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  2. I used one last night in a very unconventional way in a less than ideal audio situation and it worked surprisingly well. It seems like a wonderful piece of kit for the low price Røde asks for it, good build quality, nice accessory package included with decent quality mic mount and furry windshield for under $500.00? I too have never been a huge fan of the 416. It's rugged, reliable and sounds ok but I agree with the OP about some of my beefs with it, I like other shotguns of various flavors much more. Leaning toward the 8060 over it, although that new Sanken is interesting too.
  3. I agree, seeing a relatively large lav (think antiquated ECM-44 size) with a big foam windscreen w a tie clip or furry where it looks like a Caterpillar is on the talent is especially egregious. I have little problem with a color coordinated small B6 type lav that kind of blends in. The COS-11, I know is a great lav but I've always thought it's kind of long and imposing for what it is compared to other style lavs. Ha, ha, you funny! True, we've all been there on non-fiction shoots where talent brings wardrobe and the wardrobe is sometimes really audio unfriendly.
  4. It's not just "hidden vs. exposed" wherein exposed means obtrusive. There are options of "exposed but discreet". A clean white LAV on the chef coat, a gray LAV on a tweed blazer, or attached to a tie with a busy pattern vs. the lapel. What bugs me to see (and I'm sure everyone else here) is a placement that looks sloppy or hurried. I also don't like seeing the clip on the outside with mic inside. As if the mic is hidden but clip is not. Glen
  5. Today
  6. Any time you can have a mic n the shot it's a win!!!
  7. What headphones does your boomop like to wear? If Sennheiser HD25 (or something close to that), then I'd think what Csaba Major points to in post #3 might be a good place to start. If Sony 7506 (or something close to that), then perhaps the Remote Audio Universal Headsets. They have a high-noise version that David points to in post #4, and they also have a modified "regular" 7506 with a headset mic. And they have some adapters for various rigs. And there are options with little gooseneck mics and with cable chin/neck mics... Check out the page; it's clearer there: https://remoteaudio.com/products/hearing/remote-audio-universal-headsets/ Or you could probably rig up something with a detachable boom mic designed for gamers and voip users. For example: https://www.audio-technica.com/cms/accessories/4a5e9c8232ec6206/index.html
  8. Maybe Mozegear Flexbox? I haven't used it, but have used other Mozegear stuff with success. (Sorry if it was mentioned earlier in the thread) https://www.mozegear.com/phantom-power
  9. Yesterday
  10. Hearing the mix for a boom op is not unusual. The boom op can hear how their mic (the boom mic) fits in the dailies. Ideally, both options should be available to the sound crew, whatever they would rather listen to.
  11. reviving this thread.... any other options? Seems like kortwich is the lightest...
  12. Hi David, thanks for the reply and I enjoy your Youtube videos very much! I actually was surprised by this request as well! But 2 of the 3 times I've mixed for boom operators (who were not me- haha!) they asked to hear the lavs as well. Glad I'm not the only one who thinks it's an unusual request. I'm told it's quite common, but also may be a preference to the region in which you're working? Dunno. As to your video, wow that looks awesome! So- as I understand it, the Sound Deviced MM1 is doing several things: A ) it is feeding 48V to your microphone B ) it has a headphone out for the boom operator to listen to the boom. C ) it has a line in, which allows them to plug in that receiver you're talking to them on, AND it is mixing that input with the boom input. D ) it has a Mic (or line) output plugging into a TX they are wearing to get back to you. E ) (not MM-1 related but a clarification) this means the boom op is wearing a TX, an TX, the MM-1, and talking to you through their boom mic and not a lavaliere they wear. Is all of that correct? If so, I REALLY WANT AN MM1! Sam
  13. i just thought ill share what i do in my free time besides making chargers that i dont even use myself My passion is in these creations and many of the tests i did in my 340 videos But mostly the first time fireing them up and be either disappointed or not Well although Philips used the Audiostatics and even the Quads i believe for there classical albums (lp's).. i would not recommend mixing on dipoles:) but hell they are very nice to have some fun in the living room (preferred larger then my room) and enjoy the wall of sound ! its very different compared to a normal monitor for instance. here are some build pictures of my first larger planar magnetic, i made allot of planar magnetics but this was my first shot on making a fullrange one playing from 48-54 hz to 20khz, at first they would not get to the desired 20khz so hence this video i posted below i redid some panels to extend the top end and i explain why in the second video why it works.. second video is some music played on these contraptions as well Recorded with a simple zoom H6N so Xy . so bass is not what it should be since they are not omni ! and i dont record up close, so wont benefit from proximity, recorder at around 2.4 meters distance. The speaker works like this, it is a 12 micron 0.012 mm foil that is suspended above an aray of magnets. the foil has conductors on then them tha run in between the magnets creating forward motion when a signal is applied. just like a normal coil from a speaker or mic. result is a big foil that in this case emits all the frequencies. to get a better dispersion of the sound and reach higher in frequencies the foil is devided only by the coil itsel to create a small part that plays from 1000Hz up to 20khz and a wider part that does the rest. last note it is not an electrostatic. i did match them in some of my videos with a tweeter/midrange that is electrostatic but this is a purely planar magnetic speaker, no high voltages no power required. just a signal. VIDEO 1 redoing my panels to foil... yes quite long VIDEO 2 rsults and playing 3 tunes , to see what they do VIDEO 2 MIRROR due to copyright things
  14. Looks in principle like the RF Venue Diversity Fin, at maybe a bit cheaper. I have found my Lectro passive fins outperform the Diversity Fin range-wise by a bit in the same situation. Not a scientific test or provable, just a feeling.
  15. nevo

    RF Interference

    Yep swapped to venue and all was good. Its the intermittent nature that makes it difficult...I could send back to lectro and I’m sure the units would behave. live used same setup on a few days since and all totally fine. Quite frustrating and not having faith in your kit can be a bit unsettling.
  16. BAB414

    SD 888

    Website says this: "On the 888, channels 1-16 can be fed from analog mic or line, AES3 or AES42 (XLR input 1), Dante, or Rtn-A or -B." That's really referring to iso tracks 1-16, right? Still just 12 analog sources?
  17. haha you might be suprised i think a planar magnetic will will put the DT48 to bed in general. in distortion and accuracy to be honest
  18. You want to get Jay’s book if you’re a relative novice. I did. It is very comprehensive and beautifully written and organized. You won’t know what you don’t know until you read his book. If you have questions about room tone, you’re likely going to have questions about other things too. Rather than getting your information piecemeal, get this book. The other book suggested seems a bit advanced and perhaps overly-narrow in scope for what you want and need right now.
  19. Yeah, could be testing, police, military, hackers or another shoot close by using the same block. Bad day at the office--sorry! What happened when you tried other RX? Same thing? It is possible that your SRB needs a Rio Rancho vacation.
  20. Hidden vs a small mic exposed, prob not visible in the head shot closeup? How boring is that interview, that this is an issue? Yeah, most filmmakers like hidden, but what perceptive ones like less is bad sound due to clothing noise (uncontrolled wardrobe on a doc etc) or muffled sound. Hiding lavs is a team sport: on drama, with a wardrobe dept, you and they work together. When you have no control of the clothes talent will wear then you do the best you can, figuring that some percentage of the sound you get when they insist the lavs be buried in sound-unfriendly clothes will suck. I hope your boom channel is sounding good!
  21. Mostly "weird fixation." The main issue with hiding lavs is usually more about clothing noise than it is about frequency response. Most producers prefer them hidden. If they don't, life is easier for everyone as deployment is quicker, applying them less intrusive, and the sound is not as compromised. But I don't worry about it either way as it is the production's call -- and I make it work either way.
  22. Hi all: I'm sure this has been discussed here before but I searched and Google searched and couldn't find it if it has been talked about? I'd like to talk about hiding lavs for non-fiction? Personally, I HATE seeing a lav on anyone. To me, it reminds me of news, which if you are shooting news, great but what if you're shooting higher end interviews with A list talent on a nice set with great lighting? To me, seeing that lav sitting on their chest or lapel just looks cheesy and low rent and I instinctively want to hide it. I have heard other sound mixers say that hiding the lav is a sound compromise so they prefer to have it out in the open. But we have great lavs that are freq boosted to compensate for being placed under wardrobe. And I'm usually talking talent who is wearing a single layer shirt or blouse, not narrative stuff with a lav buried under three layers of wool period clothing. Thoughts and opinions? What about producers for non-fiction stuff you work on? Any who cares? Cares a lot? Like seeing an exposed lav? Or is this just some weird fixation I have? Thanks for any input.
  23. nevo

    RF Interference

    Hi audio brains trust. ive had a intermittent problem with my SRBs This has happened 3 times now. Last week I was on a TVC with two talent and a boom on wireless. Sending a mono guide to camera with a LMA . CLIENT and agency on comtek pr216 . Used the Freq finder app to coordinate and ran a scan on RF EXPLORER The day was going fine ,talent about 30 feet from me....Had been recording for several hours no problem,then started getting dropouts Did a scan on SRBs and they have broadband interference like the front end is being overloaded. Did a scan on RfExplorer. Looks clean. I got my bigger rig out (664 and venue field ,same blocks same freq setup and zero problems. Later when I scanned SRBS again all totally fine and I’ve worked a few jobs since with SRB ,NO problems. This has happened 3 times....usually in the heat of the battle. The last time ...I tried to turn the bag TX off and the 633 off and rescanned re powered and the hash was still there..,on two different blocks 26 /20 I was thinking maybe 5G testing ? As they are rolling that out at the moment.but the RF explorer showed clean spectrum..... I am stumped! Ant The previous time it happened,I was on a travel show and had talent on a zip line doing a PTC. SMQV at 250 mw...I was getting about 200m clean audio line of sight,then all of a sudden dropouts at 10 feet and hash all over the scan Nothing changed in my setup.....
  24. Yes, but @roly67 wants a headset mic built into his headphones. As that means much better quality than the built in mic on his recorder, and also is simply going to be easier to use during a shoot. Which is why there are recommendations in this thread like the Remote Audio headphones I suggested or the suggestion from @Csaba Major That's very similar to what I've been doing. (all of my recent/current recorders have a built in mic: Zoom F8n / Zaxcom Maxx / Sound Devices 833) Except I don't understand why you're sending any lav tracks to your boom op? As I assume you're transmitting in mono. Personally I wouldn't want the distraction of lavs mixed in there if I'm the boom op. Here is a video I did of my setup a year ago (skip to a little further than half way in, if impatient): However, I am going to order this soon: https://www.bhphotovideo.com/c/product/1339773-REG/remote_audio_bcshseck_sony_mdr_7506_modified_headphones.html Then I can modify my current Remote Audio HN-7056 headphones so that I don't need use the built in slate mic any longer.
  25. Sounds to me like a Sound Mixer wants to talk to their boom op wirelessly, and they also want to hear the boom op answer them back in their headphones on an un-recorded channel. Is that correct Roly67? What I am doing (most likely in the hardest way possible thanks to my my newbie experience) is coming out of my recorder (which has a slate microphone built into it) on an output into a transmitter which is sending to a Receiver my boom operator is wearing. That output/transmitter is sending the boom mic track and a little of the lav tracks to their receiver, and when I want to talk to them I click on the slate mic which is routed only to that output on my recorder, so only the boom op hears me. The Boom Op also wears a TX which is sending to a receiver hooked up to a channel in my recorder I am monitoring but not recording or sending to any mix. One day - I hope!- the wise ones on this board will explain the 2019 version of how to accomplish this better and in great detail and then we can all up our game. Sam
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