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Everything posted by TomBoisseau

  1. The Shure Axient Digital system is looking quite impressive. What, with a bandwidth of 184Mhz, it's about the safest bet to avoid having your wireless becoming unusable / illegal for many years to come. I have serious doubts however that they will ever offer an ENG receiver. See their web page: http://www.shure.com/americas/axient-digital
  2. I have made quite a few G3 SK100 input cables. It may sound crazy, but they should be wired like this: G3 TRANSMITTER Signal "+" to RING (yes, Ring!) of TRS Mini to G3 Transmitter Signal ground to Both TIP and SLEEVE of TRS Mini to G3 transmitter Tom
  3. The pilot tones between the SK100 and the EK300 are not compatible, therefore you must turn off the pilot tone on the EK300 in order for it to receive the signal from the SK100. Tom
  4. I don't know about compatibility with the 788, however I use the Hawk Woods adapter for both the 664 and the 633 with no problems.
  5. I've used the Dugan card with both the 01V96i and the Yamaha LS9. In most applications I've found it completely unnecessary to use a computer or ipad with the card! The default settings are equal weighting for all mics and all mics in a single "group". For my purposes, that was usually all I needed. Of course without a computer you can't "see" what it is doing, but it should be obvious it's working. Just make sure you reset the card before use in case you or someone else set it up for some special application previously. Tom
  6. Of course "cancellations", sometimes referred to as "comb filtering", can occur with a single mic from waves simply reflecting off a hard surface (walls, floors, ceilings, desk, etc.) and entering the microphone's capsule slightly delayed from the direct sound. Fortunately for us, this perceived 'hollowness", provided it is not extreme, may be quite appropriate for the scene. In fact in a classical music recording, the natural reverb of the room (which is nothing more than waves reflecting off of hard surfaces in the room and entering the microphone delayed) is considered quite desirable, provided it is not excessive. Certainly some location mixers, when tracking a "wide shot" where lavs must be used, like to mix in some of a boom mic, well outside of the frame, even though it may be unusable by itself, because in doing so it adds back some of these "reflections" to the mix and provides a more nature sounding track that is otherwise often lost when using only a lav. In real life we hear these reflections all the time. When using a microphone they may be more noticeable, and as a result we often seek to minimize them, but in our business we would never want to completely eliminate them. Doing so would yield a very dry and unnatural sounding mix. Tom
  7. Good advise! At the risk of stating the obvious, don't let a late payment of a few weeks or even a couple months jeopardize a relationship with an otherwise good client. From my experience, if you try to inforce a late payment fee, you will probably never work for them again. If that's okay with you, go ahead, do it! I have one particular client, a small independent producer who typically takes 2 months or more to pay. But they otherwise treat me well, are extremely pleasant to work with, and generally just "likeable". They always pay, it's just their particular client is slow paying them, so payment to me is likewise slow. Yes, they probably should run there business differently and get money up front, but not all their clients (especially corporate clients) are willing to put up much front money. Because I have a good relationship with this client, I can call them anytime and in a very friendly manor simply ask if they have received payment and when they might be able to send me a check and, best they can, they will tell me. On a rare occasion, it turns out they simply failed to print up my invoice and as a result forgot they owed me money. Again, we could argue how they should run their business, but provided they are honest and descent people I can accept a few managerial flaws. Personally, for me and my clients, it's as much or more about the "relationship" as it is the money. Tom
  8. If I have enough channels on my mixer, I will often take the headphone out of the other device(s) and plug it into my board. Of course it is essential that those channels remain muted, but now you can easily monitor the other devices simply by pressing the PFL buttons. Tom
  9. I always thought this was a pretty nicely designed system, however I recently purchased a Yamaha QL5 and QL1 and am using the Yamaha Rio 1608-D box instead. Tom http://www.brikworm.co.uk/BWTraditional.html For field work the Roland S-0808 is a great option that runs off of 12 volts! http://www.markertek.com/product/rol-s-0808/roland-s-0808-8x8-input-output-unit?utm_medium=shoppingengine&utm_source=googlebase&utm_source=google&utm_term=Product_Target&utm_campaign=Shopping+-+Pro-Audio&utm_medium=cpc&utm_content=FQ2jJ6us|pcrid|74923786580|pdv|c|&gclid=CK_z84a07c8CFQwYgQod3-gGhg
  10. TomBoisseau


    Has anyone experimented with a 3rd party bluetooth dongle and if so have you found any that are compatible with the Sound Devices recorders and the Wingman app? Tom
  11. Why not just insert a mic splitter before the signal ever gets into the PA? That way no matter what the PA or PA guy does you are not affected. Tom
  12. It is worth noting that the Sennheiser IEM300 system is fully compatible with the G3 100 beltpack transmitters. So you can use a small transmitter for bag use (howbeit mono only) or you can use the SR300 on your cart allowing full stereo transmission. Tom
  13. Why I admit I would rather not have a noticeable delay, I could probably learn to tune it out. Certainly that was the case when listening to the confidence/playback heads on reel to reel recorders, and even not so uncommon today when listening to the confidence return of some video cameras. Tom
  14. I've seen a few blue tooth transmitters for sale on eBay and it got me wondering about the possibility of using wireless blue tooth headphones with my bag rig. Eliminating the headphone cable seems very desirable. Has anyone here tried this, what components did you use, and what were the results? Thanks, Tom
  15. I have a stereo matched pair of the ADK A-51s LE Type III's. I've used them quite a bit on vocals and a little on guitar. I feel they do very well in both of these applications. I don't think they still make that model, but perhaps they have a similar replacement. Tom
  16. TomBoisseau

    sony 7506

    While I've always felt the 7506's sounded quite "pleasing", I've never thought they reproduced sound accurately. In my opinion they over accentuate both the highs and lows but, for what we do I think this is a good thing! Because of this I'm more likely to notice issues BEFORE they become a problem, such as rumble from AC and compressors that might not othwise be so noticeable with other headphones, or high frequency distortion / interference, etc that might not be as evident with a set of phones with a "flatter" response. That being said when I first started using the 7506's the accentuated highs fooled me into believing a lav sounded just fine, when it fact it was somewhat "muffled". Perhaps the lesson to be learned here is consistancy. Regardless of your phones of choice, it's pretty important that you get very familiar with them and use regularly, and don't alternate between different models. Tom
  17. I was thinking along the lines of some 2.4G wireless, that way they could be used (legally) just about anywhere. Tom
  18. How are they going to deal with the differing laws of various countries governing the use of wireless microphones, what frequencies are considered legal, and whether or not a license is required? Tom
  19. I had some similar problems with some SMv's. Lectrosonics provided me with some newly designed thumb screews and washers and some conductive "grease" (forget what they call it). All combined, it solved all short life battery issues with all six of my SMv's. I don't know if you've already done that or not, but either way, Derick H is correct. Call Lectrosonics. They'll take good care of you. Tom
  20. I decided to do a follow up to my own message. I contacted Sound Devices, but they said they are completely unaware of such an issue. I'd be very curious to know if someone else here with the same 688 / CL12 combo has experienced something similar. I guess that fact that no one has yet responded should be construed as a positive. I don't seem to have enough static electricity in my own home right now to make this happen again, but next cold, dry, day we have I'm going to see if I can recreate the scenario. Tom
  21. I've been quite pleased with the Panasonic RP-HT21 headphones. In the past, I would hand out Sony 7502 headphones, which have street price of about $50 (a little too much for me considering the way they are treated), but in my opinion don't sound as good as the RP-HT21 which cost only $5 - $6. Now of course they are not as well built, but for $5 each, I think it was a very wise decision, and as I said, the audio quality is actually better! They only negative I see with them is that the pads don't appear to be replaceable but, again at $5 each, who cares! Tom
  22. The Remote Audio headset (model BCSHSDBC) has worked reasonably well for me in conjunction with the Boom Cable System and the 664. I have yet to try it however with the 688. Yes, I do need to keep the mic close to my mouth, but being that it's mounted on the headset I don't see that as a problem. Are you guys saying that the com mic gain on the 688 is LESS than that of the 664? That might present a challenge, because while it is satisfactory with the 664, it does require that the gain be set to maximum. http://www.trewaudio.com/product/remote-audio-bcshsdbc/ Tom
  23. Well, I DID end up getting a 688 with the SL6 and the CL12. Thanks to those who provided me with much helpful input. So, I already posted this on Sound Devices forums, but I thought it might be beneficial to post it here as well. I had something happen yesterday that I suspect might be indicative of why Sound Devices strongly encourages us to alway use the included 1/4" headphone jumper cable. And yes I was using and had connected the original/included Sound Devices 1/4" and USB cables. We were shooting in a "carpet" showroom. It was a cold, dry, day. I noticed immediately that static electricity was a issue for everyone on the set (we kept "zapping" each other and ourselves if we touched anything metal after walking across the carpet). After the 688 with the SL6 and CL12 was powered up, I noticed on numerous occasions, when I would come back to my station and touch the 688 or CL12, that a message would appear on the 688 saying the CL12 was disconnected, and in fact all the LED's on the CL12 would go out. After just a second or two, it would come back alive. It even seemed (perhaps my imagination) to happen after walking across the room and getting just within a couple feet of the 688/CL12, without me actually touching them. Although I suppose there may be other reasons. I was feeding 2 cameras with the 10p Hirose outs and a third camera with the XLR outs and the "B-mini plug jack return", so I suppose it's possible the cameramen may also have had static issues that, going down the lines, may have triggered the message and disconnect of the CL12. Also all the cameras were using AC power supplies, however I was running off of an NP1 battery. Anyone had any similar experiences or care to comment. I'm a bit concerned about if this had happened during a take, which fortunately it did not. Tom
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