General Discussion
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- 5 replies
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I want a set. I don't care about the quality of sound, I only care about the level of reducing ambient, especially in the higher frequencies. Anyone has some tips on what to buy / avoid? (There are a gazillion of choices nowadays.) Thx, Bouke
Last reply by grawk, -
- 1 follower
- 7 replies
- 990 views
I wrote an article with some (hopefully) helpful tipps and tricks https://schoeps.de/en/knowledge/knowledge-base/recording-techniques/miking-a-car
Last reply by Matthias Richter, -
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- 291 views
Last reply by mono, -
- 9 replies
- 943 views
I have started teaching at Rose State College, a two-year college in Dell City, Oklahoma. I am creating a sound class for their new film and digital media department for next fall semester. I am looking for a proper textbook for my 18-week class. We will meet once a week for two and one-half hours. I have some limited sound equipment to teach with. I aim to instill respect for sound in students who want to enter the film business, something that is very lacking in many of the professionals I have worked with over my career as a sound mixer. This will be a core class that all students will take to graduate from the program. I picked up an …
Last reply by newzhack, -
- 4 followers
- 14 replies
- 1k views
We have discussed this before but lets refresh. What is the benefit of S-corp vs payroll after the maximum deduction was raised? What deductions do you get with S-corp that you can not do as single proprietor? WHat is the benefit? Are you asked to have your own production insurance? Cost?
Last reply by RadoStefanov, -
- 2 followers
- 4 replies
- 725 views
Hi! I'm looking for any tips/tricks for doing location sound on a football field with a boom and lavs. The players pads will be mic'd up, and I will also boom them. This is new to me - I have more experience with narrative than sports, so I'm wondering if anyone has any tips/tricks or experience I can learn from about this specific kind of sound recording on the field? I've seen a few clips where tall players have grabbed the boom above them and talked into it without warning, and I've heard I will be running a lot to stay in range with my wires. Any suggestions or things to be aware of? Thanks so much!
Last reply by John Blankenship, -
- 2 followers
- 10 replies
- 1.2k views
Saw this watching the morning news and really enjoyed the way they presented the story. Iconic, and you will recognize it even if you had no idea. https://www.cbsnews.com/video/an-iconic-hollywood-sound-effect-called-the-wilhelm-scream-was-uncovered-in-an-archive/
Last reply by Bouke, -
- 1 reply
- 301 views
Last reply by Jim Feeley, -
- 1 follower
- 11 replies
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I use Canare 4E6S star quad microphone cables in colors other than black. The brighter colors require more cleaning to stay not looking dirty. Canare uses specially formulated PVC compounds on outer jacket . I've used Goo Gone Adhesive Remover but thought there may be something better and wanted to ask our community. I'd like to discuss products used and methods to clean Canare cables. When researching adhesive remover for 3M Transpore surgical tape I found but I have not tried any of the below: Goo Gone Pro-Power - Pro Strength Adhesive Remover Smith & Nephew Remove Adhesive Remover -Universal adhesive remover wipes Mineral oil …
Last reply by PMC, -
wind noise
by Fritz- 2 followers
- 2 replies
- 340 views
client is a vid podcaster. He has an older Sony CX550. For an ext mic there is only a 3.5mm jack. Not very secure as he has discovered. Since he is just underway, his budget doesn't include a better cam. Much of his work is outside and subject to varying wind torrents. There are only so many miracles AI dialog post can perform. Does anyone have an idea for a DIY "wind sock" method for this camera?
Last reply by Fritz, -
- 2 followers
- 2 replies
- 458 views
I have a couple older COS-11d mics that need cleaning. Upon putting a magnifier on the grill I can see their appears to be nasty build up of years of tape goo, dust and perhaps wardrobe fibers. Before I go stabby with a pin in an attempt to clean up the grill pores, does anyone know; 1) Does grill comes off? 2) is there a cloth/fiber barrier below the grill and that is what I am seeing? Thanks
Last reply by PMC, -
- 2 followers
- 11 replies
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Does anyone know if Sanken COS-11Ds can be wired for Microdot? I have several in my arsenal wired for Sony 3.5mm, but would love to be able to use them on my Tentacle Sync TRACK E's without relying on some off-brand adapter. If I could have my COS-11's re-terminated in Microdot so that I could swap them between systems as needed, that would be great.
Last reply by johnpaul215, -
- 1 follower
- 1 reply
- 352 views
I need to rent or buy a Rycote blimp and softie kit or similar in San Francisco Bay Area today ASAP. Any suggestions? mark four 1 five seven 2 4- zero 6 8 zero
Last reply by Jim Feeley, -
- 19 replies
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Hi ! I'm about to shooting in north Norway any one know if are there any restrictions on frequency ranges? I'm ZMT's 4.5 and 4.6 and QRX200 user Thanks! Also any tips about work at -30c are welcome I'm from South America so it'll be my first time on the arctic weather already read a good thread here thanks again!
Last reply by The Documentary Sound Guy, -
- 1 follower
- 13 replies
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Hi, If crew haven't been paid in Australia by a USA company, can the USA company still claim copyright of the video and audio recordings? For context there's only about six of us for a ten day shoot. They managed to fly themselves here and have a good time, just won't pay us. thanks Dave
Last reply by DX Dave, -
- 1 follower
- 14 replies
- 1.4k views
I have never worked in musical theatre... But lately I'm seeing clips of Broadway actors who have two lavs taped to their cheek. Is this simply safety redundancy, or something else?
Last reply by Dalton Patterson, -
- 3 followers
- 4 replies
- 603 views
Hey folks, I recently purchased a pair of DPA 4660's and today I am testing them on both my Sony UWP (gen 4) transmitters as well as on some Tentacle Sync TRACK E's. First, I want to say that I really like the mics. The build quality is great and they aren't that much bigger than my COS-11D's which is fantastic considering I specifically went with the heavy duty versions (4660 over 4060) to use for doc work. The sound quality on these mics is good and they EQ my voice well in all the tests I've done. Overall, I'm very impressed. What I'm trying to figure out though is if I should keep the 4660's, or send them back for 4661's. I had a hard time deciding b…
Last reply by Rustic River, -
- 1 follower
- 1 reply
- 696 views
Hello Everyone hope you are well out there. I have recently encountered a issue with my sound devices SL 6 panel Basically after i attached strip to the Sound devices 688 mixer.SL is working ( Powering receiver,Audio output from receiver to mixer,DC output ) The only function is not working is Receiver overview menu in Sound devices 688 wont able to access individual Receiver Frequency.I have 1 no SRb and 1 no SRc receiver attached to it.Let me know if any one has similiar issue with their SL How it got resolved.Looking forward to hear from community Thank you 🙏 Attached images
Last reply by Placeslost, -
- 1 follower
- 19 replies
- 3.4k views
Last reply by Jim Feeley, -
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- 234 views
Upgrading from an iPad Air 2 to a 12” Samsung tablet for digital script. Curious what you’ve deployed for your larger tablet / cart mounts? Any resources welcomed.
Last reply by Daniellow, -
- 2 followers
- 1 reply
- 554 views
Just saw Michael Mann's "Ferrari...I don't know if Angelo Bonanni or Lee Orloff (the location sound mixers) hang out here, but their work was masterful. The dialogue, room sounds, clicks and creaks...everything...was natural, clear, nuanced, and the mixing choices really added to the drama. A masterclass.
Last reply by wilfreddouglas, -
- 9 followers
- 161 replies
- 39.7k views
It's the little things like a bit of red nail polish on the lock side that add up to make the day go faster: Whatchoo got? -- Jan
Last reply by mono, -
- 3 replies
- 425 views
I had my first shoot day yesterday and struggled to get unmuddied sound with a senhessier mkh 416 through a canon c70 for like a 40 piece drum group (obviously). I won't always be shooting with a sound person and am trying to figure out whats I can do to maximize the potential for clear sound for these heavy drum environments in a run and gun situation. I have some dynamic instrument mics like sm58 and an sm 57, also have a few drum tom mics, a zoom h6, a g4 lav and an extra senheisser mke 600. I already know its not a particularly easy situation, but would love to hear any thoughts on what I could do to get better audio with what I got for these …
Last reply by Philip Perkins, -
- 1 follower
- 21 replies
- 2.5k views
Hi all, I've being watching the film Control ( http://www.imdb.com/title/tt0421082/ ). It's a biopic film about the band Joy Division and from what I understand the actors (playing the band) played much of the gig scenes live themselves. It's a really great sounding movie and has me thinking about music recorded onset. I was wondering if people wouldn't mind sharing their experiences of recording live music for feature films. Thanks in advance, Hugh.
Last reply by The Documentary Sound Guy, -
- 18 replies
- 2.9k views
i'm sure this has come up in the past... can anyone tell me what the first feature was to use wireless? how about a resource for the info? i'd love to listen to some features and look into what they used. just for the curiosity really. cheers!
Last reply by John mann,
