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Showing most liked content since 08/16/2017 in all areas

  1. 13 likes
    As much as I do NOT like the "Like" button on Facebook (I have yet to ever click on the like button), I have added a Like Button to JWSOUND. Everyone should be able to see it in the lower right hand corner of every post. Clicking on it will establish a "Like" for that post but how that is registered and tracked, how it actually functions, is unknown to me. The button is grey until hovered and clicked on.
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    Well, I’ll respond to the original questions first. First, I use lithium AA batteries, so no comment on whether or not rechargeable batteries get hot. I’ve not noticed the A10 transmitters getting hot at all, nor have we had any complaints from talent in that regard. Second, when judging range around LA, one must factor in the fact that it’s a big place. Sometimes it’s great, other times it’s so-so. But that’s true of all wireless systems, regardless of brand. Having said that, after some initial tweaking, I’ve found the range (distance) to be well within my satisfaction, all things considered. For instance, just last week we were working in the LA Coliseum, with four talent running all over the stadium. We were forced to set up in the mouth of the tunnel (all who’ve shot there know this dilemma). We experienced no drop outs the entire day, despite our talent being 100 yards away at times (perhaps further). However, I’ve also filmed out in Van Nuys where 50 feet was about it. But like I said, that was true with my 2040’s as well. The point is, I’ve noticed the range to be about the same as my analog system. Sometimes better, sometimes not. Regarding antennas, I’m using the Wisycom “shark fins”. As for putting the transmitters on talent, we have had a very hot summer here, and I can report back that they often come back to us dripping wet. No issues. Take out the batteries, let everything dry out as you normally would. They’ve never stopped working yet, so I can’t say it’s not a problem that I’ve experienced. As for the recording capabilities of the A10 system, that feature is not something I can report on, since it’s still a patent dispute here in the US. I could go on and on about how great these radio mics sound, how well built they are and how well thought out the menu system is, but I’ll paraphrase what a great mixer once told me about radio mics: whatever system you end up buying is the BEST that’s made, because that’s the only way you’ll be able to justify the purchase to yourself. So, having said that, the A10’s are the BEST! Regards, Moe
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    Top Ten Reasons to Use a Time Code Slate: #10) It is still the single most foolproof method of syncing #9) Great backup to avoid worry that camera may have accidentally disconnected the time code feed #8) Is a way to diminish phone calls from semi-competent post people #7) Aids production in the notation and organization of footage #6) Can offer the sound mixer a visual confirmation of scene and take number #5) Formalizes the (increasingly chaotic) production process which helps everyone be on the same page #4) Informs the (increasingly chaotic) crew that a take has started and to quiet down #3) Discourages the "Oh, just let it roll" mentality that is permeating much of the industry #2) Looks darn cool ...and the number one reason to use a time code slate... #1) It gets us rental fees! Don't get me wrong, I'm not saying a slate is the "be all -- end all" for production. I am, however, railing strongly against the posture that a slate "is outdated by 20 years." Perhaps celluloid is too, but it still looks better than digital.
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    Following on from this thread: I would now like to post an abbreviated version of my transmitter noise comparison. As mentioned in the linked thread, on the request by my regular post team I have set up a test to compare the noise created by various transmitters. Originally, this as I didn't know what I was looking for, this test also included several microphones, but here we are only really discussing the noise of digital transmitters, so I'll focus on just one microphone, the DPA 4017B. First, the boring stuff: The setup: I recorded myself reading an excerpt from a random book I had around. This is in German I'm afraid... To record this I used an AKG 4000B, because it has very low self noise and because this mic was certain to not be part of the mic comparison. I recorded this via cable into a 788T. I played the file back from this 788T and recorded the comparisons into a second 788T. I played the file back through an Alesis (I think) amp into HHB Circle 5 speakers. Not exactly a high-end setup, but out of what I had available it seemed the quietest setup. Since these parameters are the same for all transmitters it seems fair. The speaker sat on my desk and the mics were mounted on a stand at 95cm from the treble cone. Once the mic was mounted I didn't touch it until I had recorded all variables. Before recording I played a Line-up tone through the speaker at -20 to attempt to get all tx to the same gain setting. It's not very easy to set all these tx at exactly -20... After recording, I loaded all files into ProTools, cut off the beginning and end and then normalized them. So the peak level should be the same on all files. That's it, I think. The following transmitters are featured here: Audio Ltd. A10, Lectrosonics HM, Zaxcom ZMT3-phantom. The fourth recording was made straight through a cable. I originally included the Zaxcom 742.6 as well, but decided against it here, as I think it's more balanced to have just one transmitter per manufacturer. Please note, the order in which I listed the tx above is not the order in which they are listed below. I'd like to keep it anonymous for the time being, so everyone can have an unbiased listen. Please note: This comparison is only meant to highlight noise differences. It is not really suited to reveal differences in sonic quality. Or rather, it does reveal differences, but they are not conclusive. Also, obviously, things like range, etc. do not factor in here. EDIT: for an unbiased listen, do not look at the spectral diagram or read the comments before you‘ve had a listen. Otherwise you‘d know which one is Zaxcom, by just looking at it, but that’s not the idea. So... now it's your turn. I have to say, I am very very curious to read what everyone thinks... 4017-3.wav 4017-4.wav 4017-1.wav 4017-2.wav
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    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.
  8. 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!
  9. 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.
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    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.
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    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
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    Still angers me that the FCC did not require any payments to us for having to replace our equipment. I wish I could charge my clients a "FCC Fee" to help cover the cost
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    I have had mine for a month or so. I have used it on my boom, with the Rycote Inv 7 suspension indoors using the XLR Barrel to lengthen it!, as well as plant mic in cars, and interior plant mic. I have yet to try it outdoors, as I am waiting on Bubblebee XS Spacer kit to arrive. I will then try different suspensions with it. So far I am loving it in every situation I have tried. Normally I use a CS3 or CMIT5U, but the CS M1 has easily as much reach, and rear rejection as both of these. It has a more self noise than CMIT5U, but that is to be expected I think given the price difference. Overall it looks, and sounds to be a great all rounder!
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    Neil is great on the process of making (and finding and capturing) musical art, and the contribution of an analog tape deck and its tape to his sound. There is a diff between digital and analog capture of audio for sure, but someone should tell Neil that just as he feels all the ultimate divisions of digital sound (samples) are somehow all the same, so are all the "lands" of magnetic oxide on the analog tape he's using. That uniformity of the particles of the magnetic oxide of tape was long in coming and contributed to tape acquiring a better signal to noise ratio as formulas improved. High end users of analog tape, esp classical music recordists still argue over this issue in deciding which brand/type of tape to use. 2nd thought, don't tell Neil, since it's all working for him just fine. Good questions from HW, asked in a way and by a person Neil takes seriously enough to answer eloquently (ie not just another Youtube interview kid).
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    A break from commercials last week. A skit for the Emmy Awards my son Case and I recorded last week at Universal. CrewC
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    That's not dynamic range; that's frequency response. Keep in mind that specs are created so you can admire the handiwork of the advertising department.
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    You‘re probably not mad, but the 788T is still a very good recorder, and it features two more inputs and 5 more preamps, plus I find the Cl-9 the much better controller (in terms of functionality) should you ever need that. And personally I believe that the 788 sounds better, too
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    I had a demo of the CS-M1 last week thanks to Gotham and I must say I'm impressed. Its a really great sounding mic. I had it up in several ADR sessions alongside my mainstay, the Sanken CS3e, so I could compare the two easily. It's definitely a bit brighter than the CS3e and has a bit less low end, but I found myself preferring that in quite a few situations because it mixed into the track even more readily. It's not as bright as the 416 or the CS1e (which is a good thing IMO), but has a nice air up top. When I mix in ADR, most often I dump some lows and add some brightness, so the CS-M1 had that already done for me. It definitely has the same sound quality of the CS3e, which is what I was unsure about. It had similar reach too, which is very impressive for what a tiny mic it is. The CS3e has a little more reach, but not much. The CS-M1 also has quite a hot output, needing less gain than the CS3e. I had demoed a Sanken CSR2 a couple of years back thinking that might be a backup to the CS3e and wasn't that impressed - it lacked the richness and fullness of the CS3e and I just didn't think it sounded that great. The CS-M1 has no such issues. I think its definitely a great tool and I plan to pick one up when they are back in stock! -Mike
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    So a friend of mine and me are making a portable set without any bag. so rigid mounted to be used on your belly or trowed on a cart First a wooden prototype since i dont like to spend allot of expensive materials on testing and shuffling around holes components and such. Thats good since i changed rather much Then the final material, the material is a composite from aluminum and HDPE foam, witch makes it rather light and still quit stiff., it has been cut on my CNC. In between the Cantar and the frame there is an aluminum bar that prevents the Cantar from faling if somehow the composite material would fail. the hooks from the harnas would still be connected (the receivers will still be saved by the shear amount of cables) the rig will have an hawkwood low profile NP1 (NPC-SQN4S) and because it has a feature to let the Np1 stick out slightly you could change it out with one hand if needed. in this case my friend is a lefty so it is on the left. The inputs and outputs where mounted by a company in this angled aluminum, works great but for our outputs we might need to think of something that does not stick out as much. Since it will be staying in the Rig, i opted for using chassis XLRS somehow.... not sure yet. but that would decrease stickout so much it will be on par with the inputs.... aah well who knows. there is enough room for cablin and since there is room between the Cantar and the rig, this is the space where all the coaxial cabling goes from the receivers towards the BSRF that will be sitting underneath the crown just under the usb's. The HIgh gloss finish of the material was not chosen just what i had still looks nice.....but it wont in a week or 4 ! Tomorrow final fit, i did not attach the second half and put the receivers in etc since cabling , i guess he has an opinion about
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    Congratulations on a job well done. I'm going to copy your diagram for my wiring cheat sheet.
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    And the support is great :-) (I'm the developer.) Bouke
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    Tell them to supply the mics. You'd be glad to plug 'em in. D.
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    The forerunner of Volkswagen's electric lineup, the I.D. R is all about balance. With 680 horsepower and a weight of just under 2425 lbs., it's not the most powerful Pikes Peak special, nor the lightest. But Volkswagen knew that the torque delivery of the electric motors and the mechanical grip provided by all-wheel drive and purpose-built Michelin tires would give a huge advantage. Aerodynamics played a major part, too, considering how thin the air becomes as a car climbs the 12.42-mile course. The solution is a flat-bottom streamlined chassis with a huge rear wing, shaped by data gathered from Porsche's LMP1 program. Pikes Peak. The 96th International Hillclimb since 1916. Now fully paved, it's still 156 corners and just one attempt, in a car that VW built from scratch in just 250 days. Luckily, Romain Dumas already knew his way around above the clouds.
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    I have demo'd one on a movie for a couple of problem scenes in an alleyway with extractors that could not be turned off. It worked extremely well and provided either an alternative mix track or alternative boom track as it is a 2 channel device. I am now going to use it on a movie. A movie can go through many months of editorial and screenings before Sound Post gets to work on it so it gives Editorial an option to use the DNS mix track in the edit to see a scene play better and allow temp music and the like to work better. The politics are interesting as Constantin alluded to and i will not be advertising that i have the DNS to the crew or showing how it gets rid of ballast fan noise etc. It also provides me with the ability to hear if wind machines etc are at an acceptable level. I think it is a very useful tool to have as long as you run your other tracks without processing for Sound Post. I am getting a rental on it too as that was important to me to not offer it for free. Tony