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About soundgarten

  • Birthday 01/01/1

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  1. Yes that’s what I was thinking, but I would have sent them only the CEO’s iso. Then they would hear that the tracks are not the problem, but they would have to do the work to figure out where they screwed up so they could find the other iso’s. Or perhaps because of the “time crunch” they would offer to pay you to sort it all out.. Sent from my iPhone using Tapatalk
  2. Have run into this before, some of the follow focus’ can be maintained/lubricated. I know the Preston’s can. When they get out of adjustment they’ll make a scraping sound as they move. Ask your camera people if whatever model they have can be serviced. Also if the follow focus is from a rental house ask them to have the rental house send out another so they can swap it out. Many shots can be focused by hand. Ask them when you are hearing it, if they could manually focus that particular set up. Sent from my iPhone using Tapatalk
  3. Thanks everybody for your replies. I have one of the Sennheiser SKM 300's, but it must be from the generation before the ones you've been referring to. It doesn't have that nice big programmable button on its body. The only exterior controls are at the base. I'll get a new SKM 300, and give it a try with my old receivers, seems like that's exactly what I'm looking for. Sent from my iPhone using Tapatalk
  4. Thanks everybody for your responses. I have blocks 19,20,21,22 and 24. I almost always find enough clear freq's, but I was hoping someone would say use this block its always wide open. Guess I'll add a 470 and a block 25 see how that shakes out. Sent from my iPhone using Tapatalk
  5. The Bells The Bells, I have always believed that it is the sound department's responsibility to run the light and bells, when they are made available to us on set. Occasionally when the control doesn't reach to where I want to set up, or there is a possibility of getting an electric shock, like when working over a water tank set or something, I will ask production to do the lights and bells and they will usually oblige without a fuss. I do say that if on a particular day the mixer is feeling overwhelmed, huge complicated scenes multiple booms and lots of wires, and at that time he/she doesn't want the added responsibility of the light and bell control. I see nothing wrong with asking production to assign someone to look after L & B till you are back to a less stressful scenario..
  6. Many many years ago I used a Sony F1 A/D which recorded onto, I think it was, 3/4" video tape. I used it for the concert section of a documentary I was working on about the Mississippi Delta blues. I believe there ultimately was a problem with transferring the F1 material and they ended up using the b/u material I recorded on a Nagra IV STC. For many years, after a movie I did with Robert Altman where I learned the value of multi-tracking, I recorded iso's on DA 88's, but as Jeff pointed out that material was alway converted to analog for transfer. At beginning of the DAT era I was working on a movie, The Rundown, in Hawaii, for a few days we were doing scenes boat to boat on a river in a rain forest. I could not get the DAT to work in that location, it was so humid that it constantly showed the "Dew" indicator and would not record. So, we got a Nagra off the truck, and of course it worked fine, but the guys at Universal sound transfer threw a fit. They were pissed because they actually had to listen to the tapes again and find the correct takes, instead of the new DAT way of just searching PNO numbers and pushing "play". I continued sending in Nagra tapes for about three days while we shot at that water location, and they kept sending me notes like HOW MUCH LONGER ARE YOU GOING TO BE RUNNING THE NAGRA, like it was killing them. It just cracked me up that a year or two earlier everything was Nagra and already they were so used to the DATs that the idea of doing a Nagra transfer was like returning to the stone age for them...
  7. Hi again, I have been looking for the right hand held wireless mic for Voice of god. I once had a Shure that was perfect, rock solid RF, nice big mute button, really solidly built, but the studio I was working with on that movie had purchased it for me and they assetted it at the end of the gig and took it away. I'm certain it's still sitting on the same shelf it was put on the day it was taken from me 10 years ago. Since then I've tried a variety of Shures, but none have had the build quality that old one had. I've also tried the Lectro HH etc. Lately I've been using either a Sennheiser or Lectro plug on transmitter with a Remote audio modified SM 58 with the push to talk button. This works OK, but I would prefer to have a single unit, reliable, well built handheld mic with a large easy to use mute button. Any suggestions ..
  8. Hi Everybody, What seem to be the clearest Lectro Blocks for use in and around Los Angeles. I've noticed that it seems that Block 22 is almost completely useless everywhere I try it. Since my original Venue was Block 21-22 only, of course I still have lots of Block 22 transmitters. I've gone to wide band low now, and I'm wondering which blocks are the best choices for me to go to now. Thanks for your help. Mark Weingarten
  9. I am considering making bar code labels for all of my equipment to help to create equipment lists and Carnets for shipping. Looking for suggestions as to how to go about it. Software suggestions, Mac OS X, P Touch tape, anything that those who have done this have found helped to streamline what is undoubtedly a somewhat tedious process. Thanks, Mark Weingarten
  10. Looking for a Phoenix area local boom operator to work with me on a very improvy commercial shooting in Phoenix January 22 and 23. Mark Weingarten Contact me Soundgarten@gmail.com
  11. From: Mark Weingarten. I have a good friend Mike Primmer, who lives in San Francisco and would be perfect for your job. his email is meprimmer@mac.com.
  12. I love this website. Thanks everybody for all the great feed back. After reading it, I cancelled my Eon 515 order, and have decided to go tomorrow to the Atlanta Sam Ash that Mike Filosa recommended with my voice of god mic and put it through every powered speaker they have. Whenever I start to think I have too much gear, I read a post from Phil Palmer and I feel much better..... Thanks again, Mark.
  13. Hi Everybody, I am looking for suggestions as to what powered speakers people like for P.A. applications. Recently both my JBL 515 Eons went out. One right after the other. I am now looking to replace them. I liked them, they certainly were clean and loud. They were a little heavy and only had one input, which were minus'. Looking to replace them, I am seeing many different brands offering similar models. I would like to find some that are as rugged, but smaller, lighter but still packing a punch. Open to any and all suggestions. Thanks, Mark.
  14. Want to rent a Nagra III to use in picture for a Film Shoot This Monday 1/17 in Los Angeles. Must be able to play a tape. Recording is not nec. If it has the old leather case too, that would be great. I will make sure it is treated well. And that you are properly compensated. Thanks, Mark Weingarten. (323) 839-7550.
  15. Looking For Audio ltd HX 2000 Schoeps Transmitter(s). My beloved old one died (unrepairable). Anyone have one or two of these in good condition, that you'd like to sell?
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