JP Evans

I absolutely agree with a lo-fi, low volume playback. I've done it in a pinch with no warning from production. We had a pianist play a "circled take" which I recorded properly, and we simultaneously recorded it with an iPhone in Voice Memo mode. Really. For playback, we set the phone on the piano, out of frame, low volume. The actress mimed the piano, and I recorded her vocals. Worked like a charm! When it aired I was quite happy, well, nearly shocked, with the result. Since your application is live, I might suggest that the actor and your pianist maintain a line of sight to each other. They can read each other's subtle cues this way, you know, like actual musicians! If the set doesn't allow a physical line of sight, you could involve the camera dept to provide reference feeds. I am imagining your actor being able to see two monitors out of frame with a medium shot of your pianist. Almost as if they were prompter feeds. It could be a fun day!

I have a Lenmar that I would avoid. Its contacts are a simple "L" shape, pressed into the corners of the housing. The "normal" contacts I've seen on every other L-mount are cylindrical and require full penetration between the battery and the device. The Lenmar I have gave me fits recently when I realized it would not mount properly to my Lectro battsled. I don't know if every Lenmar is this way, but it's something to look out for.

In the menu of the 744 there is a setting for the FIrewire connection. Check that it is set to "External Computer", or some similar description.

My first CS3 (bought new as a CS3 and later modified to a CS3e), low serial #, shows a lifetime of wear. My second, bought new as a CS3e at least 5 years ago, looks brand new. Looks to me like they improved the finish method over the years. Both sound great, btw.

Thanks folks, this is great info.

Hi folks. I'm hoping to use my Lectro wireless, blocks 21 and 28, in London. I'm having difficulty finding any info on what might be on those blocks there. By what I can find, normal wireless blocks there are 30-33. Anyone have experience using our US blocks in Europe? Thanks, JP

I just throw the hard hat on over my cans, usually Remote Audio 7506's on hardhat sites. I don't know why this works for me, you'd think all that bulk would be in the way. I've found that what's more annoying is wearing the safety goggles they provide...they can hurt with cans! I wear my shades, and if anyone asks, I tell them they are prescription and shatter proof.

I thought it looked unprofessional to come back from commercial to a high wide shot of a kickoff, and the lens was covered in water. They had at least two minutes to wipe down a lens they knew they were coming back to. Seems to me a simple hood would keep most of the water off. Prince sounded great, his guitars had real tone!

Good to know I'm not crazy then.

Hi folks, Just curious how aware other mixers/boomers are about their own bones creaking during takes? I find there are times I have to be really careful about the sound my own arms make. I'm not talking about sloppy low end rumble from poor handling, rather, it's a mid-frequency creak transferred through the pole during normal operation. I'm a skinny feller, I have to wonder if my lack of an insulative layer is making me work harder for clean tracks.

I've found that a soft spoken interviewee will often "turn it up" if the interviewer uses more volume. It's hard to respond to a direct, loud question in a whisper. Of course, you need to be comfortable with the director/interviewer to make this happen.

I'm JP Evans, working in Dallas. So, hi Johnny! Johnny in LA, wouldn't you know I have a brother, he's an audio engineer too, named, you guessed it, Johnny! He's in DC working with NPR. Looks like we have the country covered!

The situations are rare, but I've switched out my boom too for a single talent. I've found that the producer appreciates the attention to detail as I explain why I'm switching it out. It's a nice chance to reinforce why they hired you!

Yup, sprayed by a lion today, just enough to know I'm his now. I had moved my rig away from the cage a minute before when the trainers warned us it was coming. The all clear was given so I moved back in, but his aim was fast and true. I think he got three of us, make-up and a little on camera, which was not rolling. BTW we were outside his main cage all along. The trainers encouraged us to spray right back. : )

What they are doing is incorrect, but good luck training them to pay your gear as "rents"! The way payment schedules go these days, I'm just glad to get the money. I don't want to raise a stink about my paycheck and then be remembered as "the guy who complains about getting paid". If you operate as a sole proprietor like me, then you end up paying Social Security tax on your gear income, which really you are not supposed to be required to do. The only plus to that is that the gov't does keep track of how much you pay in to SS, and what you get back out later in life is partly based on what you paid in. Brad is right that now he pays taxes on the $50 parking because it shows up on his 1099, and that just stinks. (Hi Brad!). I guess I take my chances with this, but I know that I should have no obligation morally to pay tax on that, so I might deduct it anyhow. I've chosen a good accountant who knows how to file without raising red flags. By the way, I've only been paid correctly (1099 income/rents) once in over 10 years.