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5,020 topics in this forum
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FCC License 1 2 3 4 11
by Jeff Wexler- 2 followers
- 270 replies
- 99.6k 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 Matthew Steel, -
- 5 followers
- 32 replies
- 3k views
I'm wondering just how important adjusting the mix is for location sound. Why does it matter if the mix sounds good in a 2 track print that won't be used for a finished product? It seems as though the job is much mores focused on capturing the best sound possible, then letting the post sound department figure out what's best for the mix. I imagine the dialogue editor would prefer the 2 track mix to be clean but how significant is that? (New to location sound so if the question sounds stupid, my apologies)
Last reply by Constantin, -
- 23 replies
- 4.1k views
Fifty years ago today.
Last reply by mono, -
- 1 follower
- 3 replies
- 468 views
Hello everybody, This post to have your feedback about your listening listening level with a Aaton Cantar X3 and a Sennheiser HD25 70 ohm. The older I'm the lower I listen. A few years ago I was listening at -20 db, then -22, -26, - 26 and today -30 dB with the same headphone and "headphone safety level" at 0 on the Cantar. Of course at 50 years old there are some frequencies that I hear less that at 20, so I should listen louder than when I was young ? My ears are now quickly tired but I think I still have a good audition ! What about you ?
Last reply by LuisT, -
- 2 followers
- 6 replies
- 894 views
I’m looking for a mic for documentary (no “talking heads”, but more “run & gun”), possibly with a long reach in order to be able to capture sound also when in not-ideal situations, and sometimes as on camera mic (I know, I know…). I will use either a MixPre3 or a Zoom F3, in accordance to the set up needed on the day (as I have both). Have anyone had the chance to compare the Sennheiser 8060 vs the DPA 2017? I looked at some tests and I feel the 8060 sounds better when positioned at longer distance from the source, but I'd like to hear about your experience if you had the chance to use them. Would the Sennheiser 8060 or DPA 2017 pair well with a Schoeps…
Last reply by MatL, -
- 3 followers
- 8 replies
- 672 views
I'm finally dusting some old pieces of equipment that are no longer making me money. Each time I do this (every 3 or 4 years), I feel like everything in the seller's market has changed, and I'm sure others have experienced this too. I thought it might make a good thread to share experiences and views. I think this site is still the best venue to list items on as it's peer-to-peer, people have been vetted, and there aren't fees or management on top of the sale. In recent years, Facebook was a better venue because it has no fees and a much wider reach, although the vetting isn't really there. Now it seems they want 10% off every sale, and currentl…
Last reply by keith mcmanus, -
- 1 follower
- 4 replies
- 448 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 Paul F, -
- 2 followers
- 1 reply
- 298 views
I am doing my 2nd gig for a local author I connected with via social media and mutual connections. I did a short story for him which included recording, mixing, and added foley/sound design. I charged $250 for all this due to it being my first audiobook project and wanted to set the relationship off simple. I gave the voice actor (friend, and recording vocalist I have a trusted relationship with) $50, while I pocketed the $200 because the Sound Design took much longer than expected. Anyways, I have just received another gig from him, this time with no sound design. Just record it, patch up any problems with the vocals (Soothe2 plugin is a lifesaver for this), …
Last reply by codyman, -
- 1 follower
- 13 replies
- 1.4k views
Apologies if this question doesn't belong on this site, Someone suggested I ask this question here rather than the Tapeheads forums. Has anyone here used the Sound Devices 722 as a music player? If so, how did it perform in that role? I was hoping to use the SD 722 like a cassette or MD recorder, like field recording, recording from the radio, and music playback. Not a professional use case, I know.
Last reply by Scrunch Gumpgins, -
My primary background in sound thus far is from being a studio recording engineer. I'm currently borrowing a friends Neve 1073 Preamp and am simply wondering if using this on a production set is practical? What about for Post? Feel like I could definitely run all dialogue thru this and yield a richer sound? Does anyone have experience or heard of anyone doing something like this?
Last reply by JonG, -
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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 Johnny Karlsson, -
- 1 follower
- 7 replies
- 793 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 TobiasHaynes, -
Ripped off 1 2
by 480sound- 4 followers
- 25 replies
- 5.5k views
Last September I was hired by a LA company; Beverly Boy Productions to work on an Industrial film for Roku. Roku had rented out an entire high end resort in Santa Fe NM where I live. Beverly Boy hired the crew and made the deals via their producer. Since I didn’t work much last year I was glad to have the job. I should have been more careful when the producer said if it was OK that Beverly Boy paid in 30 days. They didn’t pay. I did not have or did I ask for a deal memo. Beverly Boy has a good rep and has done many productions. I did have emails, text messages and a call sheet with my name on it and the producers contact numbers. I waited for a month after the 30 days t…
Last reply by tourtelot, -
- 1 follower
- 11 replies
- 6.6k views
I just got my paycheck for a shoot I did two weeks back, but for first time for me, my kit rental got lumped together with my day rate. And the payroll company (CAPS, LLC Payroll service) taxed my kit rental in the process. Usually, when I work on a production that receives W-4s, my kit fee is paid nontaxed separately while my dayrate gets the usual taxes deducted. So is this incorrect, or is the payroll company allowed to do that?
Last reply by Jeff Wexler, -
- 8 replies
- 2.4k views
I went to watch a drag race for cars and motorcycles, and here are some examples: https://youtu.be/C-ZEK9VcmXc?si=oCkZvgpBTOnILo6w https://youtu.be/cJu01ousADA?si=fxrZcn8De7UzyvEX https://youtu.be/Pbm3cpi35pE?si=fZss5liySkDzy3kh The sound there is very loud, and I wondered how to properly record such an event. The SPL is around 98 dBA or maybe even higher. So, my question is, what kind of microphone would you recommend for recording such an event? I was thinking that perhaps a bass drum microphone would be suitable for this purpose? Here are some examples Microphones for Bass Drum: Shure Beta 52A Sennheiser E 602 II AKG D 112 MKII Audix D6 …
Last reply by inspire, -
http://www.nytimes.com/2012/07/29/opinion/sunday/listen-to-the-soundscape.html Josh
Last reply by philip67, -
- 2 followers
- 0 replies
- 257 views
Hello everybody, the German association of Film Sound (bvft) is developing a workshop for production managers in Germany in order to achieve better working conditions for future projects. Our main focus is on the time we get paid to prepare for a project. We have therefore developed a survey to analyse the preparation times of sound mixers in other countries. Through this, we hope to be able to create a better basis for negotiation. We would be happy if you participate in the survey. It should take around 10 minutes to complete. We believe that the results may also be of interest to all those who take part, so you can leave your email at the end and we will send …
Last reply by JustusWirth, -
- 1 follower
- 9 replies
- 1.3k views
Curious if anyone has suggestions for safe, compact and efficient storage of different size preamps and capsules? Something i can store inside a pelican with other bits, etc
Last reply by Eric, -
- 1 follower
- 1 reply
- 436 views
Any way to clear out the scene and track name list before a new show without having to fully reset the machine?
Last reply by Axel Mishael, -
- 2 followers
- 21 replies
- 2.5k 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 Dave Ladd, -
- 2 followers
- 23 replies
- 7.6k views
Currently in RF rebuild mode on the cart and have installed a BSRF AS-84 antenna distro which has the option to have 2 antenna diversity pairs. I understand the multi zone set up scenario but keen on some user feedback re single zone multi antenna set up. Consistent coverage is getting harder given sets have much more rf as well as the general increase in environmental rf. I Also run digital (zax) wireless which suffers a little more from line of sight issues so interested in options of getting antenna coverage from more than one direction of a set. I understand cable loss, gain matching, the use of combiners / splitters and when / where to use or not use active gain. …
Last reply by Harris K, -
- 1 follower
- 2 replies
- 1.1k views
Dear Group! We developed a special sound restoration method, where we optically clean the frame by frame scanned picture of the optical sound track and later we read it out as digital sound and clean it with AI and traditional tools. I am curious to hear your feedback about it. Is it salable as a service? What should we improve? Thank you for your help! Daniel Bőhm https://cleanfilmsound.com/
Last reply by Philip Perkins, -
- 2 followers
- 3 replies
- 471 views
Hey everyone. I am wondering how far away from your lectro receivers should a T4 IFB Tx be so it does not reek havoc with them? Or is remoting the antenna from the T4 (short whip antenna with BNC connector popped right on the back of the T4 as of now) the best solution? Can an RF barrier be put inbetween if they have to live close to each other? Not sure what form that would take, but... Thanks in advance! CRAIG
Last reply by Derek H, -
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- 2 followers
- 14 replies
- 1.9k views
My first experience with social media with production sound was this forum right here on JWSOUNDGROUP. It was and still is filled with professionals that give helpful advice and I genuinely enjoy being here!. I recently purchased a Scorpio and decided to ask a question on a Facebook sound group on which bag do you prefer? The first two replies were snarky so I deleted the post and removed myself from the group. I've got zero tolerance for toxicity these days and this is not my first time having a negative experience on a Facebook sound group. So lesson learned, I'm going to repost it here where I can share and receive helpful info from folks who are real professiona…
Last reply by Derek H, -
- 8 replies
- 2.6k views
During my recording session in Matsalu, I managed to conduct an interesting experiment. I placed two stereo microphones facing each other and performed a spatial recording with these two stereo microphones. I will soon share some exciting results from this experiment in this thread, but for now, I am adding a photo. The stand was on a bridge over the river, where a car came to fetch water. The sound of the pump was captured with two different stereo microphones. https://on.soundcloud.com/Bjs4hr7vDYyWtoG58
Last reply by inspire,
