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FCC License 1 2 3 4 10
by Jeff Wexler- 6 followers
- 244 replies
- 85.6k views
RF Info and the FCC Licensing Project Mission Statement In order to ensure that the concerns, needs and issues of the thousands of professional sound recordists in the United States who use the UHF spectrum on a daily basis, can be heard by the FCC, it is imperative that as many users as possible obtain a license from the FCC. The basic goals of this project are: To educate Production Sound individuals who use radio equipment in the lawful use of these devices, and to understand the privileges and responsibilities of licensed operation. To remove the liability of unlicensed operation of wireless transmitters. The FCC can levy fines of up to $11,000, per trans…
Last reply by Jim Feeley, -
- 8 followers
- 23 replies
- 1.2k views
I've been in the location sound business for about 30 years, in the U.S. I've posted here a few times over the years on various topics. I'm re-visiting here now in Nov of 2022 checking to see if there's been any recent non-union "rate" discussions, as in compensation for work performed. I have found some old compensation rate discussions. So, have I just not searched here correctly? Anyone in the Definitive Know if there's a current discussion going on? Let me know. Otherwise... perhaps, in light of recent inflation, new discussions on compensation rates may be in order? Why my motivation know? I'm recently hearing of, and seeing in print online, some rates t…
Last reply by NewsPunk1, -
- 15 replies
- 290 views
For an upcoming job I will have to record a discussion with 11 participants. It will be filmed with 2 cameras with Timecode-Sync. It is not a live production - so there will be a real post production. Therefore I will deliver a multitrack recording. I have offered two versions: 1. the two main speakers will wear lavaliers (dpa4060) , the rest of the people will be covered with the sound boom (MKH50). 2. the two main speakers will wear a lavalier, the rest of the people will be recorded with table microphones (1 Sennheiser ME36 with small gooseneck per 2 people). Are these acceptable solutions, or which solution would you choose? Thanx for your ad…
Last reply by chrisP, -
- 5 replies
- 709 views
A quite interesting article. http://www.bbc.co.uk/news/magazine-36129328
Last reply by Izen Ears, -
- 3 replies
- 295 views
Hi all i met Franck by casualty, in NY when he was recording Dellaventura in 1997. The set was under my hotel ( pioneer hotel at this moment) I introduced myself, he invites me to stay with him, close to the nagra and drop me a Comtek. He was very kind, I was starting my sound mixer career at this moment. Now 25 years later, i would like to get in contact with him to say thanks! and share my 25 years experience. Thanks for the information, PM if you like!!!
Last reply by foliver, -
- 1 follower
- 5 replies
- 287 views
Hey everyone. I need some advice. I want to record sfx, both hard fx and foley, not to much ambience stuff but i still want to have a decent sound for that aswell. But mostly close proximity, focused sounds that i can process in post, and experiment. Especially pitch shifting and slowing down samples. I want to find a good microphone setup. I currently own 1 sennheiser 8040 and i was thinking about getting another one, and also 1 sennheiser mkh 8050. Would it be a good idea to have the 8040s as stereo sides, and then have the 8050 as mid/center microphone for the extra detail and focus. So 2x cardioid as sides, 1 super cardioid as cent…
Last reply by The Immoral Mr Teas, -
- 3 followers
- 16 replies
- 795 views
Howdy Forum People. It's been a minute since I've been here, but this forum was integral to learning pro sound and to my business' success. You guys were amazingly helpful to me as I learned the business of ENG sound - Thank you! (and yes, I have made a donation to this very valuable site). It was a great (successful/lucrative), albeit somewhat short, career. I am now getting out of the business, and would like to sell my entire ENG audio kit (SD 633, tons of Lectro - all legal blocks, tiny lockits, etc...). My kit is a bit dated, but it all works excellently and has been meticulously cared for. Have any of you been able sell entire packages - or do you…
Last reply by tourtelot, -
- 2 followers
- 22 replies
- 1k views
https://www.avclub.com/television-film-sound-audio-quality-subtitles-why-1849664873
Last reply by Olle Sjostrom, -
- 3 replies
- 332 views
I've done enough bitching for one day, let's all not forget that it's the person who is important. Borjam has in his sigline: "Don't worry about the drums. I'm a percussionist, I can play on carton boxes" - Peer Wyboris So true: Zappa when he was young. (Do click the link!) Must see, not a cat puking funny! Then there was a phrase (I forgot by whom) 'I don't care how many tracks you have, how does it sound?' One of our local rock 'n roll heroes was also a painter, he once (for a stupid TV show) painted with shit on the cheapest paper he could find, using a piece of chewed wood as a brush, making the statement that an artist should …
Last reply by vin, -
- 0 replies
- 152 views
Its been 20 odd years since Ive seen Doug Nelson. Doug is a production mixer, that mixed post on his shows, amongst others. I learned a lot from Doug, as his A2 in post. Trying to find a way to reach him.
Last reply by TVPostSound, -
- 12 replies
- 1.6k views
Fifty years ago today.
Last reply by mono, -
- 1 follower
- 13 replies
- 1.8k views
Hello Guys, Last week I had a prank shoot and getting ready to go for the next one on a couple of days. It's all outdoors and constantly moving. One person going to people in a street event like a parade and engaging in awkward consversations. I used a flower brooch and proped a DPA 4080 lapel mic, pointing out since its a cardioid mic. I had the gain quite up in order to get further away sounds and I also had placed a fully hidden cos11 on the actress with the appropriate levels for her voice. Instructed the actress to go as close to the people as possible but when the prank is not stricktly scripted this cannot always be possible. As expected results were …
Last reply by TomBoisseau, -
- 1 reply
- 195 views
A last-minute job in Nepal just came up requiring a recorded live translation setup. Many years ago, I did a similar arrangement in sit-down interview scenarios that didn't require recording the live translation. Inelegant at best, using a Shure FP22 headphone amp, a desktop PTT microphone and a couple of Comtek 72mHz systems. The Nepal job has asked for a verite solution. Literally, a walk and talk, as well as a sit-down interview arrangement. Like a roving "UN translation" setup. I'll have my SD 633, two Comtek 216mHz systems and Lectro wireless mics with the possibility of one Sony wireless system with a headphone out, along with two Sennheiser …
Last reply by Philip Perkins, -
- 9 replies
- 1.3k views
Am definitely going to listen to this
Last reply by IronFilm, -
- 1 follower
- 28 replies
- 4.9k views
RIP Don Wetzel (Loon Audio). I received a call this morning from one of his friends today that Don passed away the morning of July 10 from complications brought on from diabetic conditions.
Last reply by RadoStefanov, -
- 1 follower
- 18 replies
- 627 views
I'm curious about what protocols sound mixers are requesting/requiring on non-union sets? A recent call about a corporate gig has surprisingly lax protocols considering the high profile client, so much so that I felt that I had to pass on it. I'm wondering if I'm being overly cautious and need to adapt?
Last reply by backfocus, -
- 1 follower
- 11 replies
- 1.3k views
Last reply by mono, -
- 3 followers
- 36 replies
- 7.1k views
Sound on. My first post... I've been searching for films that convey the life of a sound recordist, especially focused on natural environments and ambient sounds. I imagine an adventurous traveller recording mysterious sounds in obscure, silent places. 0 results. Unacceptable! The "closest" I got was Berberian Sound Studio (2012), a film I saw in an empty, silent cinema in Edinburgh in 2012 This is almost the opposite of what I am looking for, as it's based in a studio Another inspiration was Upstream Color (2013). Here there is this strange guy recording pigs and other unconventional natural sounds. He then uses the sounds in a synth instrument. …
Last reply by Mike Kujbida, -
- 2 followers
- 16 replies
- 727 views
I had a shouting scene in the rain where I wired the shouting female talent with a Countryman B6(low-sensitivity, red band, servo wired) via a SMQV(level set to 5) to 411a(compatible mode: NA 400, +5dbu, line in to 788t w/ limiter off). While the 411a never showed overmodulation sign and the the meter on 788t never hit red, the shouting is obviously distorted. The only cause I deduced is that the B6 itself was overloaded. However, with the maximum SPL of 130db of a low-sens B6 on the talent's chest, it's hard to get my head around how the overload from the lav is possible. Is there any other factor in the chain that might've gone wrong?
Last reply by backfocus, -
- 1 follower
- 4 replies
- 314 views
I'm prepping for a movie and one of the characters spends a lot of time talking on the phone. Before I talk to props does anyone have any tips on hiding a mic and transmitter in one and placing the mic? The film takes place in the early 90's so it would be one of those bulky cordless phones. There should be some space for hiding.
Last reply by Jeff Wexler, -
- 1 follower
- 2 replies
- 205 views
I have a job coming up that is Sound only where I will have a producer friend taking notes on a clipboard, just wanted to see if there was a clever way to mount or position a zaxcom erx on a clipboard to listen/take notes/see tc clock ergonomically?
Last reply by osa, -
- 1 follower
- 20 replies
- 865 views
I went to an audiologist for a hearing test and we started talking. He said the highest frequency that can come from a human vocal structure is 6.5k, which is a young female child hissing through their front teeth. I was stunned. What about all those other freqs?!!! Given this information, why would our lav mics ever want to go above 6.5k? Then I had a conversation with a pal who does lots of music recording. He said the kick drum always gets a 2k, 4k, and between 10k - 12k boosts. But the kick drum can't possibly be putting out 12k? He said when he boosts the 10k - 12k it opens up the drum. Could the same be said for dialog? And what exactly is being…
Last reply by Wandering Ear, -
- 3 followers
- 3 replies
- 269 views
Recently ran into an issue with ultrasonic security system messing with Sennheiser G3’s. Does anyone make a low pass filter to go between mic and transmitter to avoid this issue? We got around it with a wired boom and 2 hardwired lavs, but it was not easy. Please don’t tell me to just buy “Lectro”, I know that’s the long range answer, but when working on micro budget indies, it’s just not practical.
Last reply by ric8138, -
- 1 follower
- 10 replies
- 595 views
A thing I never understood is, why low cuts, either build in or as a module, are recommended here or there on boom mics. Most devices we connect a boom mic to, either a recorder or some TX provide a low cut, presumably in the analog input stage. Is there any advantage to have a low cut close to or within the mic?
Last reply by jgthesoundguy, -
- 1 follower
- 9 replies
- 574 views
Hi all I am reading Jay's book "Producing Great Sound for Film and Video", and would like to listen audio example files, but the companion site doesn't work anymore (http://www.greatsound.info). Does anyone previously downloaded all the audio files and pdf from the companion site and could share them to me ?
Last reply by AndrewL,
