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  • Location
    Halifax, Canada
  • About
    Sound Supervisor. Reality and documentary.
  • Interested in Sound for Picture

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  1. If you split the RX antenna length between the 21 and 22 marks and tune the 21 TXs to the higher end of their tuning range and tune the 22 TXs to the lower end of their tuning range your performance will be optimal. In theory, I believe this setup would be no different than using the full tuning range of a specific block.
  2. I bought silicone cases for them, but that doesn’t do much for weather protection - just helps protect the boxes from scratches and dings. The ACs on the show rainproof the camera rigs when required so that keeps the sync boxes dry.
  3. I picked up 12 x USO this spring and I have been using all of them daily on a reality show which is well over 90% exteriors. We shoot in all-weather conditions, high humidity and we are nearing day 100 of production. Three boxes feeding TC and Word Clock to 688s, eight feeding TC and Genlock to cameras, and one unit stays in the prep trailer as the master clock. I’ve got no complaints. Genlock is back!
  4. If you assign a channel with signal to Aux 1, is there signal present on the Aux 1 meter? IE - are you able to see Aux 1 signal, but not hear it?
  5. I’ve been using in-ears for headphone isolation/ear protection for about 10 years. They are not noise cancelling, but the isolation is incredible.
  6. https://www.sounddevices.com/tech-notes/replacing-the-633-real-time-clock-battery
  7. Spacing in-bag TX and RX frequencies is very important. I always leave atleast 2 blocks in between hop or IFB TX and in-bag RX frequencies. Create as much physical space between TX and RX as you can as well. And coordinate your freqs.
  8. Was Antenna Power and Main Power engaged on the RF Multi?
  9. Did you try the Lectro fins on site that day? Perhaps a shield issue on one or both of the antenna cables connected to the RF Multi? Were the issues present on both the SRB and SRC units? My SRC units are more prone to interference (regardless of board version) as compared to SRB tuned to same frequency.
  10. I use a 641 with a B5-D on an Osix 2 for most of my interior work and I’m very pleased with the combination. I’ve used it many times for close mic situations and on-location vo and narration with great results. I am interested in trying the Leo at some point, but the the B5-D has kept me happy for many years.
  11. I always rely on the poncho during rain days. If it is extremely windy, I use a few spring clamps to keep the bottom of the poncho tightly wrapped around the bag.
  12. What is the improvement you noticed in the preamps of the 664 over the 633?
  13. I have been a SD 6 series user since the first run of 664s hit the market. I currently own 2 x 688 and a 633. All 3 machines have hundreds of production days racked up. I’ve used the machines in many environmental conditions with tracks maxed (24b/48K). Only 2 lockups between all 3 units, and my 664 never locked up (I sold it when the 688 was released). I have done shoots that have pushed the machines quite hard. AES and analogue ins with every output used. I believe both lockup’s were due to faulty CF as it happened on the first roll of the newly inserted/formatted cards (cards had been cycled many times). I have used Lectro receivers exclusively - SRC, SRB, 411a and 201. RXs always outputting +5, line in on all recorder inputs. I’ve never had a gain stage issue, or needed to rely on TXs operating too hot to produce adequate signal - SM series between 17-20 level, UM and LMa around 9:30-10 o’clock. Mics are Sanken COS-11. HM always sends strong signal when used in conjunction with 641 and 81i.
  14. I have my TS-C and TS-3 set to hold clap frame mode. The clap frame is displayed after the user bits. The clap frame hold time is user selectable.
  15. I asked the same question directly to Lectro mothership and they suggested the same thing.
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