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About KenLac

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    I do this.
  • Interested in Sound for Picture

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  1. After having a good experience with a rented 8050 for a sit-down interview in a quiet room, I rented it again for a boom/scripted situation, hoping it might be a Schoeps killer. It was NOT a Schoeps killer. Mud, lots of HVAC, no presence. Did not have a low-cut unit on it -- I suppose results could be different with that in place.
  2. I'm so old I can remember when bands weren't going to have drummers anymore. 😏
  3. a) There are no easy answers -- many times pin assignments can be a gear-to-gear situation. b) For the G4, (and assuming you are using the EK100 G4): as long as you are still going to use the Sennheiser TRS-to-XLR cable to come out of the receiver, then yes, just wire 1-1, 2-2, 3-3 for the XLR extension. c) Sennheiser pin-outs for their bodyworn/beltpack transmitters and receivers can be VERY tricky. I can't speak to the G4 series, but I know on the G3 gear, these are not balanced connectors -- it's something like the tip is mic level and the ring is line (don't trust m
  4. Hey, everyone here replies to years-old threads, right? Did an Amira job in Feb. 2019, no boxes on the two cameras. The eyeball test said they held jam over every battery change I directly witnessed. I tend to check TC whenever I get the opportunity, and don't recall any other eyeball-visible drift or big jumps during the course of a five day shoot. Re-jammed at lunch nonetheless. Small sample size, but they looked pretty trustworthy based on it.
  5. Drop v. Non-drop: no matter which way you've got it set, if you didn't ask post you're doing it wrong. >:-D
  6. I can say this was definitely not the cause in the case I describe above -- it's one of the first things we check when TC isn't running, and we weren't overcranking at all that day, and neither had the camera hadn't gremlin'ed itself into that mode. I was definitely some kind of bug.
  7. I'll give you a bunch of answers/opinions that don't directly address your main question: * They're two very different beasts, so which one is more 'versatile' doesn't really apply. * That being said, if I'm faced with a mic/situation mismatch, I'd rather work with a interference-tube mic indoors than a super-cardiod outdoors. * I adore the sound my 8060, but I find it has too much low-end for even moderate amounts of wind. I really need to get the cut attachment. * Most of my work is either documentary or corporate, single subject or distance. Usually I have the lux
  8. Recently did a job with this exact combo of gear (664, JB-1, FX9). Yes, we did have issues. Once when I first attached the JB-1 to the cam at the start of the day, when the camera was already powered on. Then later, while the JB-1 was still running and connected, but the camera had been powered off between set-ups. Both times we were eventually able to get the FX9 to start reading the timecode, but we never figured out the cause-and-effect -- we just toggled some menu settings back and forth a few times, and eventually it started working properly. We had done a job with this very s
  9. It was five years ago, but back then Professional Sound Services was able to get me VdB parts. There was quite a wait, however.
  10. I'm very late on the draw here, but for anyone else experiencing a similar problem: the 664's external power connector is very user serviceable. I once had the retaining nut loosen to the point that the jack was floating around in the socket, so I took a look. The bottom of the case comes off with 12 fairly hefty philips-head screws. (Remove it gently, as there is a ribbon cable from the main board to the word clock sockets mounted into the back side of the bottom cover.) Once inside the external power jack is secured in with a regular old hex nut, and the lead goes to the main boa
  11. Hoo boy, that is DEAD-NUTS ON! Thank goodness my Spidey-Sense still works. And thank goodness for JW Sound Group!
  12. Hi folks. I've recently been cold-contacted by someone who found a long-forgotten listing of mine on Media Match. This person is working for a production company in Europe, looking to produce something in the U.S. The position is slightly above my bread-and-butter level of production (which tend to be small and local to my home in New England) but the contact doesn't seem to mind. But something about it is making my radar blip a bit, although I can't put my finger on it. It could be the language barrier (the e-mail has very obviously been either auto-translated or very poorly trans
  13. Bouke, I just took a look at the VideoToolshed website: amazing! It's like you're single-handedly trying to solve every workflow problem anyone has ever had!
  14. Thanks for pointing me to that. The biggest takeaway from that thread, at least as far as it pertains to the mix-and-match question: This would be an interesting thing to experiment with if I end up back on that bag. It also aligns with what I was seeing as far as levels: plenty of signal according to the lights on the transmitter, but hardly moving on the receiver's indicator. I'm guessing the receiver was expecting 75K of deviation and seeing only 50. Better technicians than I would need to theorize as to why the top end would be missing.
  15. Hey folks. I'll be taking this up directly with Lectro as well, but I wanted to see if anyone else has had experiences with mis-matching NuHybrid transmitters with older 400 Series ("NA Hybrid") receivers. I knew this would come up at some point, and it finally did on a recent reality job I parachuted into, where I substituted for the primary mixer and took over his bag (literally in the middle of an interview). Certain channels sounded dull and weird, and the receiver screens were giving me untrustworthy info about battery and audio levels. I did a bit of examination and discovere
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