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  1. 3 likes
    Just finished putting together my new Stingray Junior Maxx bag. Lectro SNA600's feeding the LR's with two way passive splitters. Haven't had a chance to test range yet, but looking forward to that. Loving the compactness of the stingray jr so far!
  2. 2 likes
    The concrete blocks that once protected Britain More than 100 years ago acoustic mirrors along the coast of England were used to detect the sound of approaching German zeppelins. The concave concrete structures were designed to pick up sound waves from enemy aircraft, making it possible to predict their flight trajectory, giving enough time for ground forces to be alerted to defend the towns and cities of Britain. Image copyright Joe Pettet-Smith Image caption The sound mirror at Abbot's Cliff, between Folkestone and Dover. "When I originally arrived at the cliff's edge, the sun was creating a harsh shadow down the face of the concave which wouldn't have done the structure any justice'" says Pettet-Smith. "I knew it was going to pass at some point so I just got my book out and waited. Around three or four hours passed and eventually the sunlight started making the eclipse in the concave that makes the picture what it is." Invented by Dr. William Sansome Tucke and known as sound mirrors, their development continued until the mid-1930s, when radar made them obsolete. Joe Pettet-Smith set out to photograph all the remaining structures following a conversation with his father, who told him about these large concrete structures dotted along the coastline between Brighton and Dover. Image copyright Joe Pettet-Smith Image caption "From what I can gather from old Ordnance Survey aerial photos, this sound mirror at Warden Point on the Isle of Sheppey used to be mounted on the neighbouring cliff, but has since fallen into the sea due to coastal erosion. When the tide is up it is nearly entirely submerged so I had to work out when the tide was going to be fully out to be able to photograph it. It was then a case of finding an angle that accentuated the curve of the surviving section of concave," says Pettet-Smith. "When I was a child my father told me stories about my grandfather and his involvement in radar," says Pettet-Smith. "One of his recurring joke's has always gone along the lines of: 'It's not rocket science, I should know, my Dad was a rocket scientist.'" Initially Pettet-Smith was drawn to the family connection, but after researching early aircraft defence experiments, he became fascinated by the story of the sound mirrors. Image copyright Joe Pettet-Smith Image caption "When this structure was constructed in Redcar in about 1916 the surrounding area would have been marshland. It was built away from the population to avoid any intruding sound pollution," says Pettet-Smith. "Today it stands on the edge of a housing estate. So there I was, tripod half on the pavement half off, jacket over my head framing up the picture when I notice a few bystanders have started to stop and stare. One lad said he passed by it every day but didn't know what it was, let alone that it was one of many up and down the country." "I began to think more and more about the relationship between art, science and the creative process. Experimentation and ultimately failure are an intrinsic commonality of all three. "The sound mirror experiment, this idea of having a chain of concrete structures facing the Channel using sound to detect the flight trajectory of enemy aircraft, was just that - an experiment. They tried many different sizes and designs before the project was scrapped when radar was introduced. "The science was solid, but aircraft kept getting faster and quieter, which made them obsolete." Image copyright Joe Pettet-Smith Image caption "This is in a farmer's field in Yorkshire," says Pettet-Smith. "On Google Maps a landline number pops up for a caravan site next door. After speaking to them, I got the number for the chap who owns the field and he kindly said it was okay for me to cut across and photograph the structure. So my thanks go to Peter for this one. Luckily his sheep were in the next field along. Interestingly the Kilnsea mirror is one of the only structures to still have the remnants of the metal microphone pole that would have originally been used." Pettet-Smith used an old wooden large format plate camera to record the structures, partly because he wanted to use technology that was around at the time, and secondly as it allowed him to correct the perspective of the structure in-camera without resorting to manipulation at a later date. "Some of the structures were removed by local councils; many more were planned but never built. This series is a celebration and a cataloguing of all the remaining examples." Image copyright Joe Pettet-Smith Image caption "The design of the Selsey mirror in East Sussex matches structures on the Northern coast in Boulby, Redcar and Sunderland, but the opposite side has been bricked up," says Pettet-Smith. "The letter box had a mobile number on it and so I left a voicemail. That evening Darren, the owner, called me back and we spoke at length about the sound mirrors and the peculiar history of the Selsey mirror. Unlike the other remaining mirrors, the Selsey mirror is a Grade II listed building and was converted into a domestic residence shortly after the end of World War Two." Image copyright Joe Pettet-Smith Image caption Boulby sound mirror on the Yorkshire coast Image copyright Joe Pettet-Smith Image caption The sound mirror at Namey Hill in Fulwell, near Sunderland Image copyright Joe Pettet-Smith Image caption The sound mirror at Fan Bay, Dover, has a diameter of 15ft. Image copyright Joe Pettet-Smith Image caption A larger 30ft mirror can be found nearby. Image copyright Joe Pettet-Smith Image caption There are three sound mirrors on the coast at Denge near Dungeness. The first is 20ft. Image copyright Joe Pettet-Smith Image caption Nearby sits this one, which is 30ft. Image copyright Joe Pettet-Smith Image caption The largest of them is a 200ft sound mirror. Image copyright Joe Pettet-Smith Image caption The sound mirror at Hythe was built in 1923. All photographs by Joe Pettet-Smith https://www.bbc.com/news/in-pictures-46348917 Copyright © 2019 BBC.
  3. 2 likes
    We are. I was an early adopter of the TCB. Talked to the folks at Denecke late last year about that slate and was told it was not going away, but hinted at something in the works. So time will tell.
  4. 2 likes
    633, 4 channels of Zaxcom wireless (fully color coded from transmitter to receivers to cables to 633), K-Tek Stingray Small, Audioroot, Sennheiser SK100 for IFB and camera guide sends, Ultrasync ONE for timecode transmission
  5. 2 likes
    Christmas present says it all. Carry with you while you are talking to producer, director, talent, etc.
  6. 1 like
    There's so much gear we can't specifically charge for like special colored cables and an extra shockmount or new sound bag. The stuff that production actually feels in their workflow needs to be charged accordingly.
  7. 1 like
    Just a thought - 17K is right about at the refresh rate for some monitors - I ran into this several years ago and found we could make it go away by turning off the monitors in the room.
  8. 1 like
    OK, let me list the costs or wireless: Lectro - $1450-1550 per transmitter, $2350 for receiver Wisycom - $5700 for 2 TX and dual receiver WITH sanken Lavs from Gotham Sound Audio Limited - $1400 transmitter, $2200 for receiver Zaxcom - $1750 per transmitter, $2500 for receiver Now, thats not counting the fact that the ZMT requires third party solutions for a belt clip. Also they use NP-50 batteries that run $40/each plus a charger. Yes so does the SSM which is $1450, but every other SM wireless and alternate manufacturers use AA. Comparing AA rechargeables and chargers to the NP-50s is apples to oranges, but with the Oranges being clearly cheaper. For people not already on the Zax wireless path, the PDR is a much simpler solution to recording locally. As Phil Perkins mentioned, the Tascam solution and even the small zoom recording device is OKish on a budget. This is all so situation dependent as to not really be a discussion without specific application. I do think currently Zaxcom has the best solution to the wireless plus recording problem. That being said, there's no perfect solution. The NP-50s will last no where near as long as a TX and PDR/tascam with lithiums. Not to mention the potential for things like battery eliminators as an alternative solution for extreme recording times. That so Glenn? You have a lot of experience negotiating equipment rates with production? I have no doubt that the rental premium will have a higher ROI vs. nonrecording transmitters, but $1700/year as an average premium return is preposterous. Jesse
  9. 1 like
    Check this vid at 3:25:
  10. 1 like
    Exploratorium in San Francisco has had an exhibit since I was very young. I remember as a child wondering why there weren’t more cool things like this around. I was always fascinated by echoes. Exploratorium Sound Exhibit
  11. 1 like
    That depends.... Syd era Floyd? Peak Gilmour Floyd? Or authoritarian Waters era? Cheers, Evan also: this is a great article. Thanks so much, Mono!
  12. 1 like
    Check the new Deity mics. V mic-D3 and D3 pro. Nice bang for the buck. the difference between the pro/normal is a step-less gain knob, internal battery vs AAA, and low cut.
  13. 1 like
    The HD26 definitely have far less bass boost which is better for judging dialogue. I find if I have to run/quick waddle with them on, I get a bit of a thud with each footstep. Not sure if it's cable bound, through the cup or if I just have a weird head shape. Not sure if you can get velour ear cups for them either. It's summer here and the leatherette can get nasty. All the same I dig 'em.
  14. 1 like
    Hi guys, longtime lurker here in Reykjavik, Iceland I came across a solution for my Peli 1620 case which I use for my sound-kit a rigid molle panel from https://greyman-tactical.com/ which uses screw holes already in the case and a couple of molle pouches ordered from aliexpress been on 3 jobs with it and it is much better than the lid organiser which Peli offers - jb
  15. 1 like
    Noise level is critical when recording atmosphere tracks but with run of the mill sound fx it is less critical. Research the noise level specs of the two microphones and maybe borrow an 8060 and compare. I use Sanken mikes for all my work and my Sanken stereo has delivered hours of great tracks mike
  16. 1 like
    What Jon said. As others have noted, what sort of FX are you recording that require such a quiet mic? Also, even 13db self noise is quiet. I use a mkh 40/30 m/s pair and find self noise (mkh30 is 13dbA, mkh40 is 12dbA) isn't generally an issue unless my locations are VERY quiet, under 32dB SPL I start to get a bit of mic noise. (yep some of my recording locations are under that) Make sure you're not cranking the h/phones too loud as that can give the impression that you have more self noise than you actually do. Don't forget often what sounds noisy in h/phones is often ok on speakers. Well, depending on what you're recording..
  17. 1 like
    I think it comes down to redundancy for the networks. I’ve worked on Dateline, 20/20, Sunday Morning, etc, for almost 20 years. They have always requested all cameras in a multi cam interview get audio. It may be that their editors are working on multiple projects with immediate deadlines, and don’t have the time to sync audio with picture. They do request the .wav backups now. I have had a situation where we shot on a DSLR a few years ago for an nbc feature doc and the editor did use my .wav files.
  18. 1 like
    Let them check the php process limit. No matter how high you set the upload limit in the software, if the php settings are capped at a certain time to process things it will stuck.
  19. 1 like
    Hi Mathias, is your bag an OR30? I have a very similar set up, and I'm going to replace my old petrol PS607. I'm looking for something a little larger then mine, and the OR30 seems a good choice. Thanks a lot!
  20. 1 like
    As Phil and others suggest, for Oktavas, it REALLY helps to hear the exact microphone you're going to buy. Or buy from The Sound Room, which in the past (and probably still currently) had a good track record of actually rejecting (and not selling) individual mics with serious flaws. That's where my MK-012s came from, and they seem pretty good for the breed. https://sound-room.com/home For you, living way away from everything, maybe see if a mixer or two will be visiting the Main Workshops in Rockport. Or maybe trek down to Boston and buy lunch for a couple local mixers (there are some good ones in that town). Or head down to NYC and visit Gotham Sound (and perhaps a couple friendly/hungry mixers), and give a bunch of mics a listen. I've rented/demoed mics before buying; good dealers can help arrange that...sometimes the rental fee can be applied towards the purchase price. But you know, I've bought microphones without first hearing them. Based on my experience with other mics, the opinions of people I trust (including many here), and the ability to return a mic if it really isn't working for me, that works. Also, I just do small jobs. Unlike a bunch of people here, I don't own and buy tons of mics. There's no local location-audio dealer here (San Francisco bay area), and I'm dealing with it. For the better mics, there's consistency from unit to unit...also note that for these mics, specialty dealers such at Gotham, Trew, and others offer basically the same prices as the box stores such as B&H, Sweetwater, etc...and the specialty dealers usually offer expertise in our arcane field. (Sorry if this is all obvious).
  21. 1 like
    50 or 416 > MM1 > F8, 411/um400 x2 (cos-11d), Rodelink camera hop, Tentacle Sync, UM100 to UCR100 x2 IFB, Orca 28 bag/orca harness, Talentcell for power
  22. 1 like
    Yah me too.....sell and retire?
  23. 1 like
    Pete is a genius, and has a lot of experience fixing and restoring older equipment like Nagras. Your Schoeps mics are in good hands.
  24. 1 like
    John B, This is the CMC5 board which is the same and the CMC3 except for the omission of that jumper across "C". Here is the schematic. IMHO, this is a much better design than the newer CMC6 circuit. The older stuff is completely discreet in design, whilst the CMC6 has more complex circuitry for switching between varying supply voltages. Most modern preamp equipment sends around 48v phantom DC current over the two modulated paths returning over the shield. I think the CMC5 is the best choice for the Scheops Colette series bearing that in mind.
  25. 1 like
    Looking at the schematic, I wouldn't think running a CMC3 at 48v would be a great thing for whatever device is providing the phantom DC voltage. Many preamps are underengineered and do not meet the AES current draw specifications. I did some more digging and with a little help from my friends at Redding Audio it seems that simply removing a single jumper across "C" on the pcb, the CMC3 magically becomes a CMC5 that truly can be run at 48v with no risk to the life or limb of my transmitters, mixers, or recorders. They even sell replacement rings for the Xlr connector body that say CMC 5. This is a CMC5 PCB with no jumper across "C"