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  1. 3 likes
    +1 what JonG. said. I've found that my choice with such productions takes one of two paths: 1) Just politely say no: "Sorry, I'm not available." 2) Quote it really high. I've had times when they would keep coming back with incrementally better offers. One time they worked their way up to within $50 of my quoted rate with gear and I still passed. Two days ago I received a text offering a low rate for my services and stating that the cameraman was furnishing the sound kit. I responded with my full rate w/gear, and to my satisfaction, never heard back. A couple of months ago, I was certain that I would avoid working on a reality show by quoting full rate in response to their low-ball rate. They came back with intermediate offers which I passed on, then, to my chagrin, accepted my rate. The days turned out shorter than expected and the folks weren't too difficult to work with. Which highlights an important factor to remember: People typically value something by what it costs. So, if you want to be more highly valued by a production, charge more. If you want to be more readily dismissed, charge less. And don't be afraid to just say "no." It's really empowering.
  2. 2 likes
    Working with a DEVA24-MIX16 setup since March. Many things and bugs were solved during these months and some features added, sometimes also listening to the users feedback. I'm enjoying the machine a lot. Anyway, it is still in development: very recently they started to install the Zaxnet antenna board and updated the firmware to have full RX12 compatibility on the Deva screen; at the moment it seems to me there's not any news about ipad implementation; Iso Attenuation (Neverclip) on iso and mix tracks is still not working and so is Mix Assist. And yes, most of the feedbacks/updates are in a Facebook Group. At the very beginning, I tried to open a Dropbox Paper page where any users could write his bugs report or features request but it's a little bit abandoned in the last weeks. Anyway, this is the link, if you want to have a look on what's happened from the beginning: https://paper.dropbox.com/doc/DEVA24MIX16-v2.75-SvWNK02g7QuSFFnTZ5Vlq If you have other questions feel free to ask. Vale.
  3. 2 likes
    The TRX743 has a 6dB better noise floor than ZMT. If lowest noise is the deciding factor TRX743 is the best choice as it also has never clip eliminating limiter distortion. ZMT phantom 2 has many advantages but smallest size and lowest power consumption limit other specifications a bit.
  4. 2 likes
    He may be busy reading the manual or calling the manufacturers..
  5. 2 likes
    There's a need for sure but given the economic state of most musicians who don't have a practice space of their own I kind of don't understand how it works. Like how else are they making money?
  6. 2 likes
    I carry on my bag + transmitters + supporting accessories (batteries etc) onboard so if my checked equipment doesn't make it, I can make do for a day or so while they try to find my luggage or we source local parts. I hate the idea of landing and having 100% of my stuff missing.
  7. 2 likes
    I took my 664 and gave the client a choice. We could lav everyone and I would be less mobile or we could boom and use one wire. He took the smaller package and he was confident in my ability after seeing the 664. I recycled one of my older 195D's that still works great and is in the 500 range
  8. 2 likes
    My #1 rule is to not take gigs that provide gear (especially from VER!) unless there is a good reason for it (other than getting a free sound package with the camera rental) such as an Audio Sup that is providing MULTIPLE SOUND PACKAGES for a shoot with MULTIPLE MIXERS for continuity purposes. If the reason a sound package being provided is because production was just trying to be cheap, you will ALWAYS have a lot bigger problems coming from the sh*t storm above the line. And you will be waiting downstairs and that ceiling separating you from them is going to leak on your head, and you will catch the blame for the problems that they create. Don’t fall for their bs and pass on these garbage gigs. Honestly, you’d be lucky if their provided sound package even functioned 100% and included all necessary cables and parts. I’ve seen missing faders on a CL-8, wireless that were completely out of commission, batteries that don’t hold a charge, wrong gender cables, you name it. VER is a crap company and anyone who rents from them should be put on a red flag list.
  9. 2 likes
    It only sounds bad because you're judging. Why would I want to imagine the opposite?Some companies prefer female sound mixers due to talent needs and comfort...is that ok for your expectations?
  10. 1 like
    I know this is an old thread, but I don't think the info already presented is correct. Here is what I gathered after a lot of reading, but someone who owns these mic packs will need to test: Sennheiser Evolution Wireless Transmitters These have a 2-wire mic configuration for common source mode: power through a resistor to the tip; signal on the tip; ground on the sleeve. The ring is a line-level input, which should be muted when not in use by shorting it to ground. Sennheiser EW Mics These are 2-wire devices for common source mode, with the drain on the tip and the source and case/ground on the sleeve. The plug should also short its ring to the sleeve. Sony UWP Transmitters These are meant for source follower mode, with signal on the tip, power on the ring (NOT through a resistor), and ground on the sleeve. The Sony service manual for the UTX-B2 shows the power line as 5 V with no resistor, and a load resistor from signal to ground of 10 kilo ohm. Sony UWP Mics Mics wired for Sony UWP transmitters expose their drain, source, and case/ground on separate contacts (ring, tip, and sleeve, respectively), so they're fully compatible with source follower mode and common source mode, just by changing the connector wiring. Adapting a Sennheiser EW Mic to a Sony UWP Transmitter Some mics wired for Sennheiser might actually be 3-wire devices. So it's worth disassembling the plug to check. If it's 3-wire, you'll find the source wire and shield both connected to the sleeve (and ring), and the drain wire connected to the tip, and then you could just switch the wires around to make the mic work with the Sony UWP transmitter in source follower mode (shield to sleeve, source wire to tip, drain wire to ring). But with only 2 wires, you can still build an adapter. A proper adapter would put the microphone in common source mode by having a resistor between the transmitter's ring and the mic's tip. 6.8 kilo ohm is the value suggested by Countryman for their B6 mic and Sony UWP transmitters, and I imagine that value will work with most 2-wire mics as it's a typical value for common source mode inputs with 5 V power. You do need that resistor, because it becomes the load resistor and the varying voltage across it is the signal output of the microphone. Then also connect the transmitter's tip to the mic's tip, and the transmitter's sleeve to the mic's sleeve. An improper adapter would connect the transmitter's ring (power supply) to the mic's tip (drain) and the transmitter's tip (signal) to the mic's sleeve (or ring, which is the source). The transmitter's sleeve (ground) would not be connected to anything. This puts the mic in source follower mode and you will get sound. But it's not a good configuration mainly because the signal is carried on the shield, which means it's effectively not shielded at all, and vulnerable to RF interference. Also the output signal (source) is fed back to one side of the microphone element, though I'm not sure if that would have any effect. If you had a 3-conductor cable (2 wires plus shield) from the mic plug to the mic capsule, you could have ground on the shield and still get a 2-wire capsule to work in source follower mode with a 3-wire input. That's certainly better than putting the signal on the shield, but the capsule's case would still be connected to the signal line, potentially allowing RF interference to enter through the capsule. Adapting a Sony UWP Mic to a Sennheiser EW Transmitter Wire the transmitter's tip to the mic's ring, and the transmitter's sleeve to the mic's tip and sleeve. You also need a wire from the transmitter's ring to the transmitter's sleeve, to mute the line input. Changing a mic between source follower mode and common source mode changes its performance characteristics. In common source mode, a mic will be more sensitive (by 9-10 dB), less linear, and have a lower SPL before severe distortion sets in.
  11. 1 like
    https://wavreport.com/2017/03/25/tutorial-how-to-sma-your-lma/ Hi Evan, This is not the same transmitter, but it may help you decide if a SMa can be modified. I hope this helps. Mark
  12. 1 like
    They were working on this just before IBC. I don't know where they ended up. Regards Ty Ford
  13. 1 like
    That would make him save time in his future not waiting for other people to answer him on the internet. Hope he is well and spreading logic to his students.
  14. 1 like
    im going to bet that Richards post suggesting to put an XLR on and get the transmitter away from the mic removes the hiss. so, a few questions. what mic are you using and what suspension? i had problems with my mics until i cut the connection between pin 1 of the XLR and the shell of the suspension - i was using Cinela mounts. whilst that flies against what everyone knows should be a good thing to prevent noise, it pretty much eliminated most hiss i would be hearing. taping the antenna to the boom pole also worked, but not to the same extent.
  15. 1 like
    In the late nineties I studied media and it was the time of the world's first Big Brother ever here in the Netherlands. they approached us students to work for a penny on the hand operated cameras behind the one way mirror windows, or operating the dozens of remote controlled cameras. Back in the day it was the same. 2 or 3 operators controlling the joysticks, which was doable because 1; there where so many cameras, thus lots of time to reframe an other. 2; the "aesthetic" framing was relatively wide, so very forgiving. It basically meant the operator just had to made some minor corrections. Nowadays there are even auto tracking systems, facial recognition etc in play. I believe NEP, the system integrator, is utilising IBM Watson for that, even to automatically edit, archive and distribute segments. Oh and collectively the whole class refused to work for them, i think the pay was like 150 Guilders, which translated to 75 US dollars...
  16. 1 like
    Plus you can't beat the service on k-tec
  17. 1 like
    I hear ya on the Marantz 1970s quality. My 2230 keeps on trucking and sounds great! I ended up getting a K-Tek Klassic. Buy once, cry once..
  18. 1 like
    People who say something like that to you are miserable and want you to be miserable too. It's BS. There are still too many assholes in this biz, no need to become one of them in order to be able to work with them. The solution is stay who we are and work with the good ones.
  19. 1 like
    This is the same listing that was posted on Facebook that every male sound mixer was up in arms about. Holy cow. The male ego. How precious.
  20. 1 like
    The little ridge to catch the G3 clip is a nice touch. Here are two pieces that I'm sure at least started out as 3D printing projects (bought from Wilkinson Sound). On the left is a virtually weightless ORTF stereo bar for SDCs, and on the right a solution to the perennial Senn. MD421 mic clip issue (their part is the little tube + flat piece that is bolted into the mic body).
  21. 1 like
    There had to be a better way to publicly ask for participants and get the person they wanted.. I was always under the impression the best person available was the best person... even if they are purple... I have no expectations, it's not my request Matias.. and I get it, it's their request.. not yours.
  22. 1 like
    Sound blankets are basically thick moving and storage blanket pads. I would question any company that says it is making specifically sound isolating pads that look identical to a furniture moving pad in my storage unit. $143 EURO from noyz boyz Maybe this blanket is a larger size? VS. $20.49 US from USCargoControl But you could buy 10 of these for that price. I'm just sayin... $as If you call a moving and storage company they will probably be glad to sell you some used or extra blankets they have stacked to the ceiling.
  23. 1 like
    Here is a post I made in another thread. Today we have given the CS-M1 a really good run. I did a scene where we swung the on camera with the Sanken and then the off camera with the MKH 50. The CS-M1 has much more gain to it and deffinetly opens up the room more. Not in a bad way but it does have more top end to it than the 50. For sure it has more reach than a 50. In cases where I may have been tempted to reach for the wire to add a little fill on the actor starting deep and coming to camera I can let the Sanken reach for it. A very well respected mixer I know often refers to the fact that "perspective is now almost a thing of the past, well with the CS-M1 I'm now more tempted to play it. We then did the on camera again with the Sanken and the off camera with a CMIT 5U deffinetly a better match. So maybe The Sanken is more like a Schoeps. The biggest down fall is the indoor foam sock that comes with the Sanken. It is useless for any kind of quick swing or even a light swing across a room. You definietly want to beef that up. I'm using it with the Rycote INV-Lite 19. Maybe not the best mount for it but it's all my local dealer had at the time to fit it. It may be contributing to the wind noise due to the two metal rods. I know you can get a rubber dam to slide over the rods but black gaffer tape is a lot cheaper and does the same thing. I was very impressed with it out side as well. I used it in a WS 2 and found it to have a very natural sound. As many people have said before there is no "one" mic for all occasions the new Sanken CS-M1 is a great little mic and just one more tool in the drawer. You have to make the choice as to which mic works best for the scene and that particular actor.
  24. 1 like
    Canada's public broadcaster, CBC, ran a satirical/homey "news" show for several years called the "Rick Mercer Report". One of the segments, "Rick's Rant", had Rick pacing briskly through some back alleys close to CBC home base in down town Toronto. The cameraman, Don Spence, was a master at quickly walking backwards with an eye in the cup for a couple hundred + epsiodes. Love it or hate it, you need to be seriously talented to pull this off.
  25. 1 like
    That is a false statement. Maybe with a Wooden Camera box, it could have a BNC TC input. A quick glance at the manual reveals that RED also has a variety of modules of their own available: "NOTE: Inputting timecode requires a DSMC2 Base Expander, DSMC2 V-Lock I/O Expander, DSMC2 Jetpack Expander, DSMC2 Jetpack-SDI Expander, or DSMC2 REDVOLT Expander. For more information, go to "Input/Output Connectors" on page 206." --- EDIT: In addition, I would personally never jam any RED camera, walk away and expect it to hold timecode any better than a wet paper bag. Lock Box needs to ride on camera all day.
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