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  1. 2 likes
    Senator was always a valuable resource of knowledge and humour. I have the feeling that some people were too defensive that's why they could not handle his presence. I for one miss his presence here! This forum is not the same since he left! Please Senator, come back, or else so many will keep using their antennas and senny's forever 🙂
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    @JonG a difficult topic for sure, thanks for the modesty because indeed It is easy to scream from another country how things should be done. I hear you on the "cheaper gear is not the answer", it's sometimes a necessity, at least to get started. By cheap I mean not crap, a first generation Apature Deity wouldn't sell, for example. I'm talking in therms of the SD mixpre series/zoom8, a local manufacturer making (sound wise competing with DPA) lav mics, a NTG3 which helds perfectly fine against a 416, things like that. Every penny counts sometimes, especially if you know it will take longer to earn it back. If a currency of a country goes down the drain, but still you have to get the stuff from abroad, it can go fast. And then the purchase/rental ratio is the first what goes as a standard. I can go from one side of the country to the other (2.5 hour flight) for like 20$, but the plane is still a boeing (another example, for illustration purposes).
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    Indeed - seriously considering it. It’s the night before and I have not had a single conversation with the producer about what I’m doing. I do not enjoy cancelling and do not want to leave a crew without a sound guy but this is unacceptable.
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    And your point is? A boom operator on one of those famous drama shows gets €40/50 a day. Talk to sound house/person here and you will hear the struggle. Some even go under. Not claiming that cheap gear is the way to go, that's not the point. For perspective, a Lectrosonics wireless kit is about a half year teacher's salary here.
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    You are right. I would say, from a western perspective. There is also another world out there; I live 50% of the time in Turkey and they are "screaming" for lower cost yet still acceptable gear, since the market/economy/circumstances are way different than In Europe for example.
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    My secession from AC power started back when we were still often having to burn DVRAMs at the end of the day, or during lunch or etc. I had issues keeping AC power from generators etc up, the cables were in the way and for me it was just one more cable to have to run @ each setup. Being able to just be self contained as much of the time as possible was a habit I got into and have stayed in. For sound gear that really wasn't designed for movie work I have to have AC, no way around it. If you have good relations w/ the Electric Dept and they are taking care of you then blessings on them and props to your diplomatic skills. For me, the default position I've arrived at over the years is that if I want to have power, rain shelter and so on I'd better be prepared to deal with it myself.
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    For review and comparison: http://txsound.com/blog/obsession-with-fake-sennheiser-mkh416-microphones/
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    Fake 416s have been coming out of China for years. All I can say is that if you’re gullible enough to buy one, you deserve it. I was always taught to research anything and everything so that I wasn’t asking stupid questions or making grave purchasing mistakes.
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    At this point, the only time I run into a Red on set is because the DP owns the package. Thankfully most of the DP's I work with have ditched their Red's and bought an Alexa Mini. One thing you can do is have them calibrate the sensor (black shade) to run at a higher average temp. This may help a little, but if you're running longer than a half hour per take then this may be all for naught.
  11. 1 like
    I have both the Bose cancelling headphones and 2 versions of the Remote "aircraft" type cans with the Sony drivers. The former are helpful on long flights for reducing the roar of the aircraft engines and HVAC systems, but do not much at all for nearby conversations, crying babies etc. As audio headphones I think they leave a lot to be desired, compared to what I'm used to in terms of clarity, detail and freq response: they sound like cheap headphones. The current model of Remote Audio HN headphones match my regular 7506 etc headphones pretty well, but with far greater isolation. Pretty much all of my location music recording work, which nearly always needs to happen with me in the same room as the players for various reasons, would not work nearly as well without them. Mic position especially as well as my live ref mix are really improved by being able to hear what's going on far more clearly than with regular headphones. If I didn't have the Remote HNs with me and had to record in a noisy environment, I think I'd go with my normal headphones and live with the bleed instead of trying to record and mix using those Bose, they are really strange sounding...
  12. 1 like
    I agree with Dan and FerrousBeard. What I want isn't noise cancellation, but isolation. I want to hear certain noises to know if they're going to degrade my tracks. Totally nonscientific anecdotal goofing around suggests that noise-cancelling headsets don't eliminate lav/clothing rustle, mouth clicks, and such...but they can remove passing trucks. As in: if the sound acoustically can reach the noise-cancelling headphone, it will try to eliminate it... and then I can't tell if it's also reaching the microphone. But that was with a producer's Bose headphones; maybe other models will differentiate between local (at headphone) and distant (at microphone) reception of the sounds. Anyway, that's my take. But I use over-the-ear 7506s, so I have a touch more isolation than you do with HD25s. Maybe some non-noise cancelling over-the-ear Sennheisers will work for you? Or can you turn off the noise cancelling on your PXC550 and see what you think (factoring in the bluetoothyness)?
  13. 1 like
    Not much you can do, I've been in this same position. When you can, record room tone with the fan off, then if it kicks in take tone after the interview is over also. If the subjects are mic'd up, let them leave after the emotional interviews, then grab a PA or whoever and have them sit through the RTs with the same lav mic. Good luck
  14. 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).
  15. 1 like
    All my SM have fixed antennas, so I have a couple of universal COS-11 in the event I need to use my external mag-mount antennas for car work with my older non-servo 400s. I know I have noticed minor differences in various combinations of Tx and wiring schemes, but in the typical lav environment (noisy ambiance, walk and talks, wides, etc.) I find the difference unimportant. But if you have someone wired to cover a very quiet performance in a very quiet scene, you'll probably find servo wiring in a servo unit to be the lowest self-noise. Robert
  16. 1 like
    " How would you characterize the difference? " most noticeable: levels that said, there is a reason that there is a specific wiring for servo bias and thus many of us tend to order most of any new mic's wired for servo once we have some servo TX's.... by definition, the universal wiring is a compromise...
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    I find that the universal wiring on a cos 11 is a bit noisier going into a servo TX. YMMV.
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    Anyone else have thoughts or experiences on this?
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    Hi Matt, Thanks for re-trying the experiment and the update. Best Regards, Larry Fisher Lectrosonics
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    Well I'm even more confused now. Having had the opportunity this morning to perform some controlled tests with my two SMa's and six SMDB's with all my microphones (servo and non) everything appears to be correct. The non servo appear to be approximately 8-10db louder than the servo wired mics which now don't hiss on my SMa's. So I'll need to chalk it down to tiredness, gain structure employed on the mixer (so was hearing more circuitry noise due to to higher gain on that channel),the quite room I was filming in when I "thought" my SMa's were hissing and/or maybe not seating the mic correctly into the transmitter? Mystery solved I guess? Thanks Larry and Jim.
  23. 1 like
    Hmmm.... as you say Larry "Something is very wrong here." I'll grab my 6 hours sleep and head off to work again. I'll do what yourself and Jim have asked and report back. Thanks again Larry. In the meantime feel free to chip in with any constructive ideas everyone.
  24. 1 like
    Hi Matt, The 400 mode is digital hybrid. The 200 mode, IFB mode, and other modes all emulate companded systems. Cheers, Larry F
  25. 1 like
    I totally agree with benr. The shockmount is the key. I had one setup that was so noisy that if I ran my finger down the pole, it sounded like thunder. After trying several things, I pulled off the elastic in the shock mount and, just for the heck of it, replaced them with cheap rubber bands. Instantly, the pole was dead silent. I had a moment of "duh" come over me at that moment. The whole purpose of the shockmount is to isolate the microphone from vibrations in the pole. If vibration is being transmitted from the pole to the microphone, then some kind of modification has to be done in the shockmount system to reduce the transmission of vibration. In my blimp system, the microphone is suspended by very thin and long elastic bands. The combination of the length, small cross-sectional area, and low tension of the support bands, minimizes the transmission of vibration to the microphone. So, I would try experimenting with some different material for your shockmount before giving up on your boom pole. My 2¢. Todd