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jpbat

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Everything posted by jpbat

  1. I tried several, made several too, lost most of them (you have to put them somewhere to dry, and then you forget…) I have two different ponchos, too. Not practical to use. Now I carry a large enough piece of transparent plastic in a pocket of my bag, anytime. Stay in place with 4 drawing clips, on the bag too. I also carry in my luggage a ultra big and ultra sturdy garbage bag, if a liquid sky is falling on my head, I'm covered. It works. Not pretty, but. And I can forget them, lost them, give them to anybody in need of such things.
  2. Thanks to you all. This is something I can live with until I got updated firmware. I was just stumped for a moment, before discovering the culprit. As long as the *level* out is retained, no problem. (as I said, at a 0 db tone level on the SR's, the vu meters on the 633 -line levels, all gains at 0 db- were so gently lighting only the first orange segment that it was a pure joy… You know the feeling, you made all these new cables, plug it all together for the first time, fire up, and… it works as expected. OMG)
  3. I discovered a strange behaviour in the tone generator menu on SRa's today. Context : I'm putting together a new bag with a Sound Devices 633, three SRa's receiver and a bunch of other things (R1 monitor, BDS box and such...). I make my own cabling, so, everything (except the SR's) is new, and, in the process of testing the whole shebang, I used the internal tone generators of the SR's to verify the signals inputs in the 663. The 633 inputs are Line level, the SR's outputs are 0 db. Vu meters align nicely, all fine. Cool. I take apart the whole bag to better arrange the cables, etc... Next day, I put the bag together again, fire up the SR's, go to the Tone menu, and... some are at 0 db as previously, some are like 20/25 db lower. Uh uh. And nothing logical. Since I don't know yet the 633 in and out, and all cables are newly made, I began to look *everywhere but* the SRa's. Wrong. Well, to make the story short, I discovered that the SR's do not retain the Tone level status at power off. You have to move them again to make them behave correctly. Now maybe my SR"s are old and this has been corrected since. Don't know. No biggie, but I wanted to let you know. Best year wishes to you all. Jean-Paul Bataille "The Drop G Swing Studies" http://youtube.com/batzic http://jeanpaulbataille.bandcamp.com/
  4. Nicely summed up. Hollywood is not my goal, but life, yes. (sometimes, in the heat of the battle, we can forgot those simple things. "always be nice" is a good short reminder to keep at hand anytime) And… I'll add that as we get older, we also get wiser. I remember myself 40 years ago, oh boy...
  5. Brilliant idea ! But... what about any windy situation ?
  6. The Staedtler Lumocolor, in black, is your friend. The permanent sort (they also have a non-permanent sort) Should be available anywhere.
  7. Brilliant idea to play the stuff on two guitars. Enhanced sound all over.
  8. I have one of those Hodges effect weight, it goes from one pole to another. I don't boom much these days but it works very well. I remember the commiseration look I had from some people when weighting my booms. They indeed wouldn't understand the principle. Efficiency to the max. One of those numerous reasons why Manfred will not be forgotten.
  9. I don't carry any hard wired lavaliere anymore. Since a long time (think 20 years). The last remembrance I have using them is an interview with Jean-Paul Belmondo (complete with small dog and shark tooth, the whole deal) on a sofa, and it was like... 1988. Maybe. I have some hardwired Sony's in the drawer that I use sometimes in my musical projects (think "creative" recordings...) I have enough wireless spares to keep things going even in the worst scenario.
  10. I remember using years ago for that purpose some caps designed to plug in unused holes on a video patchbay. They were fitting perfectly.
  11. jpbat

    RIP Bob Brozman

    We lost yet another great great musician this week. Unpredictable, at 59.
  12. I got an Akaï DD1000 (recorder editing machine on 600 Mb removable disks, remember that one ? Heavy and expensive as hell. Never ever let me down. A tank. But I digress), and a digital EQ from Roland (E660), along with some Ensoniq and Korg multi-effects that are in a flight case with wheels. My TV-DVD player set is on them. A more than 20 000 $ piece of furniture that my wife bugs me almost everyday to replace with something more... easy to her eyes. I tend to agree with her.
  13. I am with André on that one. I own two different ponchos but gave up on the concept. Although it's the best on long shoots under heavy rain, this doesn't happen often enough in my neck of wood. I prefer to use a very low tech approach now that allows me to have the rain protection ready at hand *in the bag* at any time. No need to run to the van or else.
  14. After having designed and made some fairly sophisticated rain covers for my bags and having lost them, I carry nowadays a large transparent piece of plastic (coming from a heavy enough plastic bag), and four "clamps used to keep paper in place when you draw" (I don't know the english word for the french "pince à dessin", but this is probably the most useful object you can have at hand for lots of situations). Anyway, you keep that in your bag and when it rains or snows, you arrange it on the bag in a way you can keep access under it. Cost nothing, available any time. Problem solved.
  15. I have yet to see a swimming pool audio friendly (big reverberant place, water sound everywhere, people around...) Good advices so far for recording the dialog. - Wide *and* tight at the same time is not a good idea - Waterproof transmitters (or aquapacs) and waterproof lavaliers, although the rig is uneasy with unpredictable results, so it can or cannot be worth it A good shotgun on a long boom is the way I do it these days, with a good communication with director, but the limits are not far. I add a hydrophone to have the sound under the water (since it is likely there is a camera under the water, too)
  16. jpbat

    iPad stand ?

    I just received the Castiv iPad stand. It does exactly what I was expecting, can accommodate tablets of different dimensions, I can use it *with* the iPad cover. For my modest needs, perfect. And cheap. Now, it's a plastic thingy that should resist about 2 hours on a normal set. If your use is heavy duty, look elsewhere (KTek should be up to the task as usual)
  17. jpbat

    iPad stand ?

    Thanks for the links, guys. The K&M seems to fit my needs nicely, although when looking for it on Amazon, I saw this one : http://www.amazon.ca/Tab-Station-Tablet-Holder-Compatible/dp/B005M32RL0/ref=aag_m_pw_dp?ie=UTF8&m=A2OOS9PPFYU6F6 Certainly less elegant and slick, but I'll (probably) be able to keep the thin cover on my iPad when using it, so I gave it a try. We'll see. Not expensive, so no biggie. The KTek is a beauty, but I don't need such sophistication.
  18. jpbat

    iPad stand ?

    What do you guys are using to fix an iPad on a mic stand, or a cart, or whatever ? I'm looking for something that would have a thread just as our regular mic holders, so I could use all the accessories I got at hand to fix my iPad anywhere I fancy.
  19. cleve : I made the same move...Of course no the 552 doesn't sound as good. But the 552 has a lot of functionalities we need today in our job, and I can make a good use of my old SQN at home... so... I don't have your problem, fortunately. Do you *really* need to sold it ? ;-)
  20. Since my 4s mini is nowadays on my desk to record my guitars, I can confirm : - switch to the RIGHT is NO attenuation - middle -10db - left -20db (as on any SQN model I know of, from the 3 to the 5, they like it traditional in the Isle of Man)
  21. The fact that I'll be 60 yo this same day is pure coincidence.
  22. (Hi Pierre) The PinMics design allows to put them in plain sight, but without identifying them as *microphones* (no wire, no the usual image of a lavaliere) Also, they can be put fast, without fear of cloth rustle. So they are my choice when I see one of those scarchy-shirt-silk-tie-director-of-something kind of guy coming my way. If the color of the tie or the jacket allows, which is often the case. No fuss, no muss. A Sanken in the tie knot is good too, but takes more time and help from the (talent). And, to answer the question, they are not more or less sensitive to cloth rustling. Their design makes them more efficient in certain situations.
  23. I have two PinMics for those special situations. They don't see much use, and most often on talking heads that don't move a lot. Anyway, since I use them on Lectros only, I put a heat shrink tube on the connector just in case. Don't had any trouble. Yet.
  24. Zozoda : yes the sound is made in post production. The atmos and the animals sounds are recorded in location (not in zoos...), and there is also a great deal of foley. Most often (at least it was that way when I did that), the production crew goes where it's appropriate, but there are two different tasks, sound and image, and we don't work together. Our goals are completely different. We learn what and where are the animals, at what moment of the day, in what season, etc... A great deal of the work is at dawn and at twilight, since the animals activity is mostly there, so you sleep a few hours in the night and nap a bit the afternoon. Then you wait, being ready. You learn to behave as a sand bag. No movement, no sound. There is a moment when you become part of the place, and then the animals come back doing their things as usual. I loved that.
  25. I bought my first Telinga in 1986 (if I remember well). Traveled the world over with it. I modified it for windy situations (the pictured model is a later one with some wind protection, although not very efficient), velcroing half of an old wind basket I had, and putting fabric (for speaker box) all over the parabola itself. Worked fine. One weird thing with parabolas in wind is that if you are pointing exactly against the wind direction, some aerodynamic phenomena protect the focus (where is the mic) from wind. Move the axe a few degrees, and bam! Anyway... yes, the Telinga is a very nice tool (although with the limitations of a parabola system, particularly a weird frequency response). The stereo one use a mini Jaecklin disk, and so you have the close-up right and left, plus the very far where you point the parabola. Strange, but effective. You must not make fast movement because the stereo image is moving accordingly, giving strange results. But you can actually "paint" thru the soundscape. Very nice. And the thing is so sensitive that you actually can't use it as shows the picture : you'll hear the muscles contractions in your arm doing that way. I had a bungee to fix it to my coat in order to relax my arm (you have to stay quiet long times). I had made a little foldable stand, also. Lots of remembrance. I'm getting old. Damned.
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