Trey LaCroix

I’d love to make a PTT for a Lectrosonics transmitter. Any idea on how to wire that?

Unfortunately, I did not. I learned to live with it and haven’t received a single complaint from post. It’s annoying but the small size and weight still outweighs the hiss. I don’t mess with the expander.

I’ve been putting this post off for a few weeks as I knew how sad it would make me, but I am sorry to announce the passing of fellow JWSOUND member John Bennet (jgbsound). John was a very talented production mixer and post mixer who loved sound with every fiber of his being. I had the pleasure of calling him a colleague, and more importantly, a friend. I will miss his contributions to this site and to my life as he made both better. Godspeed.

Not a post about a specific piece of gear, but while I was scrolling through Facebook today I saw a post where someone had their house broken into and much for their gear stolen, including their only shotgun mic. I scrolled through the comments and saw that Andrew from Deity (I think he’s on here) sent him one of their mics free of charge. I thought that was an incredibly kind thing to do and it makes me happy to see manufacturers support our community. Big ups to Deity!

You don’t always know what IFB the mixer is going to bring. Maybe it’s another brand? Maybe it’s a comtek operating on a different frequency? Maybe whatever you get doesn’t play nice with their setup Let the mixer figure that out. Any time a client tells me “I have this, can you use it in your kit?” I get annoyed.

It’s only my 1 channel.

Are you plugging stereo headphones in? The g3 will output a mono signal and if sent to stereo headphones it will only come in on the left side (and rather low). You’ll either have to use a mono to stereo adapter or rewire your headphones to mono.

Is remix something that could be implemented on the 8 series? I think it could be really cool to fix a production fix after the fact.

Go into the aux input (3.5mm TS) from a sync box. As long as it’s plugged in it will read the TC. I believe is auto adjusts the frame rate based on what is coming in.

I am doing a movie in a couple of months and with a good chunk taking place on a "stage" that is much more like a warehouse with some flats in it. During the "how is sound" discussion with the director and producer I pitched the usual fury-pads, carpets, curtains. I also, not thinking it would go anywhere, pitched that we could bring the booms in frame on the wides and have VFX paint them out and to my surprise production called VFX and he said "we are able to do that." I have never had the pleasure of doing this on a longer narrative production (done it a couple of times on commercials and with green screens) and wanted to hear from some people who about the challenges and quirks before I talk to VFX. Thanks!

My boom op uses Shure SE215. He likes them very much. They seem to isolate well because I’m often able to sneak up on him when I come on set.

My Remote Audio battery does. I forget the exact model but it’s part of the Meon series.

Ramsay, thank you for answering my question so well. I imagine after so long with each mixer you are very familiar with the subtleties of each one. I love my SX-S but it’s nice I have something to work towards. Interesting! It’s nice they have such continuity. I guess that’s how they’ve become so famous for their preamps.

Very true. I very much like the MKH 70, but don’t love it. I don’t find myself going for it as much now that I have a 8060, 8070 and CMIT. I love the sound of all three of those mics and find that I can cover almost any situation with those three shotguns. It goes: CMIT - it sounds nice out here. 8060 - hmm... it’s noisier than I’d like it to be out here. 8070 - oh shit it’s loud out here/you want cover the whole scene with 2 wides and nothing else? the MKH 70 fits somewhere in between the 8060 and the 8070 in terms of reach and directionality so I usually just end up going for one of the other two. at this point I want to only own mics I love. My only exception is my 416. I don’t love that mic, but I’m never without it.

Almost any lav can be wired for any wireless. Find ones you like, take care of them, and bill production when talent or the like destroy a microphone. recently had talent rip the head right off a fairly new DPA 6060. You better believe I made production replace it!