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Showing most liked content on 08/18/2019 in all areas

  1. My friend had an interesting gadget . http://www.mini-box.com/site/index.html This is DCDC converter for ATX. I recently renewed the sound cart and wanted a 1U recording PC, so it might be just right. 250W modes has room to install 2 SSDs, 16GRAM and i5 8600T on mini ITX. ===== if power supply for mac mini 2018 has 24pin internal connector. they makes DC Powering Mac mini 2018 probably.
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  2. I just finished 76 days with the Venice and never had a problem with the TC. I used the Denecke JB1 and camera left it plugged in at all times. We even left it on the steadicam. My only beef with the Venice is that it never really gets quiet. The fan will shut down when you roll but never off completely.
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  3. I was able to compare it directly to the 688 using a passive whirlwind splitter and a hard lined Sennheiser MK50. Two observations are that the headphone amp is noticeably better and when I put the 48k 24bit files in the DAW its quite noticeable that the Scorpio is an improvement over the mic pre amps of the 688. It sounds more open and has more definition and detail to my ears. Sound Devices has stated that this is the best pre amp design to date.
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  4. TBT....me and Young Zach on the set of the PBS kids series "You Can Choose" in 1990. Note Sound Workshop Logex 8 console and Tascam 38 tape deck with outboard dbx and monitor mixer. 7 smokin' tracks of musical theatre talent and one track of fuzzy TC....
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  5. Check out Allan Williams video on YouTube about what he has in his boom kit. It’s a great video. Your kit changes based on what you are working on but there should always be some basics. Here’s some of the stuff I have in my kit: Headphones of choice (I use custom IEMS and also carry a spare set) Boompoles Goggles Facemask Hats for sun and cold weather rain gear, boots cold weather gear if applicable spare set of clothes microphone mounts that I prefer for all types of microphones headlamp i wear contacts so I have a spare set and glasses Custom boombox the kit that I wear on my person I have: small scissors flashlight gerber multi tool pen/sharpie clips misc lav expendables lav bullet small screwdriver set spare batteries i know I’m missing stuff but this should be a pretty good starting point
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  6. Small pen flashlight, AA,AAA, transpore, moleskin, fresh sharp razor, small sharp scissors, spare TX, spare LAV, small pen form multi screwdriver, 7506’s, sunscreen, lip balm, sun hat, fingerless or two finger gloves, LAV bullet/rod, sharpie, pen, all carried in a hip pouch. extra credit- spare comtek/IFB label maker spare TX ankle wrap
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  7. I used a Sonosax ST for 9 years and it is a truly great analogue mixer. Using the 2-way system that was on the Sonosax, I set it up with Sennheiser G3 returns from my crew but it only lasted a few days before the crew got fed up of the extra complication of mics with PTT boxes and belt packs. For the years that I used the Sonosax, I used the comms section in the traditional simplex way. I could have bought the Sonosax cabled comms boxes but I cannot see my crew working with hard wired comms. For 20 months I have been post Sonosax ST, using the Cantar X3 initially with the Cantarem mixer panel from my X2 rig, then the Cantarem 2 and I am looking forward to mixing on the Cantaress next year. The X3 may not have the dedicated comms system that the Sonosax had - and I suspect used by relatively few in duplex mode. But it does have many inputs, outputs and routing options that should enable you to set up a system quite similar to the Sonosax dedicated system. You have press to talk (Talk 1 / Talk 2) on the X3. You have 12 analogue inputs on the X3. If you are using all the analogue inputs, use the AES3 inputs and an AJA ADA-4 AD / DA converter for the comms return from your crew. This return could be unrecorded but routed to the sound mixer's headphone mix. PTT from the crew would go through to the headphone mix. Talk 1 or Talk 2 direct to the sound crew. There are so many routing options available that I am sure that you can find a solution within the X3 with no extra external equipment. For me, since a production edict a few years ago on a studio film that the boom would not be used for any comms, we have used Walkie Talkies like everyone else on the set. I have become used to a covert earpiece that remains in my ear all day and I wear my cans over it when monitoring and for my way or working, it works well. This also has the advantage that I can walk away from the mixer and I still have comms. Likewise, my crew are not cabled into a comms system. Comms are comms on the walkies and programme is via IEM in the usual way. It is wireless so they always have comms on the set, if they are outside in the sound van or collecting the coffee order. Our way is just one way of working. It won’t suit every crew but for us it works well. Tim White
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  8. s/h Sound Devices 302 new Tascam DR-40 s/h Sennheiser 416 or new Rode NTG-3 new or s/h K-Tek boom pole (your budget, your choice) new Sennheiser G3 wireless sets (two) new Oscar Sound Tech OST-801 lag mics (two) new or s/h breakaway cable (like a Remote Audio CABETACFP33) a bag to hold everything (like a Petrol PS607)
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  9. Start with a mixer, a good shotgun mic (416 is a popular choice and you will probably die before it will) and pole, and the best 2 channels of wireless you can afford. Sennheiser G3 are great value for money, used Lectro appear all the time. I suggest that you rent a recorder when you need it to begin with. I would have loved to start with the fantastic options we have to put in our bags today. A 552 is a mixer that records, and you can pick them up used for great prices. It can't generate TC but will stamp wave files if you feed it TC. Budget tight? Find a used 302 or 442 and grab a Tascam DR-40 (no timecode there though) Zaxcom Maxx (does TC) looks enticing but doesn't exist in the wild yet, and will have bugs (in line with every new product release) when we do see it. There's a ton of other options to explore but that's where I'd be looking if I was green again.
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  10. In my opinion, you are kinda looking at two different things. Generally speaking, production mixers are designed with clean headroom in mind. The Neve is going to be all about color and harmonic saturation. These are qualities that aren't exactly revered in location boards. The Cooper is transformer balanced, which means you'll inherently get a little harmonic coloration (read: distortion) out of it, but I wouldn't drive the circuit like I would a Neve. I don't know that there is one magic bullet here. Both great pieces of gear, but both engineered with vastly different uses in mind. Further to the point: are you really going to take a portable Neve board (or even a Cooper, for that matter) to clubs just for sample sub-mixes!? Get a Mackie that A: Won't get stolen, and B: You won't cry if you spill a beer on. My $.02
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  11. I have a Lowel light stand similar to a Arri KS stand works fine for most things light weight and cheap. I have had it for 5 years. I do have a full black C-Stand but only bring that with me if we are doing something that is a very wide interview shot and we don't have a grip department. I would say I only use it once or twice a year link for KS stand is below http://www.bhphotovideo.com/c/product/31879-REG/Lowel_DT_33_DT_33_KS_Jr_Light.html
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