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  2. I have Canare L-3D2W with Canare BNC(50 ohms) conector for that cable BP-C31. I use 3M for cart and 12M extensions no active antenas, only passive, Zaxcom. For more than 12M you need use active system. http://www.canare.com/ProductItemDisplay.aspx?productItemID=190 http://www.canare.com/ProductItemDisplay.aspx?productItemID=169
  3. I was seduced (having worked on all the Apple roll-out films) and bought a Mac around this time. After experiences like Courtney's, I went back and spent almost the cost of the computer on a (get ready) 500 MB hard disk. That made the Mac usable in its advertised fashion more or less. I'm glad my eyes were better then--that screen was REALLY small!
  4. It's omnidirectional UHF
  5. What kind of antenna is it? Is it directional?
  6. I just got around to getting a PSC antenna distribution box this January and finally got it hooked up inside my mixer. I was testing the thing out and yes it helps with my Sennheiser paddles. I had this old Radio Shack antenna laying outside in the back yard for 15 or so years. I brought it in and tried it out. It took the power from the PSC and worked better than my paddles.
  7. Hi Matthew, One other factor that comes into play is that the intermod products are always at lower levels than the carriers of the two off frequency offending transmitters. This means that the desired third carrier is almost guaranteed to be much stronger at the receiver than the intermod from the two offending carriers. Remember it takes at least three transmitters to create a problem. You must have two offending transmitters interfering with a third desired transmitter signal. If all three transmitters are at roughly the same distances from the receiver, the desired signal will overcome the relatively weak generated intermod. When intermod does become a concern, is when the offending transmitters are close to the receiver (or each other) and the desired transmitter is at a long distance or the desired signal is momentarily weak due to a drop out, i.e., multipath (null). As I said, the Lectro program is a worry wart. Best Regards, Larry Fisher
  8. I got one of these "Miracle Machines" the year after they came out. I traded an old IBM clone PC I had built to a writer that wanted to have a machine he could get work done on. After I set up the Mac I discovered why. It came with Microsoft Word on Floppy disk. I tried to use it, but since the machine had no Hard drive and only one Floppy drive, it required over 21 floppy disk swaps in order to open a single word document. (I counted them) After 15 disk swaps I was ready to throw the little portable machine out the window. I had Atari and Commodore and IBM PCs that only had floppy drives (no hard disks) and they only required one disk swap to create or open a word processor file.
  9. Hi Folks. This is my bag mainly for commercials, documentary and interviews. But I also done a TV series on a cart and with sharks. 1 x Sound Devices 633 2 x Wisycom MCR 42S 1 x Lectrosonics UCR 201 for Boom (modified with SNA connectors for external antennas) 2 x Lectrosonics SNA600 (just stuck inside the spaces of the bag. I tried different things, but this is the easiest way and it´s fast removable) 1 x Powerdistribution from www.ops-shop.de 1 x Betagear Antenna Distribution (it´s from Ali Express and works fine with the Betagear Shark antennas! ) 1 x Sennheiser SK300 G3 for boom op or customers 1 x Lectrosonics UM110 for camera feed 1 x VMount battery 1 x Orca Bags OR-30
  10. I didn't see that you said were you are working. In the Midwest of the US for non-union work I get $550/10hr day. When the producer says it's a 12 hour day. I say it's $55*10 plus two hours of OT, $82.50*2. And hold firm on that. Occasionally I lose a job but most say okay. Producers need to pay for what we produce for them. Yes, i accepted less money when i was learning the craft, actually i continue to learn, but we as sound mixers often deal with greater challenges than the camera department. They almost always have at least two people per camera while we often have only ourselves to lav, plant, boom, mix, freq coordinate, manage TC and figure out the audio interface on thier camera and why the return is sounds like crap. I get $50/lectro wireless (i know people who charge $75). I get $50/Sennheiser or Schoeps boom. $40/Senn G3 hop. $30/Denecke tc box. $125 for 4 Comteks. $100 for SD664.
  11. I stumbled on these yesterday and thought they looked pretty cool. No personal experience with them but cool concept. Yuni: The Single-Sided Stereo Headphone (3D Printed Headphones) by Glassophonic https://www.amazon.com/dp/B06XYJ1WT3/ref=cm_sw_r_cp_api_i_GMvtEbMXG2R7B Seems to have two drivers in one earpiece so one ear can get a stereo experience. -Mike
  12. What gear are you using? Assuming your recorder/ mixer has monitor routing, send both channels equally to L & R HP bus, or just to the side for your good ear. You could also rewire the HP plug so both L & R go to both sides equally or just to the preferred side.
  13. Thanks very much @LarryF for your comments. I will try not to be a worry wart. On the receiver side it (almost) impossible for talent to get within 10 feet of any of our antennas, and anyway the multicouplers are all Lectrosonics VRMWB either in a short chain or fed from a UMC16b. On the transmitter side it sounds like we should be fine under almost all circumstances. We are not operating out of a bag. In the theater-like scenarios where we see our largest channel counts it does seem like there is a chance talent could get that close. I will have to keep that in mind then. Thanks again for sharing your knowledge. Most of the information I have found on this topic gets to the point of saying "you need to use coordination software" but to get past that point it seems to be a lot harder to find specific recommendations about what settings are most important and how to most reliably get the channel counts higher.
  14. Brian Give me a call 561-212-1443 much needs to be talked about much more then I want to type
  15. Agreed, if the producer pulls stuff like that, imagine what they’ll do next time when you let them get away with this. 700/12 all in is a fairly low rate already, and with the overtime you should be getting 1867, not 1750, and definitely not 1400 for all three days. I would take that producers offer the same way I would take a slap in the face, because that’s what it is I don’t know where you are but the rate you should be aiming for is $650 for you and for 4 lavs and comteks I would want at least $400 for gear. I’ll admit I have negotiated for less than that, especially on a multi-day shoot, which is why this surprise “discount” request is so ridiculous. You are already giving them a discount and they should be grateful.
  16. Yes. Forgive me I am new. For a commercial 500 for me and 200 for gear what should have been charged? 664 4 lavs 1 boom and comtek
  17. What they are asking for is completely wrong. You worked 3 days they should pay you for all 3 days of time you negotiated for. Stand firm this is not a client you want to work for again if this is how they treat you. You also should not have done any post production work for them for free as that is not in the standard job responsibilities of a location sound mixer. Also was your rate 700/12 with gear?
  18. I did a job Friday, Saturday and sunday of last week. We agreed to 700/12 Saturday and sunday and a half day (350) friday to setup mics in the car to make sure we are ready to roll at 6 am. So saturday we went 13 hours (1 hour of OT). No problem. Sunday we were 7 am call, wrapped at 3pm and then we reset gear and downloaded my card till 5. The producer asked that since we didn't do a full 12 hours on Sunday that we cut the half day and to not charge OT. I also took some tracks that needed clean up into izotope rx7 and removed some noise and reverb at no charge.... They were great to work with and I really want to work with them again but I dont know how to respond. Can I negotiate? If I stand firm on $1750 do I burn a bridge?
  19. Hey guys, I've been a big fan of this forum for many years and I just want to thank you all for sharing your expertise and knowledge for little to no thanks. I am a beginner to location sound, with three channels of G4’s a CMC6MK41, MKH416, MKH8060 and a couple of Cos11’s all running into a zoom F8. I’m relatively happy with my kit at the moment, obviously there is room to improve (if you have any advice about that please let me know!) I’m working on a rather large narrative project this summer and think it would be beneficial to have a wireless boom set up. I don’t have the money for a HMA or A10 system unfortunately but am looking for something that doesn’t massively degrade sound quality. Any ideas? Thanks in advance!
  20. By drilling through it like you would do with the epoxy method. I made it so you can drill on the third ring of the connector. I think it's suitable for 3mm diameter cable max. I need to test it out.
  21. How will you get the cable into the connector?
  22. Hi Rado. It's been a while since I read this thread. I need to make the mod for my ERX's and it appears that your photo's are no longer visible. I've tried on my phone, tablet and computer and all methods have the same result. I'm getting crazy timecode bleed into my audio channel (on all 4 ERX's) and need to add a BNC to sort this problem out. Could you repost the pictures please. Many thanks, Sebastian
  23. Hi Matthew, From what you posted, you've got a good grasp on what the two different programs are doing. The Lectrosonics' program is very conservative. As it said, the carriers are outside the passband of the receiver and probably won't cause much intermod at the receiver, particularly if the talent is more than a few feet away from the receiver antennas. The receiver front end filters will reduce the out of band carriers while leaving the desired signal at full strength. The "offending" transmitters output stages, however, don't have that filtering and if very close to one another (a foot or so) may generate an intermod product while they are physically close together. If the transmitters are always farther than that apart (not in a bag) or the talent transmitters are not very near each other, the intermod will not be a problem. If you have weak amplifiers in the multicouplers and the talent gets close to the antennas simultaneously (less than 10 feet), you might have a problem. With robust amps in the distribution system (Lectros) it probably isn't a problem. So the Lectro program is telling you, don't worry about receiver intermod but keep an eye on the transmitters being physically together (in a bag) or close to antennas tied to distribution amps. The Shure program is saying, Lectro is a bunch of worry warts, get on with the show. Best Regards, Larry Fisher
  24. I'm working on this, what do you think ?
  25. Hi Vita, I won't be at Prolight, but I've seen your booms are available at Audiosense in Brussels. I will visit them soon, I'll take the opportunity to try the Panamics. Thanks. H
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