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  1. 2 likes
    YESSSSS! You went to the Rendevous Ballroom that’s AWESOME!!! I am super jealous. Any recordings of that garage band? I am so grateful for your posts, thanks a lot! So great to read. Btw here’s the rig, but just this past weekend I picked up a 2x15 JBL cab that I’m going to replace that 15” tone ring cab with. The reverb is a 1963 tank with a new cab, and the showman is a 1962 but it also has a new cab. The only original cab is the 15” tone ring.
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    Here is a picture of Richard (far right in shades). Check out the amps. 1964 is my guess. This is a Jr High Dance at Fern Drive Grade School for Thursday Night Dance which was once a month as I recall (I could be wrong). This wasn’t Garfish Soup, I think this is Young Generation (an earlier band). Every band in Fullerton had this gear more or less. Sometime the Bass amp wasn’t a Fender Bassman but an Ampeg B15 instead. A Farfissa organ was found in most of the bands too. The guy to the left of the drummer is playing one. Singers all had a tambourine to bash. Most bands didn’t have that many mics because getting even one good singer was hard. Probably still the case. CrewC
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    Oh man.... I could write a very long post here, but I will try to keep it under control LOL. I started playing guitar as a 12 year old back in Sweden. My whole thing started in Rock, Blues and Metal (specifically the New Wave Of British Heavy Metal and the whole 70's and 80's scene with Eddie Van Halen, Randy Rhoads and various lineups of Thin Lizzy being big heroes. As I got older, I started digging backwards in time towards the roots of blues and rock. Jimi Hendrix and Jimmy Page was a gateway to Buddy Guy, Albert King, BB King, Bukka White, Howling Wolf, Muddy Waters, Robert Johnson etc. For myself, I have to this day never found ANY of the amp simulators to be sounding quite right. In fact, I have never played a solid state amp that I liked either. For me, when it comes to electric guitar - it's all about tubes. Tubes, tubes, tubes. Or Valves as they say in England. I was about 14 when I had saved up enough by doing paper routes, collecting recyclable bottles to get some kind of obscure amp-head (I think it was German, but cannot remember the name of it), paired with a Fender Bassman 2x12" cabinet (might have been 2x15") that had foldable kickstands on the sides. I got this setup from a neighbor at my parent's summer house. Played a cheap SG knockoff by the brand "Duke" through a fuzz-box into it LOUD to the dismay of parents and neighbors, I'm sure. Then around the age of 16, I got a band going, and it was all about Marshall amps. My first one was a combo amp, then Marshall heads with 4x12 cabinets. In the Eddie Van Halen school of thought (overdrive the pre-amp, overdrive the power amp and overdrive the speaker cone), I didn't like the sound of Distortion pedals, so I had the heads tweaked and swapped out the tubes for ones that were easier to drive. Also got hold of a 60's Marshall speaker cab with 30-watt elements. Then, later added a 4x12 cab with 25-watt elements. At that point, I was running a rack mount custom built tube pre (built by 2 crazy Swedes that played guitar with Glenn Hughes' band). Ran that through a Stereo tube Power Amp by the name of "Kitty Hawk" to the two 4x12 cabs, with a Rocktron Intellifex adding Chorus / Delay / Reverb to taste for a big sound. I used a Roland Pedal board that was able to switch between the different pre-sets via MIDI, and also could switch between channels on the pre-amp. Played the (now defunct) Stockholm Water Festival's main stage with that setup, and later shipped it too L.A. once I had decided that I had moved here. Played some shows at the Roxy and The Troubadour with that setup as well. Before deciding to ship this heavy stuff all the way from Sweden, for a while I played a 50-Watt Peavy Classic Combo tweed amp, which was not bad actually - especially for its price point. For a while, I experimented with, and got good results with connecting the tube-pre to the DAW via interface, and using Impulse Responses of various Amps and speaker cabinets. This is not to be confused with amp simulators, as the tone is actually coming from a real tube pre-amp, and the impulse responses are virtually actual speaker cabinets coloring the sound. There were hundreds of people sampling their amps and cabs and uploading/sharing the files for free for others to use. I simply loaded them into a IR Reverb plug-in, and saved them as presets; Princeton, Vox AC30, Marshall Plexi etc. Nowadays, I don't play shows anymore, but my favorite amp for recording electric Guitar is a Vox AC4TV. This little thing is amazing. It has an input, a Volume knob, a Tone knob, and a OP Level knob. OP Level switches between 1/4 W, 1 W and 4 W. - 4 watts is clean, 1 W gets a little bit of breakup when turned up, and 1/4 gets a nice Jimmy Page kind of breakup when cranked. It also has a speaker output, and when hooked up to the 4x12 Marshall cab with 30W elements it sounds amazing. Oh yeah, this little thing gets waaay louder than one would expect from a 4-watt amp. By a lot.
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    Not to be “That Guy” but Anubis is the god of the dead and not the god of the underworld. Osiris is the god of the underworld. I'm glad that Egyptian mythology class I took in college is finally Corning in handy.
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    In my experience, a laptop based setup is too cumbersome and too fragile for field recording. I’d definitely choose the stability and ease of setup of a dedicated field recorder like the Zoom F8N over a laptop based setup. -Mike
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    @andrewsbaik I agree with Jon, Logic is more suited for music production than it is for audio editing. I would definitely take a look at Reaper instead of Pro Tools for your DAW, I would only go with ProTools if you are sending mixes back and forth with others that are already using Pro Tools or if you plan on doing mixes for clients. Reaper is $60 and provides all of the DAW functionality that ProTools does.
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    A counter perspective I'd give is that your intermediate purchases do serve as absolutely fantastic back up gear for when you "upgrade", and in the long run it is a key aspect that all professionals should have is back up gear available that they also know inside and out. So I wouldn't regard the money spent on intermediate gear along the way as being completely wasted.
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    Are you planning on using a Neumann KMR 82i as an on camera mic?
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    So now I have to doubt everything I've learned about Baseball and the Civil War? 😉 -------------------------------------------------------------- Update: About six hours after I sent correx to the Times' news desk, the article quietly changed to:
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    I’ve not seen that wood bridge before! That must change the tone compared to steel? Here are the amps Blood Reef uses!
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    Usually booms don't bring their own pole. My boom ops use my poles, generally.
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    I forgot to mention we did go by the backdoor of the Fender company (pre CBS) when it was on Harbor Blvd in Fullerton and got free grill cloth out of the trash. Never found any treasure but the guys were friendly and it was a trip to see the guitars and amps in various stages of completion. CrewC
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    Ok, one year later I feel like I'm done. MonoCart has evolved from a simple Magliner to something completely different. It's been a journey, that's for sure. And it has at this time cost me a fortune:) But well worth it, I have learned a lot and maybe one day, I'm brave enough to make the wheel base myself as well.
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    My specialty, not piercing. One is a vintage rosewood arch top bridge on a solid body, the tele bridge is John Page WoodTone Saddles and a generic half bridge plate.
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    Really fun thread Jim! It’s about time we discuss stuff that MAKES noise instead of cheap crap that only records it! I too am a tubes-til-the-end guy. But many surf purists sing the praises of the Quilter amps. If I were a touring artist I’d probably get into them; I can’t see dragging an ultra-rare 1962 Dual Showman (factory Triad 90w Tweed Twin OT!) around the country. But, I could easily see myself dragging that Carl’s Amps 6G14! Blood Reef only plays every six or eight weeks, so we can treat that as kind of a performance art thing. Part of the spectacle is the sight of those huge cabs and heads and to hear those cranked tubes y’know? This past Sat was the first band practice with that *monstrous* 460w all tube Mesa Strategy 88 AND the Carl’s Amps 6G14 - and the band never sounded so good. WOW. The greatest tone for both the guitar and bass. The organ goes through the 1974 Twin, which is a 120w version that cannot break up at all (with guitar), and is kinda bassy. It produces a perfect tone for the organ, with cool dark non-surf reverb. The line out from the organ is hotter than a guitar and that *can* get some pleasing dirt. I prefer a completely clean guitar tone, so Showmans and Twins are perfect. After hearing the two brownface circuits together I decided I just don’t need the blackface tone. Too shrill, too bassy, I guess just too scoopy. So I’m gonna dump the ‘64 Showmans eventually. I’m not familiar with this artist you guys are talking about, so I can’t comment on that tone. I’ve very recently had some huge revelations about guitar tone as it relates to music I like, but it’s a but much to go into! The tiny bit of research I did on attenuators was mostly forum reading, and nothing clearly rose to the top. It’s a cool idea though! I wish I understood speaker loads. It really does suck how the tone is very thin and sort of “blanket over it” until the gain is increased. The moment the amp opens up, I need earplugs haha! Thanks to this forum I’m very happy with the Etymotic earplugs. I ordered a few hundred bucks of different brands and those sounded the best. They also reduce the least, but if I keep them jammed in it’s fine for super loud crap.
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    Simon Bishop's successfully been using KMR-81Ds on booms for some time with a DMI-2 and Zaxcom wireless
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    OK, I' ll give my experiences, it's not Neumann microphones related (although Neumann was acquired by Sennheiser, so...) I'm not very happy with digital Microphones. I tried, paid a bunch, got frustrated. Never tried again and am happy with the good old analog signal. Several years before I bought the Sennheiser MZD for 8000 https://en-us.sennheiser.com/mzd-8000 series Module that converts the analog signal to an AES signal, and tried using it on my sd 633 AES input. I Wanted to have more flexibility (like pads or low cut filters setup via DSP) and less noise floor, and use a digital mic,seems cool, theorically. It's supposed to be the future of audio, right ? For me it seemed uber cool. After One or 2 shots, I went back to my analog preamp. I just heard a random, very subtle, but sometimes present, hiss. Went tru a lot of tests to sort out the problem, never had the solution until now. Got the file on a spectrum analyser, did lots of analysis of this signal before put the module on the closet and forget about this very expensive compulsive buy that does not fit my expectations. Among others things : - I Used a "true" AES cable (this is not cheap and I felt kinda forced to buy it just to try if the signal was better but this "true AES pure 110 ohm cable"... Humpf... Did not fix the hiss). But now I got an expensive neutrik AES cable, nice. I could use it as a premium XLR cable. - I asked Sound Devices & Sennheiser support and I got some leads. I was wondering about the samplerates who might mess up the signal but the 633 has a Sample Rate Converter built in, so I wouldn't worry so much... Sennheiser on the other hand told me that, hold on, the sample rate as factory preset in their module is.... 44100 ...yup... So I always thought maybe this little high frequency hiss might come from an upconversion from the SRC, due to (I'm guessing) some interpolations samples created, But I'm not expert. I asked Sennheiser What Could I do to match the module and recorder sample rates and avoid an extra work from my trusty 633 who does allready a lot, hoping that they would tell me that they'll fix this for me, as I paid top dollar for an MKH plus this module... ...Their answer was "we don't have this line of products in mind and are not really keen to develop full support for the MKH series" (duh) "so what you could try, is to buy an neumann DMI interface and change the samplerate yourself via the DSP and enjoy the full experience with this wonderful items"... If you ask me, it's just too vague. I will not put more money to "try" just change a setting and pray that it fixes the problem. Well. At this point I just put this module on the useless sound stuff shelf on my closet. And tried to reach someone who might have this neumann DMI interface just to change the samplerate, but it is not a very common product. So yeah here it is. I hoped when I bought that digital module also that sennheiser would developp an MKH8030 so I could pair the MZD module to a figure 8 and my 8060 and have a really nice digital MS rig but seems compromised also. Sorry for the long text, and the poor english. in analog we trust
  19. 1 like
    As someone who grew up and was involved in SoCal culture as it happened, I find it hard to segregate its elements. Hot Rod music and Surf music and East LA rock and the 50’s rock n roll of Chuck Berry et al and the Beatles and Stones version of his songs are all intertwined into the fabric of the era. The explosion of garage bands throughout region in post ww2 SoCal and the glue of top 40 LA radio bred so much cross pollination that everyone influenced the other. Cars, Music, Girls, Surf, and yes more Girls is what we all shared together. Add Leo Fender and the fantastic products his company made shaped the sound of SoCal like it did country music. I grew up in Fullerton where Fender was started and made its most iconic guitars and amps. Our every evolving band had gear that would cost $100,000.00 in todays market, but then every band did. More than the gear, the energy of our youth culture erupting were creating genre’s heard far and wide. One thing they all had in common was they were made to dance to, which the girls did and therefore we did too. CrewC
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    Alamo Fury, 15 inch speaker. Got classic crunch and grind?? Oh yes. Pretty clean tones? No problem. I'd never sell mine.
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    I like the Sansamp plug in for ProTools, I use it everyday in audio post production. So there, this thread should now be relevant to this forum, check!😃😃😃 When I moved to the states with nothing but 2 suitcases in 1990 I really wanted a white piggyback bassman with presence control so I went to this great store in Dekalb, IL (called "Ax in hand") and they had six !!! sets of them. I proceeded to try them and they all either sounded terrible or broke down with smoke coming out of them. After the 3rd of 4th amp I was beginning to feel a bit uneasy but the guy in the store (not the owner, I'm sure) just told me to keep going, that way he can identify the amps that need fixing. After being somewhat disappointed with those particular specimen I turned my attention to my 2nd option, a brown Fender Concert with four 10" speakers. they had five !!! of those. I picked the best one, an early '60 model 5G12 (making it a late 50's circuit) with Alnico Jensen P10Qs. To me that is THE clean tone, all midrange, thick and beefy, especially when running 7591As for tubes. For Dirt I love my '59 tweed bassman , those are usually not too dirty until pushed hard but mine is equipped with a solid state rectifier and a 12AX7 in V1 instead of the lower gain 12 AY7. Those amps don't need reverb or anything for that matter, a guitar, a cable and that amp, that's it. For EL-84 tones I love my 18 watt '74 WEM Dominator MK III, that was my first "real" amp when I was a kid, before that I used my dads UHER Report Reel-to-reel field recorder. It's a poor mans' AC-15 of sorts, not very widely known in the US although anybody over 50 has probably seen that ugly red logo in old concert footage from Europe. As far as new amps go my favorite is the Teixeira Bernie amp, a modern take on the old Filmosound 385 filmprojector I've never seen one in person but the sound samples on their website are out of this world.
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    I think Spike does award nick names https://www.imdb.com/title/tt0309735/fullcredits/
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    Dude, go for broke: Twin Reverb!
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    My only concerns are when the Ra units are released - will they be compatible? Terrible joke, sorry! I must mention here that I was very interested in the Hapi when that came out. I'd be interested in write ups on any of the Merging units. Inari, are you a Pyramix user too? Jez
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    I agree. Having echo from a delayed feed and being close to set is way worse than a little sync offset to the monitors. As a side note, what are you using to delay your IFB feed? I don't have a small delay box so last time I had to do it without a console I came up with a weird routing scheme sending audio through an ERX to the Comtek transmitter and using the built in delay of the ERX.
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    See post #33 in this thread. There are safety aspects to using high quality batteries that have been safety tested. Chinese manufacturers in particular have made a mockery of UL and CE safety markings. The transmitters that use the NP-50 battery, are worth $1500+. The cost per use of a Lectro or real FujiFilm battery, is less than 15 cents per use. Best Regards, Larry Fisher
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    Silent films were shot and projected at 16 FPS. Actually, the first films were shot at frame rates closer to 30 FPS. There were no standards in the beginning but that’s about the speed of much of the very early production. Persistence of vision needs about thirty images per second to appear as smooth motion. Very early on engineers discovered that it wasn’t necessary to shoot thirty individual frames and project each one. Satisfactory results were achieved with about half that many images if each image were projected twice. The projector was equipped with a butterfly shutter that flashed each image on the screen twice before pulling down the next frame. With that innovation, good results were possible using about half the film needed to shoot at thirty pictures per second. The cost savings were obvious so the rate of about 16 FPS came to be broadly accepted. All these frame rates are approximate, of course, since the cameras were hand cranked and steady speed relied on the smooth hand of the camera operator. When sound was introduced, the standard speed of 16 FPS was too slow for good audio reproduction. The higher speed of 24 FPS was adopted as a good compromise between economy and better quality. The practice of projecting each image twice using a butterfly shutter continued, thereby enhancing the smooth persistence of vision. That was probably needed as familiarity with watching movies made perception more acute. Sometimes the early silent films, shot at 16 FPS, and intended to be played at 16 FPS, would be projected at 24 FPS because that was the only playback speed available on many sound projectors. David
  28. 1 like
    My problem voices have mainly been women! Worked with a wonderful Australian male actor with a beautiful voice but so much low end that was impossible to capture on a lav. I did find that with some American voices that a Sonotrim worked better than a Tram TR50 so I currently only use Sonotrims and B6 mike
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    i have worked on a couple "My 600lb. Life" TV shows for TLC. These unfortunate people are very large, very damp and their voice boxes/diaphragms are very gravelly with thick-tongued speech. Have I painted the picture for you? The first time I lav'ed one of these individuals I was amazed to hear virtually no high frequencies. I mostly use COS-11d lavs and tried half a dozen locations (didn't try scalp). I told the producer I had to figure out a way to minimize the over emphasized low end at the mic head and enhance the top end. I asked her what other mixers have done. She didn't know. I settled on placing two thicknesses of index card (about 2"x3") taped to their upper chests and taping the lav to the outside of the card. Wow, it sort of collected and reflected the high freqs into the mic while getting it a bit further away from the skin and the damp. It seemed to reduce the low end too (or I simply had more gain on the top end). It sounded much better. Since then, I have 3x5 index cards in my kit.
  30. 1 like
    I worked Super Bowl 39 with a truly funny guy from Boston, Steve Katsos. We were both utilities and worked together every day. He gave nick names to everyone in our little group of technicians. The movie, Weekend at Bernie's had been released earlier in the year so he called me Weekend for the duration of our time at the stadium. Some people still call me that, years later.
  31. 1 like
    While I‘m not the greatest Zoom fan, it’s not a consumer tool. The op mentioned 7 years of „experience“ which didn’t earn him any money, except for one recent project, which must have been very low budget. So I‘m very reluctant to call him a professional, yet.
  32. 1 like
    I think given the budget restraints the Zoom F8n with its controller is a very sane choice. I don’t understand why so many here offer advice on recorders costing many times more than your budget and that doesn‘t even include the mic. Regarding the ambisonic mic: do you really need that? In 98% of the times I have not even been asked to provide stereo ambiences, let alone anything requiring more capsules. Ambisonic mics can be great, if and when you really need them. If you don’t, you could spend that much more on your recorder, and get (for example) a Sound Devices 633 or the Maxx
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    Schoeps Mini CMIT DPA 4017C Sanken CS-M1 or CS-1e Why so you want to use shorts shotguns for nature?
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    Cedar DNS is a hammer, works well on many things, but you still need the right 'amount' of hammer for the job... too much or too little is just as bad as the background noise itself.
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    If the antenna is actually touching the skin, you can lose much of your range. I put 1/2 of an ursa foamie around the end of the antenna to keep it away from the skin.
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    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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    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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    My solution - Remove the faders. Makes it much easier to grab hold of the trims. Not ideal, but helps a lot
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    Too good not to share. Not mine. K-tek customer image from their website: https://ktekpro.com/user-photos/boom-accessory-clip-kbac1/
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    Thought I would share my bag. Came across this tactical bag that is more compact & lighter then my ktek and fits my nomad perfectly. Very happy with this setup it's like having a porta brace/ktek hybrid Thought I would share my bag. Came across this tactical bag that is more compact & lighter then my ktek and fits my nomad perfectly. Very happy with this setup it's like having a porta brace/ktek hybrid
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    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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    Saw it in person today, and Pierre gave me a thorough presentation. Definitely can do a lot more than a 788T or a Fusion. Very sturdy, and very intuitive learning curve. And all in one unit without the need for additional boxes or control surfaces. It's the old Senatorium "You get what you pay for", I guess. That selector wheel on the right is VERY powerful. It does transport switching and accesses most system menus. No multiple menu levels, everything is available by either the selector wheel or individual buttons. The machine will be able to do a few file operations I haven't seen in other machines so far, and for which I use WaveAgent so far. Pierre also told me they'd implement AES42 parameter control (similar to what a Neumann DMI box does). Again I don't know another machine that can do this without a DMI or similar box. Input gain knobs will probably stay magenta, fader knobs will come in multiple colors.
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    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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    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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    SMV is powered by 1 x AA battery SMQV is powered with 2x AA battery .. longer running time.
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    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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