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Matt McGowin

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Everything posted by Matt McGowin

  1. I think the user interface of pro audio equipment, the way we interact with the pro gear and the capabilities of the pro gear to expand and adapt to meet the needs of the user and workflows, will continue to progress. It really was not that long ago that it was just sticky tape and rust. Who knows what the future holds?
  2. is it the cam op job to monitor the hop and should a back up be recorded.? In the words of the senator "it depends" These are those things that need to be decided ahead of time and when you negotiate the deal and hopefully not decided on the day I think SR's are the best to go for main Audio to cam. G3 are the best budget hops. Great to have a few for scratch track or back up talent radios.
  3. I agree the re-50 is very durable. Beyer maybe not so much. My friend uses the n-dym alot for public radio interviews. He loves it. If I got a re50, I would prob go for the regular version though. Thanks, Matt
  4. What do you think are good input limiter settings?
  5. I do not think your schoeps mic all of a sudden decided to have a sensitivity change unless you were going from an extreme change in temp/humidity/altitude very quickly. the voice level being projected and the space in which it is being projected usually dictates the amount of roll off needed. Take into consideration signal to noise ratio and proximity effect.Wind noise, traffic noise, air conditioning noise, etc. I usually set my roll off to 80 hz or more on the 788 with a cmc6mk41, on a good shockmount, for interiors. Post can roll off more if needed in most circumstances. Some shotgun mics have built in filter switch, and the schoeps cmc has an optional cut-1 (with 3 selectable cut ranges) for cutting the low freqs before it reaches the mic pre. Rolling off at the mic Is generally better because the low freqs are taken out before it enters the mic pre stage.Which, of course creates a better sonic quality overall. MTM
  6. Could it maybe have to do with the wiring differences of the old and new lectro wiring methods and/or the different transmitter used? I hope that my cos-11 doesnt go dull after 4 or 5 years. For the amount I paid for it, I do not consider it an expendable. Have you asked your local Sanken dealer about this problem?
  7. Most people like Rachel and me do not need to use the newest lectro wireless. I Have never had any client request for any type of mic at all, EVER. Much less a wireless handheld WITHOUT a plug-on Transmitter. A handheld mic and Lectro plug-on tx is much more useful to me. Senator, can you give your opinion more on the difference of the re50 and the beyer58?
  8. I needed a mic for a low budget,quick man on the street shoot a little while back. I borrowed my brother's shure 58 mic. I put my Lectro Plug onto it. It was okay. After that gig, I decided I would go ahead and get a handheld,in case I ever needed it for something like that. I knew the popular EV RE-50B. It is solid and sounds good. I thought about buying a used one if it was decent looking. I Eventually decided on a new Beyer Dynamic M58 omni (40-20k) It is a nice charcoal grey color. The Handle is longer (260 mm total) than the re-50 and has a nice feel. Im not so crazy about how the supplied foam windscreen looks on it though. It is a little more $ than re-50.(about $225) I have not used it for much other than a slate mic since I got it, I have not A/B it with re-50 in the field, so I can not really differentiate, but Im very happy to have the Beyer.
  9. Simple, One talking head shoot with Canon 5D in Baltimore on June 14th. $300 including gear ( recorder and 1 mic) 6-8 Hrs Max. Contact: mark@markscoggins.com (818) 720-5069
  10. What make/model pole do you want to take apart?
  11. I use the Lectro411a Receiver Scanner. (blk 22) and it does the job for me. But this scanner that you mention could scan a greater range of freqs. which could come in handy on tech scouts. and it could let me know if its okay to take off my aluminum foil helmet
  12. I just saw this video link on K-Tek website. Check it out! It has nice music too (DJ Shadow)
  13. if I have a long fully extended boom like a Loon or something, I collapse starting from the top and turn the pole upside down as you collapse the last section at the bottom. (if there is room to do that) For the most part in small or tight areas I will start to collapse the section closest to me or whatever is easy. Just take care to not twist the pole sections around as you are making length adjustments,otherwise the cord will get twisted up. If it happens it wont collapse fully and you have to disconnect the cable by unscrewing the shroom base and detach the ta connector. Although It is good practice to do it every now and again. Congrats on your new pole! What length did you get? Rich, Perhaps a zip tie around the cable exit or simply wrap the cable to the pole to prevent slipping down. Best, Matt
  14. It probably sounds better than a dslr cam mic but I would not use it for anything other than wild sound for personal use. I would considerate it a non- pro back up. Handling noise? do you mean if you used it on a tripod or do you mean if you mounted it on a boom pole? K-tek makes a good mount for handhelds I think
  15. And make sure you put your bag/pole in a safe area. I have had a few bad dreams that I put my boom down and people jump up and dance on top of it. If wiring talent on the fly is common on that shoot, I would most likely request a sound utility or boom op.
  16. I ve recenty worked on a long documentary solo gig where i constantly had to wire and de wire people. Working out of the bag, every time i did so i had to unplug my boom and then put it down somewhere or ask someone to hold it while i was doing my thing. What would be a simple solution to keep the thing on me while having two free hands? We were always on the move so a boom caddy would not have done it. Hook, velcro, snap-in? So how do you do it? If you are doing a one man gig, I would keep the boom attached to the rig and put the bag and the boom pole down. It is much better/easier to wire someone without wearing a bag. I know docs/reality work usually does not allow you to do that, so you just have to roll with it. Only thing you can do is rest it on your bag or somehow clip it to your harness Using velcro strap or clamp.
  17. When monitoring from 788, I keep it around 0 or less.depending on the situation of course. I never listen at higher levels for very long. (I usually do it without a video monitor) "It seems like only recently we went to dailies" Really? am I that young or are you just that old.
  18. I think Kieth is trying to explain his opinion that his mic works fine for him at normal dialog levels, and -10 cut works for screaming dialog levels. but When -10db cut is engaged with normal level dialog delivery, the fader on the mixer needs to be increased very high , and the noise (floor?) is raised My advice would be to check the gain stage(input trim level) Ive never used that mic, and I dont know but the thing I dont like is when the senator makes a comment that dos not help move the topic along and just quotes stuff in green and makes a sort of smart ass reply. Or maybe It does not really matter and Im just having a bad day?
  19. I use stereo to mono adptrs for use with my pr72's mono headphone jack so that it can be used with stereo hp's. Some headphones (iphone earbuds and others) have trrs and that isnt compatible. but ya probably already know that.
  20. Good question. Im not sure how the weight of a softie comes into play with the cinela, but I would be interested to know. A zepplin or pistol grip/softie would be the alternative. I would like to go and demo a few different mounts (psc,audio-tech,k-tek,rycote invision,cinela) with a few different mics at one of the local sound shops. That way I could make my own personal decision. When I do, I will post results. ~Teo
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