Marc Hoppe

I just switched my bag today from the Orca OR_32 to the Stingray KSRA2. Here are a few pictures to provide a comparison of the same kit in the 2 bags. I haven't had the Stingray bag out yet so it is not field tested, but will report on my thoughts if there's interest. Edit: punctuation correction.

I use the InVision INV 7HG MKIII with both the CMIT and the CMC6/MK41 combo and have had no issues at all. Link here http://www.rycote.com/products/shock-mounts-suspension/invision-broadcast-film/invision-inv-7hg-mkiii/ Marc

Congrats Jan- well deserved and much earned!

Thanks Jay, I'll pass this along to post as well.

All advice appreciated. Thank you. Tom, I agree and discussed this at length before hand during location selection and on location prior to rolling. Everyone else seems fine, but the CEO does not like the sound of it, ergo, a scramble for a possible solution. I like the client- they pay well and a are a real pleasure to work with- so I'd like to at least offer up something more than an "I told you so." Again, thanks for all the help and comments! Marc

I couldn't agree more John, and most people seem to be on the same page. I even listened to the track with no visual context and it sounded fine to me, but I digress. They have shot here before and had the same issue (different mixer). As we were wrapping, I heard the familiar mantra of "we are never shooting in this space again!" Alas.

Thanks. I thought it sounded fine given the characteristics of the room, and it sounds like post is fine with it; however, the CEO is not happy with it. At this point, I'm just passing all these tips along to post. Thanks again guys. Marc.

Thanks Bernie, I'll pass it along.

I did just see the thread on iZotope de-reverb and passed that along to their post supervisor.

I recently did a shoot in essentially an auto showroom- open marble floor plan, high hard concave ceilings, large flat walls and windows- and it sounded very much like it looked. It was 1 CEO delivering a prompted message to camera. I hung a Schoeps MK41 overhead, just above frame, and hung a sound blanket just out of frame on either side, as well as a sound blanket on the floor in front of him. I also used a cos11 hidden between the second and third buttons of his shirt. I thought it sounded like it looked and was as happy with it as I could be given the limitations of the location I just got word that the CEO is not happy with the sound, particularly the echo and reverb. I know all about unrealistic expectations and have passed that sentiment along, however, I was wondering if there were any tips or post tricks that I may be able to offer up for their editor to help deaden the room. Thanks Marc Hoppe

Marc, I agree completely and we ha a discussion about that. It seems like he is willing to learn some new tricks but i know he's got thousands of hours of material on cassettes too. I know he's been busy and traveling for work but I do hope he joins the forum as he has a lot to contribute here and would certainly enjoy the discussions. Sent from my iPhone using Tapatalk

Thanks for the responses- I will pass everything along. Tom, I know he was looking at something like a cassette to USB/CD option, but the primary reason he was looking to repair those particular machines is because he can do what he calls "spot on" edits because there is no gap between the play and record heads- there is no space or audible click or pop on the tape. I'm still trying to get him to join the conversation here. Thanks guys. Marc

Thanks Jon. He mentioned on place in NY that I hadn't heard of, and he has a retired NY sound mixer fixing some of his machines. I'll pass that info along but I hope he joins the conversation and the community here. Sent from my iPhone using Tapatalk

Hi guys, I have a colleague who has an audio archive and he is looking for places to repair or refurbish his cassette decks, particularly the Technics Stereo Double Cassette Deck model RS-T960R or the European version model RS-T60R & RS-T80R. They have a double gap ferrite head that allowed him to make spot on edits in the deck with no gap or audible click. He is based in NY but I'm sure he'd be open to shipping them. I've invited him to join the site and participate in the thread, but figured I could get the conversation started. Thanks in advance for any help or information. Marc Hoppe

Yes, same here. Thanks for the write up and for posting these files. I think I'm going to replace the Omnigoose, as I feel better having a pair of those rather than a 1 and 1, but who knows. Marc

Great find Jim, and super quality too. Crew, it was a great opportunity. Overall I was pretty happy with the mic placement, though at times Roger moved around a bit and he was less in the sweet spot, but I think there are few that will notice. THe MK41 gave a nice balance between his guitar and voice, though he woke with a bit of a cold so his range wasn't all there. Once the show airs, I'll post a link to the show and if I get permission, I'll post the files on this thread. Marc

Reviving an old post here, but still staying on (or near topic) . . . I just recorded an interview with Roger McGuinn yesterday in a hotel room for a radio show. He played a few tunes on a Martin acoustic for us, which was incredibly cool.I'll post the files after the show airs, but it's a show called Mixed Bag hosted by Don McGee (formerly hosted by Pete Fornatele). After running through various scenarios and consulting with a musician friend of mine, I came up with a plan to mic the guitar and the vocals independently, like in a performance or studio; however, I thought that in an intimate setting like a hotel room, that would be a bit formal and perhaps a bit restricting, so I hung a Schoeps MK41 over Roger's head, threw a lav on the host and Roger's wife who was included in the interview, and everything sounded great. Hearing Roger McGuinn singing Dylan's My Back Pages first thing in the morning is a real treat to start the day. Marc

Thanks guys, I appreciate the info. The Omnigoose is about $270 and the Instastash is about $155 if I recall correctly. JohnPaul, if you get a chance to A/B them and post it, that would be great, but it sounds like the general impression is that the Omnigoose is more preferred. I have been considering picking up a couple of CUBs but haven't pulled the trigger on them yet. I do like the ease of mounting the Omnigooses (Omnigeese?)quickly using an SMV and a dab of Joe's Sticky Stuff, and for reality or ENG car work, the results are more than acceptable. As always, this forum continues to be a wealth of information. Marc

Does anyone have personal experience with the Production Talent Instastash mics? A salesman at one of the usual suspects suggested it after I brought in a Peter Engh Omnigoose for repair (it was not repairable). I have another Omnigoose and like it for plants and car work, and am not opposed to replacing it, but my curiosity has been piqued by this alternative. I've searched for it here on JW and elsewhere and have found nothing other than this link from Pro Sound: http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=SPROINSTASTASH&Store_Code=PSS&search=INSTASTASH&offset=&filter_cat=&PowerSearch_Begin_Only=&sort=&range_low=&range_high= Any personal experiences will be greatly appreciated. Thanks. Marc

Jan, I like the attached cap idea- I thought about it but never did it, I just screw the caps back on. Did you just drill a hole in each piece and tie a knot to hold it in? Cart looks great Marc

The caves should be about 55 degrees F or 13 degrees C, and possibly very humid. You may have to crawl through small doors or passages, which can be muddy and covered in bat guano. The cave explores should be wearing helmets, which is easy enough to rig to, but the men and women I went down with also were wearing lightweight clothing, however, they are often crawling and squeezing through tight passages which can pull and snag wires. Derek is right, keep your rig as small as possible and make sure you don't have anything (more than necessary) that can catch or get snagged. Silica packs are a great idea, as are the Aqua Packs or waterproof transmitters. The line of sight thing gets tricky, especially since it is an unexplored cave. The cavers are likely to get excited and see what's in the next room or through the next passage, and often the production team is following behind. I know it's difficult with headphones, but wear a helmet. Best of luck. This sounds like it could be a great experience. Marc

Ben, I'm not 100% certain, but I think that you can't record out 5/6 because there are 10 tracks: inputs 1-6, return 1/2 and return 3/4. Check the bus routing menu. No clue about the Bootloader. Marc

What more information would you like to see displayed? It looks as if they have more information on there than any of their other products. A three fold increase in spectrum availability in a similar sized footprint to what's available now seems impressive to me, especially if I don't need to buy new receivers. Marc

I've done it like Dominique states above and I've also done it using manual level settings. Feed tone, dial it down to a few notches below -12 (the only reference on the "meter"), then drop the TC voltage so it falls roughly in the same spot. I haven't heard any bleed when reducing ht TC to the lower levels (I think .38v is correct), but then I have only plugged headphones in to ensure that there was both an audio and a TC signal reaching the camera. This should work fine. Good luck. Marc

Or you could get a Nomad and have the Zaxnet functionality. Or buy the IFB 200 or find a used IFB 100. I think that for the price point and footprint, the Maxx is an incredibly advanced machine, but if you need or want more features, then Nomad is the way to go. Just my 2 cents. Marc