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Alejandro Reyes

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About Alejandro Reyes

  • Rank
    Hero Member
  • Birthday 04/17/1977

Profile Information

  • Location
    Chicago, IL
  • Interests
    Sound mixing, boom operating, sound design, feature length films, television and documentary
  • Interested in Sound for Picture
    Yes
  • About
    Currently working as a boom operator and sound mixer in the Chicago land area, and I'm always looking for a new opportunity.

Recent Profile Visitors

905 profile views
  1. Just so everyone is aware, I am fairly new to sound editing and design. I'm also contemplating getting Adobe Audition and learning on Curtis Judds course on his website. The one thing I don't necessarily agree with is the monthly charge; and for that matter, I checked into Protools and since I last checked they are now starting to charge a monthly subscription. Honestly. I would feel much more comfortable just buying the software upfront, without having to a monthly or yearly fee, just like I've been buying things gear and so forth. Now I come to the part where I ask, are there any of you using Pro Tools, Adobe Audition, Audacity, or Ardour? What are the pros and cons and how do they differentiate from each other. The last question I have is are there any online courses I can take for Ardour besides having to go to youtube in the same way Curtis Judd is doing for Adobe Audition. Thanks for everyones help!
  2. Hi Johnny, Also thanks to everyone that shared their knowledge and responded to me. I did manage to get a pair of Halter Technical Scene Monitor Headphones, I also got help from Doc Justice himself and my local shop, Second City Sound here in Chicago. We also made the the proper adjustments as scene in the photos down below. Though the wires are very small, you can pretty much get a general idea of what I was doing. Basically it was pretty much what David had suggested. Also this was done moments before I found out that 3.5 mm stereo to mono connectors existed. Still though this was a great experiment and learning experience, plus as some of you said these headphones are considered expendables, but for the meantime I'll be using both these headphones and my COMTEK until I can upgrade to the 216's. Once again, thanks everyone!
  3. Hi Everyone, I'm happy to say I now have some COMTEK 72 series IFB units. I recently purchased some headphones off of Amazon. The ones I got were the Hamiliton SchoolMate Personal Mono/Stereo Headphones. Unfortunately I was only able to hear off my left ear bud, thinking it was just one receiver I checked all three and I got the same thing. I decided to check with B&H to see what my options are as far as headphones go. For the time being I can't afford the recommended COMTEK LS-3 headphones, so I'm looking at the Williams Sound HED 027 Heavy-Duty Folding Mono Headphones as a viable option. So besides asking you all about these options in headphones here are my following questions for you all: 1. Is there anyone here that has used the Williams Sound HED 027 Heavy-Duty Folding Mono Headphones, if so, what did you think of them? 2. How many Crystals are there to the 72 PR-b receivers and where can I buy them after the current ones die out? 3. Also when I was checking for the Audio Root headphones as an option they only came out as one bud rather than 2, not sure if I researched the wrong ones or if they only available that way? Finally I appreciate everyones help and guidance. As some of you are probably wondering, I'm not to familiar with the 72 series COMTEK, I've only ever used the 216's. After playing around with them earlier today I noticed they aren't much different as far as sound quality goes.
  4. I actually have both the 112P and the 51P series. From my point of view, I've always found ME-2 much more difficult to hide because of it's bulky head. That's why I'm getting rid of them. In it's place, I bought the Countryman B3 which you should also consider, it is an affordable mic, plus water resistant and it just sounds great. As for MKE-2, as I mentioned before, it is much easier to hide and sounds much better than the mid grade ME-2.
  5. Great job David! I really enjoyed this video, I'll be sure to show this to my sisters!
  6. David I'm glad I saw your video. I was getting ready to throw away my Orca waist belt as I wasn't sure what to use it for, since I have the Orca harness already. I gonna keep it and use it for my boom op on my next future shoot. I do have a question though... how different is the MM-1 from the MP-1 can either or be used for a camera and boom op for monitoring sound?
  7. That's exactly what I meant.
  8. I remember when I first bought my F8 and posting a video on my Instagram page. I only spoke about the features but didn't turn it on until after I finished recording on my phone. As soon I turned it on, I freaked out thinking I broke it. Little did I know anything about the white screen of death, or knowing about certain serial numbers that came out faulty, and had to be replaced. But rest assured, even if something like that were to happen now, Zoom will fix it because they're on top their game. As more features are being introduced from the competition Zoom will match them and make their audio recorders better.
  9. I was actually looking for a review on these mics. Except for one video, yours was the first written reviews that came up. I actually might consider buying these mics to go with my current Sennheiser G4 kits. So we'll see how this goes, thanks again Bartek Baranowski for posting the question.
  10. I'm with IronFilm on this one, the Zoom F4 is a great recorder mixer. I would have bought that one had I not invested money on my Zoom F8, which I don't regret at all. The new firm is awesome, and a huge step up! Whatever you decide we're here to help and support each other let us know if you help with anything. Good Luck!
  11. Thanks for comments everyone, they're very helpful. As for some of the videos I've seen, I have to say i was very impressed. Personally as of now I'm still building up my gear and I'm not looking into get one yet. In my opinion, I would rather it be kept our own personal secret, if you know what I mean. I could see Constantine's point of calling it a dangerous tool to have on a film set. I do however see the point of using it for say a WWE wrestling match, boxing, or why not a sporting event like that past World Cup. But even in that regard, I'm still on the fence. I think that as a fan or spectator, we're loosing out on the experience of the emotional thrill we get from a live event by simply watching it from the comfort of our own home. So until then, I'll wait for a production that really requires one.
  12. I recently discovered the CEDAR DNS2 which has been around since 2016. Like many of you I have encountered a lot of noisy environments, often caused by construction sites, public transportation trains, and of course our dearly beloved generators. One time I had to work at a house that had a very noisy air vent that neither the owner or I could ever figure how to shut down. My one solution was to use a pillow to block the noise, since I did not have sound blankets. Needless to say the pillow was thick enough to make it into a low hum. Though I have not had the chance to work with the CEDAR DNS2, nor do I know of anyone that has one besides my local rental house, brings me to ask a few questions for those of that do or do not have one: 1. Have seen some major improvements in your workflow? 2. Do clients ever ask for one, or is it our own kept secret? 3. Is there still post sound design work that needs to be done, despite the fact that your able to cancel out a good amount of noise 4. If you're connecting a shotgun mic, on to this devise can you use a HPF, like you can with some audio recorders 5. Whether you're a Zoom, Sound Devices or Zaxcom user it doesn't matter to me. I would just love to see what your rig looks like and how to set it up on your audio recorder mixer. 6. Besides price and maybe not working on live, reality TV or sporting events, what would be a good reason to not purchase one? Thanks in advance for all your comments!
  13. Hi Fred, I often work alone because certain production can't afford a 2 person sound crew. Yet I'm always fighting for a boom op, but as I mentioned before not all productions can afford 2 people and I am almost always doing everything alone. However, the standard is always to have a sound mixer, boom op, and utility that'll serve as a second sound mixer and or second boom op. When productions travel, the standard is to hire someone local, at least when it comes to sound. It's a shame they didn't go with you, when they could saved money flying the sound guy in, and on top of having to pay for room and board, plus rental equipment. The best thing to do in this case, is to move on to the next project. I hope everything works out for you, and congratulation on France winning The World Cup!
  14. I knew I was right about this. You see, I have the G4 512P from Sennheiser. I bought one from Sweetwater and the other one from B&H. While the 112P series of the G4 did not include the MKE-2, the 512P did. Now that I have this information I'm going to look into this because I want two of the G4 112P's added to my current gear.
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