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Everything posted by jpbat

  1. Oops, you have a point... (I use a 100 modded receiver with a LM transmitter) OK, replace the beginning of my sentence by : find the used cheapest receiver you can find that is able to receive digital hybrid signal… (then I hope the remaining is valid if you happen to live in Montreal, but I admit I got a bit too fast on the send button)
  2. Find a used System 100 receiver (the cheapest I can think of) on the same block and ask Gilles (RF Audio) to mod it as he did for me (adding an internal headphone amp and replace the small pot by a larger one).
  3. jpbat

    lectro SRB issue

    It is. I trust Larry on that.
  4. We learn to be sick when we don't have work, don't we ? I was took off guard last december with a bad flu. I had a gig 10 days later so figured that I'll be fine. I was better after a week, but the night before the gig was difficult, and I found myself at 4 am (call at 6 am) wondering who can I call to replace me ? I made the gig, but it was tough...
  5. Oh my… Now I feel like coming from another side of the history... In some classical music session I was making hundreds of cuts on ¼" tape, with the director showing me where to cut on the partition… (- "I don't like that F sharp in bar 187 on the 21st take, let's use the 14th take it was better" - "Yeah, sure…") And the look from the advertisement guys when I was cutting the 2" master tape... Those where the days, but frankly, when it comes to edit, I love Pro Tools.
  6. I tried the phone screen protector approach and found difficult : a- to cut it at the exact dimension, and b- to apply it without any dust bit trapped under. I came back to the original plastic protection. At least I can remove it, clean out my sandwich crumbs, and put it back. I wonder if we can have some spare from Sound Devices. Probably yes.
  7. I bought years ago on eBay about 30 of those plastic Sennheiser made quick change adaptors (with the big red button). They were designed for the stage, and are no longer made. I bought a whole old new stock. I put them everywhere since, and, although a bit flimsy when the mic is heavy, they do the job. Maybe there are some available somewhere. Cheap and functional.
  8. Well, I made test with regular lavs, hacked by myself, to emulate what I want to achieve, and the result is satisfying enough to look for omni headworns mics with a short boom, one ear mounting. I know of three : Countryman E2 DPA 4065 or 66 with the short boom Audio Technica BP893 Countryman is north of 500$, DPA is north of 600$, Audio Technica is south of 300$. Have a guess at what will be chosen by the prod ? ;-) Anyway guys, thanks for the brainstorm.
  9. A perfect sum up of the situation.
  10. Suresh and Constantin : thanks for the links. Those headworn seems following the same concept, so maybe you can answer : is the small boom retractable in some way, and if yes, does it protrude behind the head or…? As I'm narrowing my quest, what I want to find is a way to install a lav mic somewhere near the ear. And I want to install it *fast*. I found some ear worn mics with a long boom (I even got one), but these are too much visible, Although the signal on noise ratio can't be beat, I have to make a compromise, and I think a short boom as found in the Audio Technica BP893 can really disappear in wide to medium shots, and in close shots, the cameras can be framed, and/or the talent can turn his head in order to not see the mic. On the pictures I found on manufacturers sites, some double ear worn designs *seem* to use some retractable boom concept, but no more explanations nowhere, no pictures, no videos. So if any of you knows more, please share. Jim : are you answering to the senator ? I blocked his posts some time ago so I don't know. Not that he can't positively participate to the forum, he is obviously experienced, but his signal on noise ratio is poor, maybe his gain structure is not properly adjusted, or maybe he needs a trip to the mothership… Shit happens, y'know? :-)
  11. Thanks everybody. I got a long boom ear worn mic (probably similar to the MM Audio, thanks Tom for letting me know this one), but I find it a bit cumbersome for the use I want. The challenge would be, actually, finding a -sonic- equivalent of a lav rig in the hair, or on the ear. I use them and know the result, I'm simply not in a situation do achieve such a rig in that particular show, so I'm looking for an alternative solution. Reasonably priced, easily and rapidly rigged, and not too much obtrusive. Compromises will have to be made, as usual. That's why I wonder about the usability of the Audio Technica BP893, which has a very short boom. I suppose I'll have to buy 2 of them and test by myself... Although the usual suspects do not stock them, and (of course ;-) everybody is in a hurry...
  12. Thanks for the answer. They will be used indoor, for a complete season (that's why I prefer buy) Since we are also on a budget, I was looking at The Audio Technica BP893. Production doesn't want to see the mics, so I believe the short boom would help (talents will be sitting, talking to each other, two cameras wide/close, framed to hide the mics), but I have no experience with that mic placement, so I wonder about the result. Although, in the occurrence, it could not be worse than a standard lav (my main concern is signal vs noise, and less how nice will be the sound. I must choose my battle)
  13. I have to buy 2 headworn mics to use an upcoming show where the level of ambient noise will be too much for an ordinary lav. I don't know much about those. Any suggestion or experience you're willing to share ? (Brand, length, particularities, insights ?) Thanks.
  14. I had the problem long time ago. K Tek boom. Water flood inside until it reach the connector at the base. Didn't found much more than adding a small rubber gasket at the internal connection. Filling the base with removable caulking could work. Anyway I removed the internal cables from all my booms and put a transmitter at the head. Problem solved. And no cables to worry. My life is easier since.
  15. Wozza ! This is for me ! Thanks Karl !
  16. Indeed, when every piece of gear is properly installed and working as expected, and every guys and gals on the set are normal human beings, after 20 years, it's easy. Nothing to worry about.
  17. I remember this one, I bought it 20 years ago, to discover very fast that putting a mic in each ear is not a very good idea (Constantin explained it very clearly above : if you move, so moves the stereo field, and this is not pretty). It was paired at the time with one of those mini DAT from Sony (probably the D5) and it has been useful sometimes when travelling extra light far from civilization. This was about the smallest half-decent stereo rig available at the time. High level of hiss. Not exactly top notch gear. It's in a drawer somewhere.
  18. I used a Telinga a lot in the 80's and 90's when I was doing birds recordings, and also found it a really interesting tool for "creative" soundscape nature recordings. I remember trying it for dialog. In that application, I confirm that it sucks. Big, big time. But, as already said, the best way to know is to try.
  19. And the cable can be on one side or the other (a nice touch, but have a look at the camera before choosing the side). The little plastic part goes on the opposite side to close the gap. And the cable wire that comes with some Lectro product is too large to fit correctly on those Anton power tap. Well, not TOO large, but a dog to fit :-( Use a wire with a 3mm diameter, or less.
  20. jpbat

    Rode PinMic

    As soon as I see a starched shirt with a silk tie, I pull out the pin mic. I have two of them. You can put it in the sweet spot really fast, so it's easy to get the best out of it, which compensate for the sound, which is not in the same category of a Sanken or a DPA. You need a few seconds of concentration, and a good light, to pin it successfully (pins are easily bent), so it's sometimes difficult on an always moving talent. All in all, a nice tool to have.
  21. All my mics are all dressed in their respective suspension-blimp-whatever-necessary system. Much less trouble and time waste. I figure that a suspension-blimp system is a reliable way to protect a mic when moving. I may be wrong, but didn't noticed any downsides in 30 years, so... But then, all my guitars have their respective capos, cables, tuners, cases, etc... I'm a grab-the-handle-and-go kind of lazy guy, I suppose.
  22. Thanks to you all. Food for thought. The B4B… thanks Crussel for the link. Could be a solution, although not 100% sure. The DSM is more expensive than IDX, and doesn't seem to be available in North America. Don't know if the Hawkwood charge with JL-2. Audioroots is probably very good, but costly and I want to keep the NP-1 form factor. I read somewhere the Varizoom can be charged with the JL-2 IDX, can someone confirm ? (I read somewhere else that it's not possible)
  23. Do you charge them with the IDX charger ?
  24. I'm presently on the market for a couple of NP1 batteries. I have LIon batteries and a JL-2+ charger from IDX. Fine product, no argument. But, do you know of comparable NP1 batteries, *that can be charged with the JL-2+ charger*, but less expensive ? Varizoom ? Switronix ? any other idea ? (and, yes, you get what you pay for, right… question is : what is *your* experience on the matter) Thanks.
  25. Presently, it seems that the big bargain is a used 552. The recording part itself is a bit awkward to use, but you get accustomed to it, and the mixer part is serious stuff. At the price I could sell mine, I'm thinking I'll keep it. Always useful.
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