TVPostSound

I agree, NFL Films care just as much about sound as picture. A lesson for other "directors"!!

It will once you insert this! https://www.zoro.com/static/cms/product/full/Z_s1qumcpIx_.JPG

That would be the safest way. As a headphone jack is open on the inside, you will be able to push it out. Bonne chance!

https://www.ebay.com/itm/Sound-Devices-MP-1-Production-Sound-Studio-Microphone-Preamp/202723404810?hash=item2f3341ac0a:g:MwwAAOSwFalc9bUH

Resurecting an old thread, or should I say modernizing an old thread. Received an email from CEntrance about the new MicPort Pro 2, this one has more gain, will connect to an iPhone/iPad/iPod, and has an analog limiter built in. Shipping now! $279 for the model with limiter, and a $30 off coupon, free shipping, no taxes. I ordered on yesterday. Will see how it sounds!!!

Thanks for following up, there have been more issues a Ive been going through the season. Some interviews needing 30dB gain just to be in range, some LAVs so muffled like over compression, that the echoey boom with Izotope de reverb had to make due. I looked at the credits sheet and found the "Interview mixer" , IMDB'd him, and noticed only PA credits!!! Wrote to the Audio Supervisor, and pretty much threatened his never coming back to one of our shows, if he didn't "supervise" the interviews, or ever had that person working on sound!!! The perks of being the in house re-recording mixer!!!!

But yet TF recommends them for an orchestra!!! Also as a spot mic for soloists!! Reading between the lines, the TF5 spec does NOT state max SPL, only Input SPL @ 1% THD 120 dB SPL (1kHz @ 1% THD, 600Ω load)

I was referring to the recording position. And TF mics. Were going off on a tangent. Remember unlike a bull the horns are in the back and the ___is in the front!!!

Unless you're spot mic'ing a Trombone, an orchestra wont exceed 100dB.

You're taking this out of context. This is standard procedure for vendors, people that supply goods. They can't hold individual service payments for 90 days!!!

Funny you say that. The issue as I figured it out is abuse of limiter function. As proven. A radio system in a sit down interview is one more thing to go wrong. There is no need to use a compressor or limiter in an interview. Well maybe a limiter to keep it from slamming the top, but NO compressor. Thats MY job in post!! Todays "reality" mixer can't even drop a boom just above framing, and reality interviews are framed tightly.

To be fair, the question had no reasoning. So call here: (818) 985-9204 Are you on the CSATF roster? Until you are, the 695 won't talk to you!!

Don't join the Union until you're offered work. Go to CSATF.org get on the experience roster. Being rosterized is as good as being in the Union. Because at that point, its just about paying $$ to the local. (I paid $3200 to the 700, and I was in the moment I signed a check.) Find a union gig . You can work 30 (work) days before needing to join, then you can pony up the $3K or so initiation, and $50 a month or so fees.. FIY, The local WONT find you work, you could be on an available list, but its all about networking.

No they use the same wireless on interviews as they are post competition interviews. Why run wireless for interviews, whats the advantage, I see none.

Thanks I understand they are using COS11 wireless (why on earth wireless in a sit down interview?) Most likely illegal blocks. SD 788, I downloaded the stick to see if it was the file. 2 Lavs and boom only, don't even ask me about using the boom!!! Lav Levels are 15 to 20dB low. Boom sounds like its 10 feet away in a warehouse. EDIT: Just found out, its the AC mixing the interviews (AAAARRRGGGHHH)