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  • Location
    Washington DC
  • About
    Audio Mixer, Sound Design
  • Interested in Sound for Picture

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  1. Hey yall, I have had a couple RX 200’s for about 6 years now and have been going through battery doors (1 to 2 a year) as the locking screw will eventually become stripped so ill just replace the whole door. At the point where I need to order a couple more doors and figure I would check to see if anyone else is getting this and see if there are some better solutions than just replacing the whole door every time.
  2. Using the DADM226 with 3x custom hirose cables with splitters to do power and dirsto for the whole bag. Its awesome for its size but doesn't really allow for swapping out receivers easily (and my cable management is a mess) so you end up carrying more than you need for a lot of run and gun days. I like that the 226 has power on the side which is easier to reach in the stingray bag. But I wouldn't imagine it makes sense to use the power distribution for a mixer bigger than a 633.
  3. Yea the headphones do come with the nylon locking ones, I must have just gotten a bad bolt. Unfortunately all the butterfly bolts I found were to big to sit above the headphones. So I ended up getting some loctite and new nylock nuts. I was a little worried about the permanence of the Loctite but I figure that's better than having it come loose on set again and I don't think i have ever adjusted that bolt for comfort anyways.
  4. The bolt above the earpiece on the HN 7506 headphones comes loose every so often in the field and it’s an absolute pain to tighten. Right now I figure I’ll grab a small wing nut to replace the top but it will still be less than ideal to tighten it from underneath working around the earpiece itself. I was hoping one of you had run into this problem before and might have a better solution?
  5. Thanks for the tips. I’ll probably pick up the mini cardellini and a couple more pony clamps in addition to the scissor clamps. I actually use the fleximount for my antennas but never thought to use if to hang mics, which in hindsight seems embarrassingly obvious… The fact that I can attach my shock mounts to it directly is nice too.
  6. I have been thinking about buying some drop ceiling scissor clamps to hang mics from the roof. Anyone have some success with these or another good way to hang microphones from a ceiling in a pinch?
  7. Ah what I wrote wasn't super clear. I originally bought the distribution system to use with a RF Venue Fin but it's really not practical for most bag work and especially doesn't make sense if you have to boom as well. That put me in a bit of a pinch as the sound bag dashboard doesn't fit into the 633 stingray without bending the whips on the far receivers. And the way my bag is organized makes it harder to mount a second Dipole on the other side. So lately I end up using either a single dipole going into the distribution system (which doesn’t take advantage of the diversity) or just the whips on my middle SRB’s (and only use the DADM as power distribution). Using a combination of the Dipole and whips would be interesting but I basically never use my SRB’s in diversity mode so I’m not sure how it would work out. I figure I’ll probably just grab a BNC whip for the other DADM226 input and find a way to mount that this month. I know it has been booed before but just getting antennas close enough often works. It would probably help but I doubt anyone is cutting a new antennas every time they change frequencies. I'm certainly not an expert but I imagine the effectiveness of an antenna decays sorta logarithmically from bell shape node at a half wavelength. And then they have a smaller bell shaped jump in effectiveness at a quarter wavelengths (which most whips get close to). If Lectrosonics gives you a block 19 whip for an A1 Band receiver that means that whip is meant to cover 470 to 537 (a wavelength range of .7 inches). Based on this, you can use an antenna to get a signal that should ideally require an antenna a quarter of an inch bigger or smaller. This is a range of almost 100 mhz in each direction but that's just a rule of thumb based on the lectro wide band receivers/whips. I’m sure you could be effective even farther away from the ideal antenna length.
  8. I’d be interested to see how you have this set up in your bag. I have the same receivers going to a DADM226 distribution. But most of the time I just use a single Dipole mounted in side of the bag and whip antennas in the receivers.
  9. Gonna be switching to the Stingray Bag/Rig for more support in the near future but my slightly customized Petrol Bag has served me well. Probably will rebuild it to be used in particularly crowded run and gun style shoots.
  10. Never used this one but Melodyne does a similar thing and the result is generally tinny and missing frequencies. It has to be hidden in a mix to be usable even for music. RX is still probably more useful in general, plus I don't really trust how audionamix does advertising/promotion.
  11. I’m about three years into the professional sound mixer world, which means the last couple of years I have been rapidly increasing my rate. And in doing so I have had a decent bit of client turnover. Just recently I lost a client who was easily 1/3rd of my income last year. The producer would often say things like “the union doesn't care if the producer gets paid.” I certainly don't think producers have as much trouble getting paid as we do, but I have been thinking a decent bit about what is a fair payment for the job. Personally I have started thinking of my rate card as the amount that you have to pay me not to be interested in the business side of the work. That is to say, if you pay my full rate I don't care how much money you are going to make or how much you were paid to create the work. I will work hard and be happy with the amount I was paid. When a client can't pay my rate card I want justification for why I should work for them. If what I’m doing is not being paid at the market value, I’m in a way investing in their project. And like any investor I want transparency and justification for my investment. Now obviously as projects get bigger being seen as an “investor” becomes less realistic but I feel that the concept still applies. I’ve tried to map out full budgets myself for smaller productions and thought about how much I would pay my sound mixer if I was a producer of a small Interview/Recre based TV show. All of that just becomes a bunch of numbers and percentages so I dunno if this forum is the best place to post it, but I would gladly share it if anyone was interested. Has anyone else worked through a budget for projects or been on the “other side of the desk”?
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