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  • Location
    Cape Town
  • About
    ENG type run and gun
  • Interested in Sound for Picture

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  1. Aha! Percussive maintainance ftw. Fixed for the moment Will send it for a service soonest.
  2. On a job right now and turned on my 633 and volume/selector is not working...mild panic. Volume is set at reasonable level, so i can use. Was going to hard reset but paranoid that if its not software im going to be left with a non configed system. Any ideas or similar issues? Job ends tomorrow, then ill be able to send for repairs if needed.
  3. Thanks my antipodean friend! No chance of setting up again. This is all about getting impressions from the general (vetted) public about something or other. No performers or professionals other than the crew....of 2 and the session moderator. No ISO's needed. I think it'll be fine. I wonder if people here do have boundary/border mics in their collections of tools for the job?
  4. Some advice please... 2 questions. I'm recording a round table (L shaped actually) focus group discussion (about 5 ppl) and have been told that ease of mind is paramount for the subjects and rifle mic's are out of the question. It has also been intimated that laving people up might make them nervous (I dont think its a group of paranoid schizophrenics but I cant swear to it) I also got to view a previous video and it had a pretty crappy omni mic setup (maybe on cam) but one could hear what they were saying. I dont think quality is paramount here, but of course one has pride in ones job and Im getting paid. I certainly dont think they want ISO's (better check that...) The questions are 1) What would be the correct way to mic a set up like this. I like the idea of border? mics or some kind of omnis at each end of the table but I dont really know about them and their abilities/costs. 2) Can I bodge it but just leaving 3 - 5 wireless mics scattered around the table or is there a better way? I'm looking forward to using Dugan Mixing for the first time.
  5. I see someone locally selling a pair of Neumann KM 183's and was wondering about them....more so if they are a bargain (I dont believe they are the "D" or digital variant). Recently I seem to have done a fair bit of locked off table work (cooking shows and dinners) and currently boom (416) the unmic'd guests which is a pain in large unscripted set ups. Firstly, are the things (KM 183's) any good to boom with? I was liking the idea of a nice wide pic up pattern but not sure about their reach or handling noise. Secondly, being lazy, would one get acceptable sound hanging the pair from above the table or locking ff on clamps at either end(ish) of the table? I believe they are quite good for mic'ing acoustic instruments too which would also be useful. General impressions and versatility?
  6. I think its Peter Lorre, looking perpetually shifty, in Crime and Punishment (1935). I think he may be trying to hide behind the rock.
  7. I think its always important to stay abreast of the latest happenings and technology in film so with that in mind I bought this...it is actually fascinating reading. I really like the bits on sound perspective and also that the sound recordist was responsible for the photography of sound onfilm (so had to have knowledge of developing and film) and also that often hiss on old tracks was due to silver bromide crystals not being washed out properly.
  8. Thanks Mark. Zus! thats a thick pdf. As you said, a good starting point. Just noticed its 18 yrs old. I guess fundamentals are still the same.
  9. Or maybe a sub-forum is a rubbish idea...but I'm still interested in how mangled sound gets going through wireless as opposed to cable. If this has been discussed I'd love a link or two to read. I kinda searched but nothing obvious popped up. Ill Google a bit and see if I find anything interesting.
  10. It seems that wireless has taken over to a large amount of the recording/movie process and was wondering if it warranted a sub-forum, like Wireless, to keep it together and aid searching? Im not super technical but have reasonable ears (when the ones not blocked) and Im intrigued with all this chat of preamps and the quality of recorders and mixers as to what we loose using wireless? For example: What would be the differences in your recorded waveform and Hz to Khz S/N ratio, THD and all those other very important things (that you often dont hear) between say Cos 11 lapel XLR'd direct to a recorder ie633 (coz I have one) vs Cos 11 lapel into Lectrosonics transmitter>receiver>recorder vs Cos 11 lapel into Sennheiser G3 Transmitter>receiver>recorder VS Cos Lapel into Sony wireless transmitter>receiver>recorder How is your signal getting denatured by wireless compared to it going via a cable? I love the "Measure with a micrometer, mark with chalk and cut with an axe" statement. It sort of epitomises that attention to detail people desire while still loosing in the long run. The gear I chose it totally arbitrary as long as its the same in each case.
  11. Maybe try copying the to files to the computer, opening them in something like audacity and then saving and copying it back to the R88. What file extension/format does the R88 record in? Try change your sd cards or whatever you use. BTW does the R88 not play back _at all_ now?
  12. Much obliged. Ill get looking. p.s Thats a nice profile pic David, was wondering if you were awake in it and if you should just go and invest in a (quiet) rocking chair....
  13. Ive been asked to help give advice (probably free) for some people hosting a bike race here in South Africa. There is the post race gibber and IVs etc. The guy wants 10 (mono prob) outs from the 2 in he is getting (Interviewer and Talent). Ive not done this before but suspect it may be an issue as when I do live stuff and ask for a feed from the desk (even fancy big ones) they (engineers) are always reluctant and outs are often at a premium at big events. Im inclined to make sure we get a great copy of the audio and if the press need good audio they can get it from us after the event (maybe even during). Is there some kind of splitter box to take the stereo out from a Mixing desk and give me 10 mono copies? We dont really want 10 mics in front of the talent hiding him from the camera... Another idea was one transmitter and 10 receivers set to the same channel. There are many ways to skin a cat Whats your way. Essentially its to get the same signal to lots of different press/camera people.
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