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About joaohpc

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  • Birthday 02/06/1992

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  • Location
    Rio de Janeiro, Brazil
  • About
    Sound mixer and boom op based in Rio de Janeiro, Brazil.
  • Interested in Sound for Picture

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  1. Hi all, I own several kits of Sony UWP D11 units, which i've always used as comteks, while using Lectros as main wireless for micing. Just recently sent 2 Lectros to mothership and rented 2 other kits, so i needed to use Sonys as wires at the job i just did. What i notice is that using the same mic capsule, same gain and same cables, the transmitters behave really differently. One of them which is version 1.008 is normal, while the 3 other transmitters i own version 1.006 have a ridiculous noise floor. Tried swapping everything, but it always come down to the single tra
  2. I feel like 664's pre's are warmer, and i felt like 633 dynamic range was strange compared to it. I feel that 664 pres needs less gain to have a satisfactory sound and also handle peaks / louder bits better, not getting so close to limiter for the sound i like. And because of that, i often hit the limiters on 633, like it wouldn't handle the peaks properly - and i didn't like that. On 664 i almost don't hit the limiters. And yes, the limiters were used with the same settings. When looking to the meters, i would say 664 would always be peaking less than 633 for the "same warmth". I
  3. Actually it might be a good idea to mix both of your ideas - i should get a 788T and use it as main recorder, and when needed i could use my 664 for 6 inputs and use 788T 4 outputs for 4 additional tracks. That doesn't sound bad! But yea, i also thought about buying a 442 and that could also work, but maybe having 2 recorders is smarter. Actually my backup is a Tascam 680, wouldnt trust on that! I had authorized media. But by the time i had a 633 they didn't have WM-Connect yet, so i used a Rii mini keyboard (the one recommended for 633) but it froze many times anyway.
  4. Hi all, So i've always been a SD user and fan and i'm a bit confused regarding which should be the appropriate choice to me. I do some docs, commercials, but also drama / features. At the moment i own a 664 with CL 6, but i feel like using the line inputs at unscripted drama is a nightmare. Many of you guys will say that if i have a correct gain staging at wireless, with transmitters peaking limiters at louder bits im gonna be fine. But i don't feel like that. First of all, i hate hearing tx limiter, and when you deal with directors that want to move on without rehearsa
  5. New situation: now a new production is coming to Brazil to shoot a "branded content" - cause they don't feel like calling it commercial, right? - for 2 major brands, where they gonna have 2 really famous guys to play Footvolley for cameras while shooting brands clothes and shoes, and whatever giant outdoors with brands. So production says its not a commercial, and they want me to do £350 for multitrack recorder with timecode (to send to 2 cameras), boom, 3 lavaliers, audio sent to 2 cameras (i could send by cable, but tell me how i could do that on a sports shoot with c
  6. And also carnival! Seems to be the tendency worlwide, unfortunately... Feels odd every time we work with producers that actually pay correct rates without crying for discounts or threatening you of losing the job. Stay strong.
  7. Just to be clear here: we also have a high end market where mixers earn more, specially when considering big commercials, but i'd say what is the highest rate you can earn around on that niche is 2100 brazilian reais ( 499 british pounds), with equipment included - 788T, 2 lectros, boom and comteks. I see at Bectu chart you earn in that case 457 to 513 pounds without gear, just labor. Also considering Bectu's chart: at films with major budget you guys earn 472 to 530 pounds / day without gear, while we earn tops 1500 brazilian reais ( 356 british pounds) /day with SD 78
  8. Thank you for the link, it helped a lot as an international reference. It's just amazing how things work at Germany. Found it very interesting that you have small variations of price for each piece of equipment. Most producers in Brazil don't care if you have a Sound Devices, Tascam or Zoom. They just want a multitrack recorder, as well as a lav mic or boom, be it Sennheiser ME66 or Schoeps CMIT, be it Senn ME2 or DPA4071. We sure have a few high end producers who ask for a Sound Devices, but its the minority. And then what happens is: they want the high end equipment paying for pr
  9. Also sorry i got the wrong idea! But i've seen a lot of people discussing this subject, and the moral side always seems to be one of the focuses. But yea, things are pretty much messed up around here, and also yea, its the second producer that tells me in UK they earn 350p/ day with equipment.
  10. Thank you everyone for the feedback. I know i shouldn't charge differently depending on what country the production company comes from. That would be right in a perfect world. It is a very large story to put in this thread, but actually in Brazil our unions don't have representation with producers, so what is the value we have on our union charts and what is supposed to be the right value for our labor and equipment is never followed. We don't earn the right for the equipment we use ( quality-wise of what producers ask), and what you see happening a lot at Brazil are old (age) soun
  11. Hello to everyone, Was hoping to get some feedback about how much are the rates for work + equipment in the UK. Im a brazilian sound mixer based in Rio de Janeiro, and everytime i work with international productions and try to negotiate rates i get the argument that in UK the mixers earn 350 pounds a day for all-in (multitrack recorder, boom, 2 to 4 lavs, wireless audio on-camera and maybe even timecode lockit boxes). This is the second time i work with an UK production, and although the production company was not the same, i got the very same argument from both. I want to find out
  12. Tom, why don't you like the MKH 60? Could you try to explain it comparing to 8060 and 416? I used a 60 together with a 8060 on a show and the 60 seemed to have much better reach, although the 8060 sounded much better / richer when close enough. The reach, though, was needed for that show and it really disappointed our team. Would be happy to hear your thoughts.
  13. I preffer the MKH 60 rather than the 416, which sometimes sounds thin on interiors, and off axis is terrible. It also has proximity effect problems. It surely is really rugged and wont go bad on you, even on terrible humid conditions, but if your choice is based on that i really doubt a 60 will let you down. It has never let me down. As Chris mentioned, you should save your money and go to another kind of mic. i personally own a MKH 60 and my next purchase is the CS3e, while the 60 will stay as backup mic and also stereo rig together with a MKH 30.
  14. Just rewired my lav to a Sennheiser G3 and it worked! Noise floor disappeared. Not sure of what happened with it using the Sony system but the wiring was correct. Will keep it wired for G3. Thank you all!
  15. JonG, was your lav the MKE 2-60 model, with the barrel? Thank you everybody. I guess i'm gonna try wiring it to G3 system and see if i get the same issue. Will post soon if it worked or not. JonG, was your lav the MKE 2-60 model, with the barrel? Thank you everybody. I guess i'm gonna try wiring it to G3 system and see if i get the same issue. Will post soon if it worked or not.
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