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FCC License 1 2 3 4 11
by Jeff Wexler- 2 followers
- 270 replies
- 101.9k 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 Matthew Steel, -
- 4 replies
- 244 views
I recently updated firmware on my 833 and noticed 2 plug ins for 833, out of curiosity have any of you tried noise assist and or cedar sdnx. Both seem ultra handy, any real world thoughts on the 2 of them?
Last reply by inspire, -
- 2 followers
- 8 replies
- 407 views
Hello everyone, I would like to know what software you use to recover audio from Wisycom MTP61 transmitters. Wisycom does not have any proprietary app to perform this process smoothly, and I would like to know how you approach the recovery of signal drop from the transmitter packs. Thank you very much!
Last reply by Fred Salles, -
- 2 followers
- 26 replies
- 2.1k views
I work mostly on smaller docs and commercials, so I rarely have a boom operator or a second. After looking through a lot of behind the scenes videos and photos at the start of the year, I am seeing most boom ops not wearing headphones, earbud or anything in their ears. Are boom ops not listening to what the mic is picking up anymore? What about communicating with the mixer? I have gear such as a MM1 etc, for a boom op, It just does not get used much, but I was finding it odd to see people booming and not listening to what it was picking up.
Last reply by Fred Salles, -
- 1 follower
- 0 replies
- 168 views
Would anyone be able to recommend a sound rental house in or near Honolulu? I’ll be there soon for a documentary and I’d like to have a shop in mind just in case something comes up. many thanks! Derek
Last reply by Derek H, -
Last reply by Philip Perkins, -
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- 2 followers
- 9 replies
- 1k views
Hey everyone! I’m writing this post because I’m looking for advice from those who currently work in production sound professionally. A bit of background: I’m currently 23 & went to film school where I decide I would learn how to mix on set & learn about gain staging & signal flow. While I was there I talked my way into mixing and worked as a production sound mixer for a fair amount of short films. Since then I’ve mixed a lot more indie shorts, interviews, and other projects. My plan is to branch out and eventually work as a sound assistant or utility sound technician on features, television, or commercials. I think that working under a more experi…
Last reply by dennismarc1uska, -
- 2 replies
- 762 views
Hello Everybody, Anyone with experience shooting in India? Will be possibly doing a job there in the city of Hyderabad and I'm trying to find info on wireless mics frequencies but it feels like there is nothing out there. The rumors are that there isnt much regulation there but any insights from anyone that has shot there would be very appreciated. Thanks Nikos
Last reply by chrisbakeruk, -
- 1 follower
- 8 replies
- 1.5k views
Hello all, I am based in Berlin, Germany, and have been offered a few days in a documentary shoot of a feature documentary. Canadian producer offers 500,-Eur (545 $ US at today´s rate), with equipment, which is an uncomfortably low rate over here. My question for those based in Canada, or having worked as sound recordists/PSM in documentary (theatrical) features funded in Quebec: what´s the range of rates? This is, according to the producer, a project funded by a Quebec film council/commission, which makes me believe there are some guidelines regarding rates. Thanks in advance.
Last reply by Marco Mejia, -
Last reply by Marco Mejia, -
- 1 follower
- 5 replies
- 1.1k views
I’ve been reading up on copyright protection and how it impacts creators and businesses, and it got me thinking about its real-world importance. Copyright seems to not only protect the creator’s rights but also opens up opportunities for licensing and revenue, which can be essential for sustaining creative work. But there are also challenges, especially in digital spaces where content can be easily copied or misused. I recently came across an article that goes in-depth into the benefits of copyright protection and why it’s critical in today’s digital world. It covers how copyright safeguards original work, helps creators monetize their content, and…
Last reply by Marco Mejia, -
- 6 replies
- 1.9k views
Hi, I am completely new to this board so apologies for any errors in etiquette or posting in the wrong place. I have a complete collection of Studio Sound magazines from 1976-2001 (when it was discontinued) in brilliant condition. I am wondering if anyone can advise me a good place to find those who may be interested in these magazines. I recognise this forum may be a good place to start. For example, is there any good websites to buy or sell these magazines, or websites for collectors of music and sound magazines such as these? The collection is impressive and takes up a lot of space. The condition is brilliant …
Last reply by Steve Turner, -
- 5 replies
- 991 views
Hi, I self-record classical chamber music videos with 2 cameras with time-of-day timecode, RME gear (prob switching to Sonosax/Merging) feeding into Reaper. My post workflow takes me forever and makes me hate my life. Can anyone help me improve? What I do is: 1. In Reaper, divide audio into takes, renaming clips T1, T2, .... Mix, including very detailed fader automation. 2. In Resolve, make a long timeline with all video takes. Sync each audio take with video using timecode + waveform sync. 3. In Resolve, divide that long timeline into single-take multicam sequences (set in/out points, create compound clip, convert to multicam sequence). …
Last reply by The Documentary Sound Guy, -
- 1 follower
- 15 replies
- 2.3k views
Aloha! For high-end classical musicians, I currently record 6-12 inputs of (mostly) Schoeps mics into RME UFX III + RME 12Mic at 96kHz. The quality is fantastic, and I'm addicted to mixing on the UFX III headphone amp. But powering 2 units with mains, connecting them with MADI, and bringing 2U of hardware just for my most common use case -- a mere 6 channels! -- is really annoying. I'd like to find a portable rig that at least works for 6ch (ideally 8ch) recordings and can record internally as well as to a DAW. Zaxcom Nomad has comparable THD+N specs to the RME gear. Is that the best option? I've had Sound Devices MixPre in the past and…
Last reply by Larry Sanbourne, -
- 1 follower
- 18 replies
- 2.5k views
A month ago I spent my day off with the great senator Mike Michaels. We had Chicken and Waffles and a great conversation. He is doing good but staying away from the internet. Which is admirable and something that I inspire to do. I snapped a photo which my Leica CL on a Kodak XX 5222 cinema B&W stock. Developed in Kodak Xtol 1:1 at 75F
Last reply by RadoStefanov, -
- 2 followers
- 4 replies
- 1.4k views
Last reply by codyman, -
- 1 follower
- 24 replies
- 5.9k views
Read any good books lately? I've had one or two good reads in 2011... Don't have time to read much, but it surely is a perfect pastime. Most recent was a Haruki Murakami book called Norwegian Wood. He's insanely popular in Sweden. I guess mostly because he writes a lot of graphic sex scenes. Didn't like the book. I don't like sex scenes at all. Another pretty good read was a Paul Auster novel called Invisible. And of course I've read a lot of interesting stuff here Cheerio! (iPhone wanted to correct cheerio with Cheerios. Cereal sponsoring in autocorrect? Hmmm...)
Last reply by mono, -
- 1 follower
- 2 replies
- 534 views
Hello everyone. Thank you for having me. It’ll be a cool place to find information and chat with people in my industry! Btw, where is it ok to list gear that is for sale? I broke my collarbone and need to offload my Lectrosonics.
Last reply by Darrin, -
- 3 followers
- 21 replies
- 2k views
I’m an experienced dialogue editor, hoping to solve a mystery with the help of you location mixers and boom swingers. I recently cut the dialogue for a TV series in which many of the slates sounded like the boom was pointed at the actors’ feet rather than their mouths. This was especially true on exterior slates. Every step and shuffle was crystal clear and all dialogue was off. I have been asked to give recommendations for the next season, so I would love to know what might have caused this. I don’t have much location recording experience, but here are a couple theories I have considered. 1) the boom op was miking from below rather than above (but even if thi…
Last reply by The Documentary Sound Guy, -
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- 3 followers
- 8 replies
- 973 views
Was curious on what folks experiences are recently working with MS microphones/tracks these days? For doc type workflows I really like the idea of having the cardioid mid element and figure 8 side element mounted on a camera. I also love the sound of it and the stereo width flexibility of MS in post allowing things to better fit into the mix. But it doesn’t seem to be commonly used in my experience, at least on the projects I’ve worked on. Since I’ve worked mostly narrative as a production mixer these last ten years I'm out of the loop on today’s common uses. Is it falling out of favor, or is it most common in games, VR and other mediums outside of film sound. Also wit…
Last reply by Michael Wynne, -
- 2 replies
- 512 views
Yesterday I had DPAs upcoming new Microdot version in my hands. In general, it features a pull ring that releases a radial ratchet style, a bit similar to some childs safety lock of a hazardous bottle. So far I like it. Time will tell how durable this is. But look for yourself. https://www.dpamicrophones.com/campaign/microlock/ Apparently - it is compatible with the conventional Microdot both ways. - they are thinking about an upgrade service for existing units, however they did not make any promises so far. (keep asking them 😉 ) - new units will be produced with this connector.
Last reply by The Immoral Mr Teas, -
- 1 follower
- 2 replies
- 471 views
I bought BC back in 2007… it is a GREAT program - that I haven’t used in 10 years. I am trying to buy the new version and am not finding a working link on the website. Any info on this, or more importantly, Take’s well-being? ‘The program downloads fine - but only in two track test-mode. I need the 256 track Pro Version, and the “Digital River” and Apple option go nowhere. Understandably, my old code does not work in my attempts to activate
Last reply by borjam, -
- 8 followers
- 99 replies
- 23k views
Anyone out there know anything about the Aaton closing? As a Cantar owner curious what these means for those of us invested in the product. I remember when Transvideo bought them in 2013 and thought things were going well. Then again it is such a niche market. Thoughts appreciated. David
Last reply by Dejan Ceko, -
- 1 follower
- 22 replies
- 4.2k views
Last reply by mono, -
I searched the group for this topic, but couldn't find any discussion. I've been a freelance location soundman for a long time, and don't recall if I've ever charged for a late payment. I recently did a corporate shoot for a production company in another state. They flew in four people and shot with an Arri Amira and a Sony FX3 (I sent two wireless channels to each). At the end of the day I got a text from the producer saying "Thanks for your help today! Great job!" But, now their invoice (30 days) is overdue. Should I add a late fee? And, how much?
Last reply by Olle Sjostrom, -
