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jozzafunk

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Everything posted by jozzafunk

  1. we had the cicadpocalypse down south here in NZ a few summers back it was madness they had to do a fairly big rewrite on the feature I was on for it to make sense, we were all going home shattered and exhausted because of the constant din and lots of crew were wearing earplugs fulltime I measured sound levels of up to 96 dBFS on a phone app I had - like definitely exceeding OSH regs by a considerable amount for noise exposure
  2. My 633 has worked at least 500 days possibly quite a few more thru rain / snow / seaapray / racecar dirt track etc without missing a beat and still sounds great - hopefully for quite a few more - I don't begrudge these repair prices
  3. your question makes no sense - go buy the cable you need, or learn to solder and make one
  4. Ive got ambient x 3, panamic x1, ktek x1 - My boom op swears by the panamic but I prefer him to use an ambient - it's quieter, and much prefer the ambients myself - I'm still regularly using the ambient I bought 15 years ago
  5. In my experience the jointed ones fail more often
  6. The 743 has a nicer preamp than the zmt, my zmt3 phs are noisy to the point that I don't use them for interior drama, let alone classical - don't know about zmt4s - I thought the cut off was 15khz - nothing a nice cable wouldn't fix
  7. Your top end might be in better shape than Giles' eh?
  8. 17 page walk and talk, not as dense as some of those - we were on a tracking vehicle, boom op had beta boom easyrig
  9. I've tried with 4098s a few times but the cubs always sounded better - the 4098s were very susceptible to noise from the car, less so when I used them without the cable, but still touchy
  10. I did a bunch of publicity videos for this - There wont be much of the original footage in the wild yet as it was in the vault until not long ago. Most of the audio is from mono 1/4 tape running at 15 ips used by the film crew with some of it on 8 track from the studio. There was 4x the audio as they just left the recorders running over the 22 days they were shooting - cameras were on/off a lot In plenty of places conversations were drowned out by cranked up amps ( on purpose and unintentionally ) - the Sound dept wrote ML software to split out everything, so much of it, especially the intimate conversations were not at all audible originally. There is a video showing comparison but not sure where this is available, it was shown to a bunch of press It's an pretty amazing watch hey
  11. Rubber monkey in New Zealand has a new one. Check their website
  12. Ive got a CS3e - picks it out but I rarely enjoy the sound of it - the cs-m1 sounds much nicer in this video to me
  13. I would hope not. 2.4 is becoming a swamp on set with all the other depts running gear on it
  14. Yep, considerably better - to the point where Im happy to go wireless boom all the time
  15. Not 100% if it’s the question but using MM into HMA and a straight HM on the daily - difference is night and day
  16. While we’re here. I need a new mount for my 8050, older cinela seems bent out of shape, not good at all Recommends?
  17. That sounds awesome but will last exactly around 15-30 seconds from switching it on on a set running wireless camera and lighting
  18. Don’t go Zax until you’ve done at least a few gigs with a borrowed / rented one
  19. Hi John 1st priority was sorting as much leakage as possible, taming the room comes next. PA is QSC K12s left and right and a KS118 sub Doing some Room acoustics engineering would be ideal, initial queries showed it to be too expensive - they’re working with a budget of a couple grand - this is a smallish but popular centre run by volunteers that mostly runs in the red. Do you have access to acoustic design software or point me to where to access it ? Ill go and measure It up if so regards
  20. Thank you both. Yes helping to affirm current plan - clarify couple things Thanks John. Yes diffusion and trapping is stage 2. This is rough design I did - scale is bit out
  21. Thanks Peter Yes, it all needs to be removable on the daily To clarify on my post - I’m trying to optimise what we’ve got - cheers
  22. I’m helping out some friends that have a worship space - They recently converted the big rear room into a yoga studio / devotional music space which gets loud - There used to be a big shrine type arrangement blocking the rear windows but that has moved and the neighbours are complaining. we need to build some plugs to go into the 2 large window cavities. They can be 200mm deep ( not ideal ) but this also will make them more manageable. The plan is 3 plugs - 1200mm wide by 1200 high that fit in each window space . I’m looking for advice on the composition Currently looking at ( with materials to hand ) From inside room to window. 18mm ply to 70mm Audex foam Then airgap then foam then another layer ply, to make them 200mm deep, and boxing around outside to hold together. Do folk think this is best layering for sound proofing? Was considering long thin slots in front ply to help act as traps / diffusers. Any opinions on whether slots would compromise proofing over benefits it may provide? thanks for your time and help will also be building baffles and getting some carpet but the plugs are needed asap there is a pretty limited budget but some handy folk there JAS
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