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  1. 3 likes
    I just wish we could move away from expressions like „insanely great audio“. This kind of hyperbolic rhetoric really is not going to help anyone. And in my personal opinion there is not one single wireless system that actually achieves even great audio, let alone insanely great. Sorry to say this, but to me both Zaxcom and Audio Ltd. so not live up to „insanel great“. Nor does Lectro or Sennheiser or whoever. With both systems I can hear artifacts from compression noise (data compression). I couldn’t care less about the presence or absence of a limiter as long as there are compression sounds. Please, don’t pretend like there isn’t. I can hear it in the final product, too. Post can’t even properly get rid of it. So I think we need to scale back the rhetoric a bit. Yes, the new generation wireless systems sound good, much better than their predecessors. But there is still lots and lots of room for improvement.
  2. 3 likes
    Seeing as how most of you have only been doing this for twenty years or so, I thought I'd share one of my helpful tutorials. You're welcome!
  3. 3 likes
    Ok I have written and deleted this on a few occasions. I'll never be able to word it right but here it is. Anger is what kept me alive, it is what kept me strong. Like fire it can be all consuming and destructive, if understood it can be a very useful survival tool. As a child I was sexually and physically abused. Men aren't allowed to admit that. I also witnessed the constant domestic violence my mother endured. This was my normal. Aaron I apologise for beating you up nearly every day in 2nd grade, you didn't deserve it and I wish I knew a better way to vent then. In my early years my anger almost landed me in jail. Mainly stupid shit, Malicious damage, break and enter (think the only thing I ever stole was a hammer). It was a way to vent. Later I discovered skateboarding and graffiti and that gave me a purpose to my anger. Alas I have also expressed my anger in a dark sense of humour that doesn't always come across. Once I moved away I pushed all the shit to the furthest regions of my mind like it didn't exist. I was happy. I had invented a new me. I had a break down when all that shit I had denied existed came flooding back. Once again I self medicated. It was a long road to recovery mentally and spiritually as I confided in friends that had never heard my story. Not going to lie I lost a few who couldn't cope with what I had to tell them. I don't blame them. This industry really helped me find my sense of confidence and self worth. The sense of our dept being trodden upon and dismissed and fighting for what we require. In a way it was my fuck you letter. I think I fell in love with the fight and then later fell in love with sound. Alas I have heard the charm of manipulation on set and have been utterly sick to my stomach. Don't be ashamed of your anger, use, own, understand it. It is your right it it doesn't have to be negative. Cheers Nate.
  4. 3 likes
    You'd get a slightly different plot if you tested the mic again. You should also know that at least at one time those "included plots' were fiction, just drawn by hand and not plotting anything. As I've mentioned before: this is a cheap, decent sounding mic. It's not a mic that's worth getting all nerdy over--just use it on what it sounds good on.
  5. 2 likes
    If the pots, switches, and connectors don't have issues or appear worn or loose, if it ain't broke, don't fix it.
  6. 2 likes
    I'll try to keep people up to date on the progress. Currently the units are back on the workbench being shrunk down in size and some of the built quality being increased. We also are adding some stuff that will make a lot of people incredibly happy. Stuff that I've seen people here in JWSoundGroup ask for for years.
  7. 2 likes
  8. 2 likes
    Well put, Phil. Cambob, what have you been using all this time to have an Oktava/Octava be your "first real mic" and what are you shooting on? The fact that B&H doesn't even carry Oktava/Octava mics should be a good warning. They do carry the Audix SCX-1HC https://bhpho.to/2QOINcs which is a step above the Oktava, as is the AT 4053b. https://bhpho.to/2xFajjP A lot has to do with how well your ears and brain process sound. People who do sound for a living (and are still doing it) usually hear differently than those who don't. There is a learning curve, but some begin higher on it than others. Still others never get there. Regards, Ty
  9. 2 likes
    Plug them in, listen to them, and decide if you like how they sound. You are asking a very subjective question, and it really comes down to taste. I bought a handful of used schoeps mics and chose them out of a bucket full. I chose one that sounded the nicest and most natural, then chose others that sounded closest to that. I think my collection sounds particularly good, but probably different than what a brand new one sounds like. Incidentally, I think the Oktava MK012 sounds pretty good (at least mine do) even without any sort of mod to the power supply. So use your ears and be your own judge. We can’t decide for you without hearing them for ourselves.
  10. 2 likes
    A break from commercials last week. A skit for the Emmy Awards my son Case and I recorded last week at Universal. CrewC
  11. 1 like
    I've long use a B6 with it's very crisp cap. Use a small piece of tape to keep in place and if possible use the cleft in the tie. Viewing most films and big TV dramas currently, that's how it's done and it sounds good. - but you do have to experiment! mike
  12. 1 like
    You might want to try something like this: https://www.amazon.com/PortaPow-3rd-Gen-Data-Blocker/dp/B00QRRZ2QM It blocks the data lines but passes power, so the camera shouldn't see it.
  13. 1 like
    I’d like to revisit this old but still very relevant subject to see what people are using. I started out by using G2/3’s, which worked fine for the most part. I then used the Lectro 100 series units because I thought that they might be a good solution, but scrapped that idea when the Zaxcom IFB100/ERX2TCD system came out. Hop and sync in one box? Awesome. The problem with that system is that the IFB100 has a fragile antenna and can’t be anywhere near other devices in your bag such as a Comtek transmitter because it bleeds a squelching sound that is very nasty. The IFBs are rather large, poor build quality, and if you don’t get the Audio Dept mod, then you’re using a Y cable to come out of the mini jack which will put stress on the connector and cause it to break. The worst part about it is that it operates on 2.4gHz. This wasn’t awesome when it came out but it worked ok. That was before every other person on set had some wireless device competing for the same frequencies. Now it seems that if I get any more than 10 feet away from the camera, it starts experiencing dropouts. Since there are no other hop/TC systems that I’m aware of, I am looking to re think things and move away from the Zax system. I’m happy that Denecke joined the world of the micro sync box. But what about the hops? Well I still have my old G3s, but I’d love to find something that operates outside of my talent wireless spectrum (470-23). I like the idea of the Lectro VHF IFB system but the only transmitter available is a base station. What is is everyone else using, and how are you preparing for the eventual big squeeze in the UHF spectrum (in the USA) once 600mHz is no longer legal? I’m looking at size, affordability, available frequencies, output power, power options (battery, battery eliminator, etc).
  14. 1 like
    The Audio Limited A10-Rack is now available. This has been shown for a while, and it has finally made it out of the laboratory. https://audioltd.com/a10-rack/
  15. 1 like
    @joinwooHK Yes you are right. That is why I am asking people what they are using AND WHY. Please share your thoughts.
  16. 1 like
    I use a Lectro LR with Tentacle as well. Awesome mono hop. I have 2 and put one on 2nd cam when we have one. I don’t love using 2 on the same camera for stereo mix. Quite bulky. Works but looks awkward. If I did more work that required primary audio on camera i probably would have gone for an SRc but it’s rare I need that
  17. 1 like
    A reply from Gordon Moore at Lectrosonics on another forum: HI everyone - this IS a recent development not spotted by the beta testers or us - it does manifest only with transmitters close. It has NOT shown up in every unit. It should not take 3-12 months as stated in the original post but in all honesty we can't be sure until it truly is beaten. Switching your transmitter to a lower power levels can also eliminate the problem. We DO think we have found the solution in the engineering department and a new board layout has been already completed and sent out for PCB (which take a couple of weeks to come back in). We'll stuff them as soon as they arrive and test to see if the design change is effective. As soon as we confirm, we will , naturally, take care of ANYONE who is experiencing this issue.
  18. 1 like
    This is sad news 😞 But at least some got recovered eventually! Some very very very expensive lenses, cameras, and lights there. https://news.sky.com/story/huge-haul-of-stolen-hollywood-film-equipment-found-in-argentina-11498283 https://www.lanacion.com.ar/2172041-operativo-hollywood-stolen-cae-banda-equipos-filmacion However, I did find this comment on reduser to be quite funny: http://www.reduser.net/forum/showthread.php?171041-Huge-haul-of-stolen-camera-gear-found-in-Argentina&p=1824381&viewfull=1#post1824381
  19. 1 like
    The Lectro preamp has a rounded tone with a golden, chocolaty aftertaste that is most satisfying to the sophisticated listener. The SD preamp has more of a bright, silvery texture with just a touch of tarnish. If you color the input XLR's of the SD with a green magic marker, 93% of this tarnish is removed leading to an astounding equivalency with the Lectro preamp. Best Regards, Larry Fisher
  20. 1 like
    From Producing Great Sound for Film and Video. The list is about three years old. American Radio Relay League (www.arrl.org) This amateur radio organization publishes many books about electronics, including an excellent primer, Understanding Basic Electronics, for $30. Their ARRL Handbook ($60 hardcover, including CD-ROM) is a 1,300-page technical encyclopedia, updated every year. Cinema Audio Society (cinemaaudiosociety.org) Organization of production sound mixers and boom operators, with an informative online journal, an active discussion board, and links to other film sound technical societies. www.JayRose.com My website. It has a large tutorial section, reprints of some of my DV Magazine and ProVideoCoalition articles, a two-hour video presentation on film sound, some spoofs of our industry… and information on my studio (which is how I pay for the whole thing). www.GreatSound.info Mostly about my latest book, but there's also some free downloadable stuff. Epanorama.Net Engineer Tomi Engdhal’s website: an immense database of contributed articles, circuit diagrams, and tutorials about audio and electronics. Equipment Emporium (www.filmtvsound.com) Educator and sound recordist Fred Ginsberg’s site, with lots of articles about soundtrack production, and downloadable manuals for some common gear. FilmSound.org Immense library of articles devoted to all aspects of film sound design. The site also includes discussions of more than 150 specific films, and essays by noted sound designers Randy Thom and Walter Murch. Gearslutz.com Busy forum (more than 10,000 members and guests) for people who love audio and its equipment. Most of the topics are about music recording, but there are active subgroups devoted to film/video post, studio acoustics, and equipment classified ads. Internet Movie Database (imdb.com) Cast, crew, and occasional trivia for just about every movie ever made—Hollywood features, made-for-TV, low budget indies, the works. JWSoundGroup.org Very active discussion group, managed by veteran Hollywood mixer and Oscar nominee Jeff Wexler, and populated by film professionals. Lots of topics (primarily about location and production sound), question-and-answer threads, and both technical and philosophical discussions. Free registration required to post, but anyone can read and search the threads. Quantel Limited (quantel.com) This film and video equipment manufacturer has assembled a large downloadable library on digital audio and video, workflows, and interchange systems. Rane Corporation (rane.com/tech.html) Rane makes equipment for commercial sound installations. Click the “Reference” tab on this page for a library of downloadable booklets, and a complete technical dictionary. Rycote’s Microphone Database (microphone-data.com) Published specifications for thousands of professional and semi-pro microphones, sponsored by this manufacturer of professional shock mounts and windscreens. Video University (videouniversity.com) This site has a few basic articles on audio, plus a lot of information about the technology and business of video.
  21. 1 like
    I am using the SD633 now, but PD6 is too good to put it on the shelf. I am thinking of putting it on my cart again as a backup recorder or use it's preamps for some projects... anyway... it's a nice recorder and with less consumption (without dvd writer, only memory card) it can be good sometimes...
  22. 1 like
    Hey all I've had this issue with my 50s, 1 is 3 & 1/2 years old the other is 1 & 1/2 years old. It can happen on a cable or on Lectro HM transmitter. I swap to a scheops Cmit 5u and no probs. We have a lot of 2.4ghz traffic (focus remotes, red remotes & HD senders) from camera department and a relatively small lighting set up. I notice this problem in 2 sets, it drives me crazy as it seems to be happening more often recently. I'm sending both 50s back to sennheiser for an inspection when we wrap in 4 weeks. I've spoken to our post crew who aren't too bothered by the noise... but it drives me nuts when I end up with it on a take. As we're using Red Epics on our shoot, you can only just hear the actors over the fans during rehearsal, there's no chance you'd hear this noise. As a note, i'm using canare quad cable and neutrik EMC connectors. Cheers Mark
  23. 1 like
    Had one. Sounds good but battery change in field is difficult..compartment can fall out. When battery is anywhere near low levels, strange distortion likely. I found the pot for gain adjustment, though large, a bit too easy to move on pole. Yes..inputs not standard..had to configure custom cables for my use. I like it overall but it is pricey for what it is.
  24. 1 like
    You remind me of my old grammar school teachers (the old "can I, may I" conversation comes to mind), so I will reword my question accordingly: Anyone care to share their experiences with this unit?
  25. 1 like
    I have read all the post and i think i help out in cleaning up some seriously but understanding of audio gain staging. 1- Let's be really clear, Gain staging is NOT about listening and hearing if you like the sound better ( this is done only after a correct gain staging and only then ). 2- Gain stagin is the FIRST thing a sound specialist should learn about since it is the basis of operating ANY type of audio gear. Read about it, educate about it. 3- Lab or real life, there is no difference. People that say that real life is different simply missed a piece of information about the situation they are dealing with and don't understand the theory behind what they are doing and, unfortunatly hide behind habits instead of seeing it like an opportunaty to learn something new. 4- Yamaha sound reinforcement handbook is a good source for understanding how audio flows thru equipment and the laws that regulate it. Now as for the correct gain staging of wireless system. There are two distinct use of the wireless system. A- Wireless Transmitter set on a person with a lavalier, going into a Wireless receiver hook into a location mixer. 1- Many people, actually the overwhelming majority in my neiborhood, set there transmitters to low. Meaning that regardless of how loud the person the mic is on speaks, the transmitter is set too low and then ELECTRONICALLY does not operate within the optimum ( as in sounds best at that level, as in tested for quality in controlled environment by serious technician ) operating level that it was designed for. For a Lectrosonics transmitters, this means two green led ( -20 and -10 ) and occasional red on the -20. This means that the transmitter will be operating at approximatly -10db from limiting which is not something you want. Now a note of interest for later, this does mean that the RECEIVER will then never reach full output modulation ( LEVEL ) so simple deduction tell you tht it will never be more then 10 db under max. Maximum level being +5db on a UCR 411A ( I am relying on what was said earlier in this post ), then simple math says that it will be outputing a maximum of -5db during peak, and will most likely operate around -15db during normal conversation. 2- Receiver END. Lectrosonics only pads down its output level, it does not amplify it. So simple deduction tells me that sn ration is better when the output stage is fully open since there is NO electronic present to increase the gain meaning no device to create additional noise when adjusted upward. So by opening up the output all the way you are NOT adding noise at all. In fact, by openning it ( should be understood as NOT padding it down ) you will require less gain boosting ( as in electronic amplifier turn up adding noise to your signal thus reducing SN ratio ). So you then need to set your mixer input to line level, which is tehn operating in a MUCH LESS noisy manner since it is operating at a higher level thus less induction of noise from outside source, gain stage that add noise and MANY MANY OTHER NEGATIVE SOUNDING THINGS. SO here is where everybody does the mistake ON THIS type of use. If you send a tone from a UCR 411a at full level and you mixer is set to line level input, when you PFL your input on the mixer, adjust the preamp gain on the mixer for the meter to read 0db on it. Then when using a transmitter in real life, if you need to DRASTICALLY increase the gain on the mixer ( not a small adjustement of +or- 12db ) then you need to correctly adjust the gain on the Transmitter as it is not set correctly PERIOD. Now there is only one time that i would set my transmitter gain low on purpose and then run my Receiver in Mic level on the mixer and that would be when there is no way for me to know the level of the person i will mic and that i will have absolutly no access to them after i set the mic. Even then it needs to be understood that you are breaking the rules of electronics and that you SN ration will suffer. Now this explaination is only good for Lectrosonics UCR411A receivers as i have no operating level on the others type of wireless. And guys, understand once and for all that when the LCD on a unit says +12db it does not mean the there actually +12db measurable at the output since not only is it a question of the actual calibration of the unit, what the MFG means by actual output level ( physical vs adjustment inside software ). One really big lesson to learn here is that the ACTUAL level of the receiver is DIRECTLY tied to the TRANSMITTER input level. B- WIRELESS CAMERA HOP. 1- Here is where we break the rule a bit and mainly because of a quirky output level from Lectrosonics. When operating a wireless camera hop, the last thing you wnt is to hit the transmitter input limiter. First because you cannot hear when you do ( you are not listening to anything after the mixer output ) and second because it is going to limit your entire feed. So we need to gain structure differently then the previous example, we DO NOT want to hit the -20 red on the LEctrosonics transmitters at all. You need to hit -20db green regularly and occasionally hit -10db green. You DO NOT adjust the output of your mixer, you simply the input adjustment on the transmitter itself. If you are turning that adjustment really low, then use it in conjunction with a padded cable in bethween your mixer and transmitter. 2- Receiver end on the camera. Now if you are still reading this post and you have paid attention to what i have said about the receiver ACTUAL OUTPUT LEVEL, you will understand that since we are running the transmitter ( on purpose ) 10 to 15db lower than where it would like to be for actual optimum operation this also means that the receiver will be operating at lower level. What i mean is that for the same SOFTWARE SETTING of full level on the UCR411A you will be getting 10 to 15db less ACTUAL LEVEL OUTPUT. So our level just went down 10 to 15db when set at full level. MAth wise it means that if you are sending a tone at 0db from your mixer into a transmitter, the receiver set at full level will then output a level of APPROXIMATLY -20dbu. THAT EXPLAINS why you need to have the adjustment dial on a Sony EX3 all the way up when the camera is set to receive line level ( +4dbu equalling -20dbfs ). So we need to cheat this by actually setting the camera ( EX3 ) to Mic level and set the your gain on the camera to about 5. IT IS BREAKING THE GAIN STAGING RULES but only because the LEctrosonics receiver is not a true line level output and that WE WANT to have some forgiveness on the transmitters gain setting in order to avoid limiting there. In conclusion, you can only make these decision and findings after you understand how the system are operating. THEN and ONLY THEN can you make quality judgement on the actual audio you are sending/receiving. Last but not least NEVER, and i mean NEVER let the editor/post make level adjustment needed because you did not respect the -20dbfs average level rule on a shoot. At that point you are simply not making your job and SERIOUSLY screwing the SN ratio. Sorry if i piss people, but we are professional and should know our job. Pascal
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