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  • Location
    Cologne, Germany
  • About
    I create sound for picture.
  • Interested in Sound for Picture

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  1. You should contact SCHOEPS in Germany and describe the phenomenon.
  2. I have seen the link to the new FW and I have seen the video. As an early adopter of the A10-system I went through very mixed results with the range of the system. I find the video not convincing, because there is nothing in it, that could not be achieved with well coordinated frequencies after a scan. I don't understand, if and how the range will be improved - or if the quality meter simply warns about the poor range. If the range can be improved with the new FW, I'd like to see a walking test that compares v5.00 with the current v 4.02.00.
  3. Thank you for the hint.
  4. With commercial spots it is a good idea to ask how big the camera dept. and the lights dept. are beforehand. The big departments are moving very quickly. Specially when the new sets are being set up while the other part of the crew ist still working (shooting) on the last set, sound people on their own can easily fall behind. It may be quite a task to stand the ground, but at a certain point the is no alternate to saying that you can not deliver quality by working all by yourself. If you need somebody to help you schlepp or booming or wiring (or collect the IEMs), I hope you find a way to tell the customers. And the concern that other sound people happily will do it on their own (all by themself) - forget it. Why would they perform better than you under the same circumstances? Best, Jule
  5. I do documentary work as well, and I am working in Germany as well. Sound reports I sometimes do mainly to inform the editors who failed to import the track names, I do the quick notes about enviromental sounds, wild tracks end so on in hand writing and transfer them later - some people „circle“ those, because it is quicker to do on some machines. Comes with the disadvantage that you have to go through all your circled takes at night. You can prepare phrases and store them in your machine. Some people use an input stick for SD machines and be quicker with it than with using the SD phrases. (https://www.amazon.de/Rysc-Corp-InputStick/dp/B06ZYK4PR8). Depends upon the machine (and its menu design) you are recording on, too. But I think there is a limit what one can note and store during a shooting day. Interesting question, I am sure there are a lot of methods to fence and store the information. Jule
  6. @lazajamsonic I remember that the battery status indicator went down rather quickly in the first half of the runtime, but then it took it a longer time to reach the bottom. The rechargeables are best right out of the battery charger.
  7. Keep in mind that horses in general are not so fond of boom microphones. If you use a boom you should introduce that tool to the horse/ horses quite carefully.
  8. This, @axel, is a very helpful summary. Thank you.
  9. I made a housing (3 mm cardboard) for the M2D2. One side is as short as the machine is, the other three sides are longer to fit the bag and to protect the connectors.
  10. There is progress in the question of changeable stereo width and linking! As you can see in the video, there indeed ist the possibility of changing the width - by toggling (hold toggle) and simultaneously turning the adjacent button. The display then changes from MCS to MS. Sorry for the ugly sound in the video, it was an unforeseen opportunity. IMG_7253 (1).MOV
  11. Yes, it may be true that both machines are designed for different (main) purposes. The way the linked PFL tracks have to be listened to in SD833 in my opinion is a bug, that should be corrected soon.
  12. There is a gain mode and a fader mode in the SX-R4+. In gain mode up to 4 channels can be linked (assignable). No linking possible in fader mode (of the SX-R4+). When I listen to the prefade signal of any linked channel with the R4+, I can hear the signal in both ears, which gives me the opportunity to evaluate the sound.
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