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Everything posted by IronFilm

  1. You're just renting in two more SRc to supplement the two SRc you already have, just for the day for this one scene? Yeah, don't bother with an RF Distro, especially as all the talent will be close by to you it sounds like. (just do sensible scanning and frequency coordination beforehand) Only if you were buying the extra two SRc then would I suggest you should be considering more seriously getting an RF Distro, as you'll be having an using your four SRc many times more during the future years to come. But if it is just a one off event for the day? Keep it simple. What block are your receivers on vs your camera hop TX? Keep those blocks as far apart as possible, and keep the TX physically as far away as possible too.
  2. Sony recently published on their youtube channel an interview with a Production Sound Mixer, Christopher Strollo:
  3. You've already got +dB thanks to the antennas you're using.
  4. Can you do a scan with RF Explorer? To see what else there might be out there that maybe your receivers are not seeing. Do scans in other parts of the set too, other than right next to your cart. What are you settings in FreqFinder? Perhaps it got accidentally set too loose. That is kinda short, I'd want another couple of feet at least? So we can get the antennas above people's heads if we want to. Honestly you shouldn't have to have this setup with 1dB, I might in your shoes even run it at slightly negative dB. Couldn't you get two sharfins? Or do you need one to be omni? Are the hits matching up when walkie talkies are keying on the A band receiver and not the C band receiver? (it might be, is my possible guess) If so, swap out the SRc A1 for a SRc C1, then you can also run a tighter filter before your receivers. If you can't swap out the SRc, at least use the top end of the A1, not at the lower end of A1. (if you think the issues are coming from the walkie talkies)
  5. This was not really an option back when this thread was started in 2010, but seeing as it was freshly bumped up, I thought I'd mention it now: If I was in a scenario where I knew I'd need 100ft of cabling, then I'd probably just use DANTE to remote my receivers much closer to set. (as I use 2x Venue1 or a Lectro Octopack, then I'd need a converter to DANTE, such as a Ferrofish PULSE16 DX. Then either upgrade my Sound Devices 833 to an 888, or get myself another to be converted back to analogue at the recorder end) Then I just need a simple CAT cable to run it back to me. And I could easily go double, or even triple, the distance. So plenty of margin of safety to go further than 100ft if the situation called for it. Remoting antennas might still be the better approach for many other people, but worth consider the DANTE approach as well.
  6. Lectrosonics as well offers a few products using frequencies within the 900MHz band. (probably some other brands too, I think maybe Audio Ltd & Wisycom? )
  7. So what you want, is for Lectrosonics to stop caring about backwards compatibility?? I love that I can mix and match my Lectro C1 gear with my Lectro blk24/25/26 equipment. This is a strength of Lectrosonics, not a weakness. Just read the manuals (I'm not even an A1 user, and even I still knew about 470/19 overlapping), learn your gear, and understand it. All the info was right there in front of you on the display for you to immediately realize what was going on. This isn't Lectrosonics fault at all. Yup, I've done that too if I feel a gremlin is at work, and we've got to go immediately with no time to get to the bottom of it. I'll just tell the Boom Op to focus on that one actor and ignore all others just for that one take, so that we're 100% confident we still get all of their lines. Another super quick solution is just grabbing a spare transmitter you've got ready to go, and swap it out for the dodgy one. No need to rerig the entire lav setup. That's very fast, won't hold you up for 10 minutes.
  8. I'd go for the 633 you've already got instead. The advantages of the MixPre10 are: Easier to get (and cheaper) control surfaces. (doesn't matter to you) More channels. (doesn't matter to you) More preamps. (hmm... kinda useful, but presuming you're getting professional grade wireless with line level outputs, then this isn't so important. Even just one each of a Lectro SR & UCR211 would be "good enough" -ish , and get you by in a lightweight/compact-ish package. And if your other wireless are prosumer/consumer grade, such as G3 wireless, then your set up would be: Boom Ch1, 1st G3 Ch2, 2nd G3 Ch3, Lectro SR Ch4 & Ch5, UCR211 Ch6. That way you're making full use of your preamps, and using your wireless with line level outputs for the second half of your inputs)
  9. Or even mounting it say half way along the pole could still give a very interesting perspective, while not being nearly as much weight as putting the camera on the most extreme end of the pole itself.
  10. Over four years later, and I finally got this week a CSM1 of my own!
  11. You use the AJA box too? I do wonder if there is a better option out there which is suitable. I doubt I'll ever use wireless with AES out directly. As once I get the Lectrosonics DSR4, and a Shure receiver, with the Sound Devices SL2 & +4 plugin, then that will give me 12 channels in total. (counting the 8 analogue inputs on the 833 as well) Thus that almost maxes out the 833 anyway, only leaving spare the couple of recordable buses. And if I really want those last two tracks, then I'll just use the AES in on the SL-2 with the AJA box.
  12. The first XLR can be AES 1 & 2 Or if you're using the SL2, that provides four more AES inputs. (so long as you're not maxing out already the 8 channels the SL2 can do with your superslot receivers) Or you can get the XL-AES and get 8 more AES inputs. (which is what I do)
  13. I'd never heard of the Rode NT6, even though it has been out for over a decade and a half. Seems like an interesting option. They've got both a cardioid and a omni capsule for it, a pity they don't have a hypercardioid capsule as well for the Rode NT6.
  14. I have the same problem with my 552. (haven't been in a rush to fix it, as I can still externally power it, and I rarely use my 552 these days anyway) But putting it in a freezer wouldn't risk causing other damage to the 552? Is there a better method to getting out a stuck AA?? (I honestly don't understand why Sound Devices went with this tricky tube design... I have the same worry always with my Sound Devices MM1 preamps as well!)
  15. Ohhh.... good point! https://www.ebay.com/itm/234189876709 But I haven't seen the A61 in a while 😞
  16. Thanks Fred! This sounds like great news for me, as I'm considering aliyah (not sure how much of a handicap my lack of Hebrew would be...) and the bulk of my transmitters for talent is in blk26 (with my IFBs in blk22, close enough to blk21 eh?).
  17. Sadly it is discontinued. Same issue with AKG's swivel joint for their capsules for the AKG C480B. (the AKG A61) As I've got one of them, and would quite like a second so I can use two AKC CK63 at once for
  18. Considering how very old that kit is, and that the person is trying to sell it as a package (always tougher to get a good price for, vs selling it off piece by piece. Specifying "pick up only" will also devalue it), then that price doesn't seem suspiciously odd to me at all. In fact, they might struggle a lot to get that price I think! Feels overvalued to me. Adding it up: Sound Devices 302 = $250 Random Audio Technica shotgun = $100 Knock off boom pole = $50 Illegal frequency Lectro 200 series = $250 Lectro 200 series Blk21 = $450 2x Trams = $150 Tascam DR100 = $100 250+100+50+250+250+450+150+100= $1600 And I feel I've been rather reasonably generous with my estimations of those values I've given. (and the fact it is "pick up only" and tried to be sold all together as a package, means it will devalue it a lot more than if we was internationally selling it off piece by piece) Now there are other bits and bobs in that kit, which will add up to "something", but I've counted all the main things worth any notable value. So there is no chance in hell they'd all together add up to the nearly extra thousand dollars to make up the $2.5K they're asking for!!
  19. Hi Fred, am curious, what frequencies are legal over in Israel? (there was discussion on jwsound saying all blocks from 21 to 28 are ok to use, or at least not enforced, but that was a decade ago)
  20. ah, but the Sony DWA-03P25-A is only compatible with the DWR-S03, and it seems it is not backwards compatible with the older DWR receivers?
  21. @JonneWilkinson, are you using the Sony DWA-01D to power your receivers and get the audio out of them into your Sound Devices recorder? Has anything simpler/lighter/cheaper/smaller than the Sony DWA-01D ever came out instead for powering SONY DWR receivers? (by Sony, or anybody else?) Have you ever come across any issues mixing digital Sony wireless together other wireless on set? (Shure/Lectrosonics/Wisycom/Zax/etc) So long as they're properly frequency coordinated they don't interfere with each other?
  22. Zooming in on it, I'd say that is 3D Printed, perhaps there is a STL for it somewhere online.
  23. I agree, they should take the same core first year courses as a BCom student does. Well, perhaps not all of them, but a good sized chunk of them? Here is what they have to take at University of Auckland for all BCom students: BUSINESS 111 Understanding Business BUSINESS 114 Accounting for Decision Making BUSINESS 115 Economics, Markets and Law INFOSYS 110 Digital Systems BUSINESS 112 Name: Managing Sustainable Growth STATS 108 Name: Statistics for Commerce I'd say ditch INFOSYS 110, STATS 108, BUSINESS 112, as being the bottom half of those six papers with the least relevance. So a student studying a degree in audio still takes these three: BUSINESS 111 Understanding Business https://courseoutline.auckland.ac.nz/dco/course/BUSINESS/111/1210 BUSINESS 114 Accounting for Decision Making https://courseoutline.auckland.ac.nz/dco/course/BUSINESS/114/1223 BUSINESS 115 Economics, Markets and Law https://courseoutline.auckland.ac.nz/dco/course/BUSINESS/115/1225 That would give the student a broad grounding in business, then I'd suggest perhaps a 2nd year course (maybe even a 3rd year course too) jointly taught by people from the Arts Faculty with staff from the Business Faculty, focused on the unique challenges of freelances in the creative industries. True, having personal experience is usually best. But college could still prepare the students, give them a map of what lies ahead. They still have to travel those roads themselves, but at least they'll be prepared. Rather than just releasing students out into the world with no clue of what is coming and completely blind to what to do next. We're kinda saying the same thing, I'm suggesting they could take three first year papers for general business, which already exist. But then on top of that take just one or two papers specifically tailored to their needs. (but still kept very general, applicable to all audio freelancers. Or even applicable to everyone in the creative industries in general. The kind of papers which unfortunately the Business Faculty doesn't seem to teach, as they're more focused on companies with dozens or even thousands of employees, or if they do focus on the needs of small companies... it is specific to startups, which do aspire to become billion dollar companies one day. Not relevant at all to us!)
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