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  • Location
    Washington DC
  • About
    Sound Mixer and storyteller in Washington DC
  • Interested in Sound for Picture

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  1. Thanks Patrick! Curious to try out iMap
  2. I was dumb. After more experimentation, I've figured out the gain control is switched to knob 1 on the board when you solo a channel, rather than the knob above the fader for each channel (and channel 1 happened to be the mic level channel I was testing). Still, any tips or sources for how to program controls for the 833 would be greatly appreciated!
  3. Hey all, Just got a Platform X+ to use as a control surface for my 833. Seems to be working well so far, but I'm having trouble using the knobs at the top of the surface. They work fine for controlling gain on any channel set to mic level, but lose the ability to control gain if the channel is set to line level. I'm guessing there's a way to reprogram the Platform X+ to change that, but I haven't figured it out after reading through the manual, watching tutorials, and searching for other posts, so hoping someone on here might be able to offer guidance.
  4. Rifthead

    New SD 833

    Another side note, what are the disadvantages of using the Icon M+ control surface with the 833 without the D2 display? In the manual, it just says the D2 is required for full functionality...anyone combining the M+ with the D2 without a control surface?
  5. After reading through several forum posts here, my understanding is that some versions of the DPA MMP-C preamp don't work with Lectrosonics plug on transmitters, but that DPA has since modified the MMP-C to work with them. Does anyone here know what serial number that modification started at, or is willing to share the serial number of an MMP-C with the mod? Thinking about buying one, but want to make sure it's compatible with my wireless setup. I asked DPA's support about it but haven't heard back from them for a little while.
  6. Rifthead

    New SD 833

    Side note on the power issue, anyone here have favorite sources for power cables for the 833? In particular, Hirose 4 pin to TA4, and 2.5mm locking to TA4.
  7. Rifthead

    New SD 833

    Thanks for the replies on battery life! Anyone have experiences using L mount batteries with the 833 to share? I frequently use 48wh IDX L mounts with my 633 instead of running it off the BDS, and one of the things I love about that setup is that I can usually get through a whole 10 hour day without swapping any batteries at all in the bag. Wondering if that's anywhere near possible with the two battery L mounts on the 833.
  8. Rifthead

    New SD 833

    Bumping this. Anybody got some real world experience they can share with the battery life of the 833? Either with L mount batteries or NP1s?
  9. Rifthead

    Camera Hops

    I don’t know how fair it is, but I charge based on what I’ve learned from what other mixers wiser than myself charge rather than cost of timecode box. To my mind knowing how to troubleshoot stuff, having all the necessary cables, and making sure it all works is what makes it worth the rental price to the client, in addition to the sync box itself. EDIT: glad to hear other people don’t go cabled. I’ve had some clients ask for that if they don’t want to pay for a sync box, wanted to make sure I’m not out of line to tell them no.
  10. Rifthead

    Camera Hops

    Types of jobs you do: Documentary and Corporate Camera audio will be final or reference: almost always reference Mono/Stereo hop: Mono Sennheiser G3 RX and/or G3 IEM Most common cameras you work with: Sony FS7, Panasonic EVA1, Canon C300 TC needs: sync boxes if run and gun I use the Sennheiser IEMs as my IFBs as well as hops, which is great because I've only got one transmitter in the bag for both. Curious if others here offer cabled TC if a client doesn't want to pay for sync boxes, if cameras will be locked off.
  11. I'm with you Ty. I think it's important to communicate clearly (which doesn't necessarily mean explaining the WHOLE problem to the producer...I used to get a lot of blank stares before I figured that one out) when you think there's an issue. Give them the pros and cons...ie if you have background music, that faint air conditioner hum might not be an issue after all. It can be a frustrating dance, because a lot of time when I bring sound issues up, I feel like producers ask my opinion on things I don't have control over. My favorite from this week was when I asked if they wanted me to roll sound while the camera gathered B-Roll, and they replied, "If you think we need it." Not really my call, that's an editing decision. But hey, you can always choose to NOT use something you have...can't really choose to use something you didn't get in the first place.
  12. If you're jonesing for more interplanetary sound, the Podcast 20,000 Hertz has an amazing episode on what sound would be like on most of the planets in the Solar System: https://www.20k.org/episodes/spaceremix
  13. I got to play with the TCX-2 while at a Sound mixer mixer in Maryland today (thanks to Nick Huston for bringing them and a bunch of other fun stuff down from Gotham in NYC). They're even smaller than a Tentacle (but a little bit heavier), have a nice big front display so you can check timecode. Pretty cool little units.
  14. Oh it is, check the next step of the ladder... Gotta say though, that probably sounds better than just leaving it mounted to the camera.
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