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  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.
  2. 5 likes
  3. 4 likes
    Ahem. I feel like should pipe in here. I’m not sure what you’re listening to but I can pretty much guarantee there is no distortion in the tracks that we delivered. Believe me, there is no way that the final mix would’ve gone out like that. I sat in Ron Bochar’s (our Re-recording Mixer) final mix at C5 a few times and I can reliably say that there were a lot of people in there with very good ears. And, for the record, my wireless for S2 were my (I now call them vintage but have since gone to all Zaxcom for S3) Audio, Ltd. 2000s, which always sounded as good as they get. Just my 2 cents! I’m glad you all are watching. Season 3 will be even bigger.
  4. 4 likes
    Hi Matthew, What's happening is that in the last few years we have decided to build up many more units in the first proto-production round. We always hope these are a "final" design but.... Between two and five units are sent to the test labs depending on frequency bands with five others kept back for sales and internal test samples. Another 10 or so are sent to beta testers that we know will be proper PITA's. The beta testers use them on actual productions and give us feedback on hardware and software. Invariably, we receive suggestions (sometimes demands) that go into the next round of pre-production runs. All of this takes time. Beta testers, lab tests and the FCC amount to about three months. Any serious hardware or PCB changes require about a month and another round of beta tests. When the product is released to production, it takes about a month and a half to get final PCB's, place surface mount components and setup the final test procedures. Also, we have taken a new path on product release in that we aren't announcing products until we have 50 units or so on the shelf, ready to ship. All this takes months and any bugs (or gross errors) requires a reset at some point in the process. Carrying out a more complete testing and beta process just takes more time, in this case 7 months. Measure twice, cut once. Best Regards, Larry Fisher
  5. 4 likes
    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
  6. 4 likes
    The Senator is a good guy when I asked for autograph pictures of soundmen with their vintage Nagras he was the "only" one who sent me one. I have nothing but respect for him. Everybody has a different way of things and there was nothing wrong with his way. I for one miss him.
  7. 4 likes
    https://tyfordaudiovideo.blogspot.com/2018/09/deity-s-mic-2-shotgun-microphone-third.html
  8. 4 likes
    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
  9. 3 likes
    Rio Rancho, NM (April 1, 2019) – Bucking the trend towards making everything smaller and smaller, Lectrosonics is introducing the Big Series™ transmitters. The new BS transmitters boast multiple powering methods for extreme run times and a host of additional advanced features including language translation, on-board high-density data storage, fuzzy logic, artificial intelligence, a neural network, quantum computing, the Internet of Things and much more. The recently developed Multipower™ module allows a multitude of powering methods including three, four, or six D cell batteries depending on the model, and propane, kerosene, compressed air, and user-cranked flywheel. By offering these various powering methods, users will be able to ensure continuous operation even in remote, undeveloped and inhospitable regions of the world where standard batteries may not be available. Run time with 6 D cell batteries is 48 hours, and with one quart of kerosene or one pound of propane, the BS units can run for 12 hours. If the user cranks the flywheel once every few minutes, continuous operation can be achieved. To keep the weight of these units reasonable, Unobtanium alloy is used for all metal parts. By employing a neural network using quantum computing and fuzzy logic, the new BS Series transmits and simultaneously translates the incoming dialog or singing into multiple languages in real time with extremely low latency. The units auto-detect the incoming language and then choose the output language based on local area using GPS information crossed with a geolocation database. The optional MultiLanguageDiversity™ module enables multiple languages to be transmitted on several frequencies simultaneously. Latency for the translation and transmission is 0.001 ms. Information about the detected local language, translations chosen, GPS data and other information, but not audio, are stored on the BS Series units’ 20 TB solid-state drives on board. An IOT interface allows the units to be accessed by smartphone or other IP device from anywhere in the world. “We realized that we were limiting the functionality and flexibility by making our transmitters so small,” states Karl Winkler, VP of Sales at Lectrosonics. “People want features and so we’ve got ‘em in there! The large size makes just about anything possible.” Models available include the BSBP (3 D cell) and BSDBP (6 D cell) belt pack transmitters, the BSHH handheld unit, and the BSHM plug-on unit. Available to order now, pre-backordered to April 1, 2020. About Lectrosonics Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company's dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. * This text and image content is for Editorial Use Only and may not be used in any kind of commercial or promotional material or advertising without written permission. https://www.lectrosonics.com/US/lectrosonics-decides-bigger-is-better.html
  10. 3 likes
    Looking forward to the matching SM BS series backpack for easy mounting on talent.
  11. 3 likes
    I think Jim's suggestion is on point. I haven't been watching Mrs. Maisel but I've been seeing Mathew Price's name on credits for some time now. Among other things, he was responsible for the sound on The Sopranos. I think he did the whole run of the show. Moreover, I've been noticing audio problems on other shows that seem to come and go depending on what time one views the episode. I had considerable difficulty with some scenes in the recent True Detective episodes, especially with scenes featuring Mahershala Ali as an old man. Then I rewatched the show later viewing the east coast feed and found the sound much cleaner. David
  12. 3 likes
    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.
  13. 3 likes
    Hope this is not too off topic, but this chestnut is so typical to the film industry
  14. 3 likes
    I am actually toying around with some programming, getting a Opus stream (opus codec, significant better in therms of audio quality/bitrate vs something like mp3) to get a low latency stream "into the world". So you need a small "computer" transmitter, this can be any linux device. Think Raspberry pi, a hacked phone running plain linux, etc. set to "broadcast mode". And the receiving end can be anything capable of receiving plain Opus streams, so that's every computer/phone/dedicated hardware out there. It is multicast, so the max connected devices depends on the bandwidth, but since it is Opus, we are talking dozens en dozens IFBs easily. The "codec" latency I can get down to 2x 2.5 ms (if I stream a file), so that's ok I guess, but the ADC converter for live audio input is f*cking me now, adding too much MS in the equation. Working on a macbook, so can not optimise extensively like on a stripped down Linux machine (raspberry pi would be ideal), So when I have a linux thingy, I will continue to fiddle around....
  15. 3 likes
    Well, with only 8 posts so far I wonder how much interaction you've actually had here. If you've been lurking then you'll know that quite a lot of good info changes hands if the questions are well researched, clear, concise and about motion picture production sound (ie not post or live sound except as they impact production sound). Those of us that have been answering newb (and other) questions here for many years are not sad at all. We're very glad Jeff started this forum. To the OP--feel free to PM me with any production sound question you might have that you don't want to post publicly for any reason.
  16. 3 likes
    My son is six years old and has only started to go to school 5 months ago. But he has already understood that there is no point in me reading his texts to him. He knows that he needs to read them himself in order to learn how to read. And when he does get stuck and has a concrete question, I can help him. oh wait, maybe I should‘ve posted that in a „parenting for beginners“ forum. Nah, I‘ll just leave it here anyway
  17. 3 likes
    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....
  18. 3 likes
    I want an RX Emergency Two to use with my 302, but can't justify the $200 cost. I looked at the tech notes from Sound Devices about connecting to the mix in, but don't know how a variable resistor will interact with the resistor network they recommend. I decided to compromise and build inputs that would connect to the camera returns; this way my controls are "faders" and the trims on the 302 are "gains". Plus I can change the channel 4/5 signal routing in the 302 and not have to add external switches. The box is incredibly simple; Neutrik combo XLR/TRS input jacks, Bournes 10k log taper pots, and a 3.5mm output: Works great, and I think it cost $40 and 90 minutes of work!
  19. 3 likes
    Next step. Get it to switch to Muzak when going to mute mode.
  20. 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!
  21. 3 likes
    Wow thanks Jez. Gee 1982, 3 radios and 1 boom. We had no rushes viewings at all in Rarotonga but Oshima San organised a viewing when we returned to NZ ( a married optical print). He commented to me after the screening "sound very clear, very strong!". Cheers mike
  22. 3 likes
    Two months ago I was asked buy a surgeon and his internal A/V people at a large teaching hospital to record the skin graft procedure for a burn victim. Removing skin from the leg and grafting it onto the back of his wrist and hand. It was to be used for an upcoming symposium. We're not talking open heart surgery here. I had to go through a two-week prior-to-surgery screening for health and possible contagions. I passed. The surgeon and I settled on him wearing a wireless lav (I do a lot of work for this hospital on non-surgical procedures so I was able to gain access to the OR ahead of time and test the RF splatter). I would shoot with my Sony FS7, one wireless lav and one camera mounted hyper-cardioid (the room had reverb). The surgeon signed off on my scheme and the patient had to sign a consent form. I was good to go. Even though I would remain outside the sterile field, I would be about 8 ft. away from the patient, I arrived two hours before the procedure to scrub down all my gear and setup. While setting up in the OR I was told the head surgical nurse needed to see me. She told me I hadn't completed an immunization form. So I filled one out. Upon seeing that I hadn't had the Hepatitis-B vaccination she called a halt to the project and booted my out. While I was removing my gear I saw the surgeon and explained the FUBAR. He was disappointed but said the head surgical nurse runs the floor and we have to abide by what she says. I of course didn't want to pose a health risk to the patient. Project cancelled because I didn't have the one immunization. My take-away... despite what you and your surgical team agree upon get the head surgical nurse to sign off on you and your plans before the day of surgery. Good luck.
  23. 3 likes
    Hello Ryan, you wrote us 11/30/2017 and I answered you 6 hours later just because of time shift. I asked you for information to understand the problem. Your SBOX-1N door was bended and because of that hard to slide and finally it got stuck (lack of lubrication). I offered you to sending new battery door for free! You could replace it in few minutes. You did not respond to my email from 11/30/2017 to 3/17/2018! Then you wrote on 3/19/2018 that you were at Trew Audio and they told you something what causes the issue. That time you asked us, if you can ship it back, I said yes, if you want to. Anyway, replace battery doors at your place would be easy as ABC and you rather let Trew to send it back. Anyway, on 3/19/2018 you still had SBOX in your hands asking me for address. Then it got stuck for a month at Trew Audio, this is right. We repaired it the same day it came to us and shipped it back to them. Please do not judge our support if this is a fault of dealer. Judge services of this dealer, who delayed it. Thank you and kind regards, Jan
  24. 3 likes
    Here's the deal (in my opinion, experience, and observation): Prefader iso tracks, when done properly, will be, on average, at least 6dB lower. There are good reasons for this: 1) An important benefit of prefader iso tracks is to guard against surprise peaks that distort the postfader mix. To accomplish this, the iso track 0VU reference is aligned with the mixer's prefader 0VU reference (typically -20dBfs). The input trim of a mixer normally falls into a position so that normal level dialog results in the fader knob being between "unity" (usually "0" on the fader's scale) and the top throw of the fader (usually +12dB), which makes the fader knob hover around +6 on the fader scale most of the time. These settings allow an additional 6dB of "reach" when the dialog level gets lower, and up to 14dB of gain reduction with the fader before the mix track goes past max, which would finally happen at exactly the same time the iso track reaches maximum. Some mixing boards like the Sonosax SX-8D and SX-ST have a +12 fader feature that essentially lowers the average iso track by even another 12dB. Fully utilizing the "never clip" feature of Zaxcom devices will lower the average iso track levels even more. When the aid of compressor/limiters are factored into the post fader mix, even lower levels can result in the prefader iso tracks. The third factor is the reluctance of many sound mixers to record in the area between -20dBfs and 0dBfs, which can reduce the iso track levels by another 10dB-20dB, at which point the post production people of a very legitimate complaint. Solutions: 1) Make sure the mixer's prefader levels are aligned evenly with the recorder's iso tracks (typically -20 to -20). Once that's done, the only adjustment that should be necessary is the input trim on the mixer and then riding gain on the fader for the mix. 2) Don't be afraid to use the mixer's and the recorder's dynamic range. In fact, be afraid to not use it. The audio quality does not degrade when going into the "yellow" and then degrade further when going into the "red" (technically, it actually improves). The perfect recording should have the highest peak reach 0dBfs. 3) Get familiar with how the use of compressor/limiters affect the relationship between the postfader mix and prefader iso tack levels. Putting all this into practice will keep "The Calls" from postproduction to a minimum, and understanding the process will allow you to stand your ground and solve such issues when the calls do come in.
  25. 3 likes
    +1 what JonG. said. I've found that my choice with such productions takes one of two paths: 1) Just politely say no: "Sorry, I'm not available." 2) Quote it really high. I've had times when they would keep coming back with incrementally better offers. One time they worked their way up to within $50 of my quoted rate with gear and I still passed. Two days ago I received a text offering a low rate for my services and stating that the cameraman was furnishing the sound kit. I responded with my full rate w/gear, and to my satisfaction, never heard back. A couple of months ago, I was certain that I would avoid working on a reality show by quoting full rate in response to their low-ball rate. They came back with intermediate offers which I passed on, then, to my chagrin, accepted my rate. The days turned out shorter than expected and the folks weren't too difficult to work with. Which highlights an important factor to remember: People typically value something by what it costs. So, if you want to be more highly valued by a production, charge more. If you want to be more readily dismissed, charge less. And don't be afraid to just say "no." It's really empowering.
  26. 3 likes
    I thought manufacturers and dealers section???
  27. 3 likes
    Here is a post I made in another thread. Today we have given the CS-M1 a really good run. I did a scene where we swung the on camera with the Sanken and then the off camera with the MKH 50. The CS-M1 has much more gain to it and deffinetly opens up the room more. Not in a bad way but it does have more top end to it than the 50. For sure it has more reach than a 50. In cases where I may have been tempted to reach for the wire to add a little fill on the actor starting deep and coming to camera I can let the Sanken reach for it. A very well respected mixer I know often refers to the fact that "perspective is now almost a thing of the past, well with the CS-M1 I'm now more tempted to play it. We then did the on camera again with the Sanken and the off camera with a CMIT 5U deffinetly a better match. So maybe The Sanken is more like a Schoeps. The biggest down fall is the indoor foam sock that comes with the Sanken. It is useless for any kind of quick swing or even a light swing across a room. You definietly want to beef that up. I'm using it with the Rycote INV-Lite 19. Maybe not the best mount for it but it's all my local dealer had at the time to fit it. It may be contributing to the wind noise due to the two metal rods. I know you can get a rubber dam to slide over the rods but black gaffer tape is a lot cheaper and does the same thing. I was very impressed with it out side as well. I used it in a WS 2 and found it to have a very natural sound. As many people have said before there is no "one" mic for all occasions the new Sanken CS-M1 is a great little mic and just one more tool in the drawer. You have to make the choice as to which mic works best for the scene and that particular actor.
  28. 3 likes
    If we’re still on the original topic, then I can attest to the A10’s resistant to moisture. I’ve had them on many a sweaty actor over the summer, and they’ve come back to us literally dripping wet. We’ve had zero issues regarding moisture. If we’re now discussing the other systems, I can’t comment. Regards, Moe
  29. 3 likes
    I normally swing the CS-3e for my doc work. (I love that mic dearly— It replaced over a decade of MKH416 adoration.) However I really wanted something lighter and smaller. I tried the MKH50 for a few days, but ultimately didn’t buy one as I felt it’s tonally quality didn’t quite match my CS3e or my COS11s. Especially when I had one scene where 8 of 12 people were mic’d around a table and I used the M1 to grab the other 4 who were of course scattered amongst the group. It’s pickup pattern was a huge advantage over the CS3e and made for smooth transitions between talkers and it’s low profile kept me out of the ceiling fan over the table. So far, the M1 has been a great choice in/outdoors. However... although it’s been my daily driver for a few months now, I also do my best to NOT have to use it— and only swing the boom when it’s absolutely necessary. So my ability to give the mic a thorough run of its strengths/weaknesses is limited to my need to use it. I hope this helps! Cheers, Evan
  30. 3 likes
    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.
  31. 3 likes
    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
  32. 3 likes
    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.
  33. 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!
  34. 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.
  35. 3 likes
    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.
  36. 3 likes
    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
  37. 3 likes
    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
  38. 3 likes
    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!
  39. 3 likes
    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).
  40. 2 likes
    I've been absent from the forum for a couple of years as I pursued a career in industrial design. Hello again! I'll be selling my gear pretty soon, but in the meantime, I can announce the first new Abetek product in quite some time. I was able to partner with my company in a joint venture to bring this out. For everyone who uses a lot of NiMH AAs, this is for you. On many shoots I was using at least two racks of 12 AAs per day. At the end of the day, unloading all the batteries to be charged, and reloading them the next day, was a hassle. So I can now present to you, my baby, the RadCad. It pretty much does what it says on the tin, with features you know and love from your current charger. Simple, one-second, one-handed operation It will charge 2700 mAh in less time than your turnaround, about 7 hours, without your batteries ever leaving the caddy. Five-step battery meters on clear, backlit LCD. One-button deep discharge goes to automatic charge, to improve performance and elongate battery life. Compact size, upright operation means minimum footprint. Compatible with popular 12-AA battery caddies (sort of, see below). We also made our own caddy, which completes the set. Once all of your batteries are charged, do you need to reverse each one to show it's charged? NO! Simply remove the bottom of the caddy and snap it on top. Now all of your batteries indicate properly. As a bonus, they won't tear the battery casing every time you take them out (now half as much!), or mess up your fingers. Since I know you all are professionals, I will give you the downsides now, so you have them in advance. The popular 12-AA caddy fits perfectly into the charger. However, the old caddy kind of hides the contacts on one side. So it can take some smooshing of the spring contacts to get them to line up. You can avoid this annoyance by using our caddy. We had to put a 30mm fan in there - there was too much heat in the enclosure otherwise. It measures about 28 dB at 1' ('whisper level') or 13 dB at 6' (comparable to pin drop). So I wouldn't put it next to your boom, but there are camera battery chargers that are much louder. This should be available from some of the usual suspects by the middle of Feb. As of this writing the MSRP will be $79. I will post here with any updates. Thanks and I will leave you with this fanciful image (or nightmarish depending on your perspective).
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    My views from the office are not that exciting, but I figured what the hay?
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    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...
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    No supplier in our industry would ever ever make false claims. Hippo Skin is only for closing surgical incisions on a hippopotamus. Any other use is a violation of US Hippo health confidentiality law. Joe's Sticky Stuff, which is gosh-darned useful for all kinds of temporary sticking, is unfortunately only generated when Joe gets excited. (Tentacle Sync can be used only when shooting hentai.)
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    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
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    http://www.orcabags.com/product/or-280-sound-bag/
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    If the pots, switches, and connectors don't have issues or appear worn or loose, if it ain't broke, don't fix it.
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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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    Tell them to supply the mics. You'd be glad to plug 'em in. D.
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