deduct lease payments... but you can depreciate owned equipment. Under current US law, you may be able to expense the entire price of owned equipment the first year. But I’m not a lawyer or tax accountant... the rules for you - even in the US - may be different.
  9. Yes we often tread a fine line especially when an actor/actress disapears off set without notice. I have on only a few occasions when checking radios hear a tinkling in the toilet and I make a point now of advising those with radios on that I will remove them if needed for their privacy and the safety of the equipment. mike
  10. Hey all, I posted this on the Lectro Facebook group, but I'm hoping someone here might be able to shed some light as well. I'm having a really strange issue with my SRa receiver that I can't seem to figure out. I have an SRa on the latest firmware along with two SMDa's. I noticed lately that one channel is WAY louder than the other but I was on set and didn't have much time to troubleshoot. When I got home I took my time and this is what I'm seeing. Channel 2 is consistantly and significantly louder than channel 1. The levels for both channels on the SRa are both set to +5. I tried swapping the mics - no difference I tried changing the inputs on my recorder - no difference I checked that the TX and the RX were set at the same level - no difference, didn't matter which TX I used Checked compatibility modes - no difference Checked Pilot tone was active - no difference Phase both set to + Swapped cables - no difference Essentially no matter what I do, anything I output from Ch 2 is about 20-30db louder than Ch 1. All I need to do is swap the cable from Ch 1 to Ch2, set the Freq and bam, it starts peaking like crazy. I've tried every possible combination and to rule out cables, mics, recorder settings etc. Any thoughts?
  11. Yes. We have all had those moments. Mine more frequently (and frequently enough that I should have known better) were some out-of-school talk that might have been overheard. The moral is, never talk s**t about anyone, ever. It will serve all in good stead. D.
  12. Yesterday
  13. I lease my Sonosax SXR4+ mixer, mainly because I didn't want to spend my capital and keep some of it in reserve for a slow period. ($12K in my currency Vs 633 @ $6.5K). After years of always paying cash I weighed up the options and decided to play the long game this time. You really need to talk to a Tax accountant, this is their field of expertise, we are mostly sound mixers here.. But in saying that, if you're a mixer for the long term (as I am) it can make good business sense regarding cashflow. Grant.
  14. It’s better to eq and process your audio in post. On location you won’t be in a suitable situation to critically listen and do fine eq work.
  15. Thank you, JonG. This is helpful to know.
  16. You should talk with your tax/business consultant about that question. It makes total sense to lease things but if it does for relatively cheap items like sound gear, I think I can't give a general answer.
  17. mikebarber

    Boom Op Kits

    thanks for this, it's a big help! i agree, my credo is usually "better to have and not need than to need and not have." yikes! now that's not something i would have thought to anticipate.
  18. Thank you so much everyone for your input- this is really helpful for me to make the best decisions for my show possible. I recorded last night and realized with the H6 I don't have abilities to easily EQ voices or change aspects of the voice into the recorder. I fear it might be the same situation with the F8N and looking into the F-Control, it doesn't look like the traditional mixer with all sorts of tools. Perhaps this is all best to be done in Reaper. I will try to get the F8N to record separate channels so I may EQ voices easily in post. Thank you so much for your help again!
  19. In my experience, a laptop based setup is too cumbersome and too fragile for field recording. I’d definitely choose the stability and ease of setup of a dedicated field recorder like the Zoom F8N over a laptop based setup. -Mike
  20. @andrewsbaik I agree with Jon, Logic is more suited for music production than it is for audio editing. I would definitely take a look at Reaper instead of Pro Tools for your DAW, I would only go with ProTools if you are sending mixes back and forth with others that are already using Pro Tools or if you plan on doing mixes for clients. Reaper is $60 and provides all of the DAW functionality that ProTools does.
  21. I was thinking vocal mics in live situations. We mostly used a variety of Shure dynamic mics way back when. Like those in my posted pic. Many through the amps which posed a host of problems. (Feedback) but we had little choice as PA’s were few and far between. All punchy mid range vocals. Like Surfer Joe. CrewC
  22. I think we found the culprit: Video has a DIY video switch in front of the monitor input to switch between A and B cam. It’s passive but not shielded whatsoever. Going straight from one Teradek into the monitor- all good. Vid needs to build a shielded version ...
  23. I used to work regularly with Marc Gilmartin. He used a rack that permitted hanging each lavalier mike so it might stretch out. A small clip from a stationary store affixed at the bottom provided just enough weight for a gentle stretch. He did this regularly and claimed it kept the cables slack and free of memory coils. If your cables already have memory coils baked in, you might want to hang them outside in full sun for an hour or two. I think the rack Marc used was a commercially available product used by sound studios to keep patch cables sorted. Marc probably modified the slots to accommodate the thinner mike cable. David
  24. I have bought a bunch of used Dpa 4060s. The cable is stiffer than my other two 4060s which has the new soft cable. Is there anything that can be done to soften/extend the life of the cable? Is there any trick (that is not causing harm) to straighten the cables that have been rolled tight and taken up on that form?
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