Zack

Ya, I know you guys are right.... Guess I'll have to find a good used one.

Lot's of used Sound Devices 442's around

Eric

That's been going around in my head so far tonight....... arg $$$$$$

Had a situation today with input gain overloading during shooting using the same mic (hard lined) to my ProMix6.  Input level was set to "C", which according to the manual is a condenser mic input level.  This particular scene was a very loud dramatic part between three characters, two of which were screaming at full capacity.  I was experiencing input clipping no matter how high from the performance I could reach.... it's was just impossible to get a tolerable signal while trying to keep the proximity close to the mic to match the camera.

I used a separate Deneke 48v device for powering the AT4073a on the second take, and still experienced the over modulated input issues.  A third attempt I set the mic input level to line, which stopped the input clipping of the mic, but at that point the s/n ratio seems too low that the quiet sections just vanished once the loud parts were over.

So now I'm trying to get an opinion about how to handle or resolve this for the future.  Would having a PAD option on my mixer helped/solved the issue?  If so, maybe I would be better using a separate pre-amp like an MM1?  Am I using the wrong type of microphone for the situation?  I didn't get time to wire up the actors for this scene and opted not to due to the physical nature of the scene and risk Tx's getting into the shot with the limited time left to shoot.  .... I'm a bit discouraged today that I couldn't really come out with a solid piece of sound from this scene I was happy with.

I like the red color Zack, unique.  LSC still carries the "trim" to go around the top shelves, they call it "cart trim."

Give Dave a call in the parts department and ask him, if you're interested, he knows everything in the world about "parts."

Nice cart,

RVD

Thanks RVD, I'll be sure to ask about the trim next time I'm there.  I thought I would be able to find that trim at an auto shop, but failed .

pictures please Zack!!

Call me a dinosaur, but for years sound has travelled by cable to a mixing panel, and now all of a sudden the sound crew has become slow and ineffective and according to Mr. Sharman that's due to the current state of the industry.

RVD

Kind of reminds me of telephones to cell phones.  It seems to be in our nature to go faster, faster, easier, easier, and just sacrifice quality lol. 

Ok, it's my fault for bringing up the off topic... sorry to all, I was just being coy.  Please continue with this discussion, since I'm very curious why using wireless boom is "supposedly" bad?

I have been using it quite a bit with my current shoot, mostly because using a cable would be impossible... (like a lake separating myself from my boom op kind of scenarios).  Some of our locations have been just so outdoorsy wild terrain that dragging my cable around in the mud and snow just seems ridiculous.  Every day after wrap I go over many of the dialog recorded and really don't notice artifacts..... maybe I just have my gain locked in very well and have a terrific boom op that is doing a great job with mic placement.  I noticed the noise example from that link right away.  If I heard that with my set-up I would have totally got out the cable instead.  I've had the producers/directors telling me every other day that everything is sounding great... so I really have not developed a reason to be discouraged with this wireless boom practice yet.  Don't get me wrong, I usually run a line for boom, this is the first time it has been a bit exclusive for me though.  I guess I'll just have to learn the hard way some day.... ?

I am using the RED build 30, and I notice it's slightly noisier than the older versions when in "silent" mode, but still only a problem when in a quiet location and close to the actors.

I've noticed the same Robert, and it's mostly during these quieter "close to the actors" scenario I'm complaining about.  I'll bring up the fan settings to the AC tomorrow and see where they have things set.  I've been able to lower their defense grid with their camera over the last week to where they'll actually consider my input now lol.

Thanks

Yup... remove anything non-metal that you don't want coated, might want to think about reminding them about covering up any friction areas, like any axle holes for the wheels since the coating will slightly add to those dimensions.  Other than that, the sandblasting/cooking they'll do before coating pretty much prepares everything else for good results.  One thing to be sure and don't get any sort of textured finish...this will help ensure proper seating of parts on your reassemble and operation, a flat finish also helps weatherize it better than textured.

I recently refurbished an old beat up PSC cart I got from LSC in NoHo.  It went from and old beat up, tape covered, rust bucket, to a sexy, red hot rod of a sound cart.  I've been getting compliments from every set I've worked on since hehe..... good luck with yours

Zack,

What receiver are you using and do you have an antenna array?

Mark

I'm using a UCR411a, but no array.  I'm just being sure to be within operating distance from any RF issues.  Being up in the woods around 5-6k ft. has been giving me a lot of RF freedom .

I've been using my UM400a transmitter on my boom op for my current shoot and frankly I'm loving it.  Sounds great, no distortion issues at all during quiet or loud dialog.  I can see going cable if we were just in a single controlled location, but when on the move a lot, multiple locations throughout the day, and many different obstacles in the way, wireless has made my workflow a breeze with hardly any noticeable effect to sound quality; other than that noisy RED camera destroying my hard work

If you are referring to the 'cam' lever that controls the tilt of the basket, mine is also metal.

See here. In particular the first photo without the basket on. The cam lever is metal.

During some downtime today I took apart the locking latch to find that the pin is actually metal and tightening screw has metal threads, which is great.  My silver colored lever however is definitely plastic.... maybe there was a change in their production line some time ago?

If you're talking about the two small black spring loaded levers underneath the basket, the thread (both male & female) are actually metal and are very strong. I did some modifications to mine to shorten it for an overseas trip with Schoeps CCM M/S inside. These locking screws are very well made, as is the entire thing.

Before modifying it, I used it extensively with a Rode NT4 installed.

No I'm referring to the big latch lock used to position the angle of the basket and handle.  The tightening adjustment is plastic as is every other part I can see, no idea if there's any metal parts that are in between the handle itself.

PS: I believe I've seen your modded blimp and love what you did.  Thinking about getting another blimp to do the same, for similar "over seas" reasons.

Been using my Rode blimp for a year now, not a single problem.  Yes it's bigger (which actually worked out for me using my MS mic system inside it), and it's a bit heavier (wah wah.... get some exercise).  The only con I have with it so far is the plastic locking latch system, (still waiting for the day it strips out or breaks).

You won't be disappointed either way.  Currently I'm using 4x UM400a's (love their durability and fast/easy controls including swapping batteries.  For receivers I have 2x UCR411a's and 1x SRa.  The 411's are so rock solid, really love them, and the SRa which I'm using on a current shoot for the first time has been flawless so far as well.... no drop outs filming in the middle of Sacramento, CA all day with not many open frequencies.  I feel good with my investments so far

Just experienced same error with Build 30, glad I read this thread first since I was immediately able to tell them it wasn't me lol.  I have a comtek for scratch and a ACL302CT clock it on the RED, but everything is working well regardless.  RED was really hot during this error.  Heat casualty is my opinion.

I have always wanted to learn... I wish they had classes like this up in Nor Cal.

I second this.... where abouts in NorCal?

I think it's unfortunate that people don't want to work within the sound "crew" and truly learn the craft, before stepping in and saying I'm a mixer. I also think that crossing over from the "reality" genre to the world of feature film will be a difficult move. 

Well, I (being one of these folks that would love to work with the experienced first and learn from the bottom up as traditional as possible), could never get taken seriously to get those opportunities.  Being someone that is not a good friend of, relative of, or any other special acquaintance of an experienced sound mixer seems to have a very poor chance of gaining serious consideration to get a foot-in-the-door position.  I have tried so hard many of times, but always seemed to come up empty, until...... I just decided to cut my own path and learn from my own experiences the hard way.

To this day, I would love the opportunity to work as a sound utility for any of you working veteran's and learn more, but I can't wait around for that. I have to work, I have to learn, so therefore I will mix.

Since getting laid off of my full time work a few years ago, investing into the tools needed to be a good reliable sound mixer has been an ass saver for me.  It's been the best job I've ever had (seriously) and in most of my situations so far the highest paying jobs when you consider the income per time worked ratio.  I have had zero success trying to get back into the full time/part time minimum wage sector, and honestly I'de rather stick with what is starting to work with being my own boss (for the most part lol) and do what I love best... being a part of the big screen.  In a nutshell, sound mixing has been a blessing so far taking me around the world and making some great friendships with other successful people.  I'm in this for the long haul.....

Well I just received my SRa a few hours ago... attached the sled, did a scan and gave them a go.... amazing!  Very happy so far with the test I did.  Version I got was 1.9.  How long ago did you receive your 1.4 update?  .... PS: Block [22]

Well I'm getting my new SRa today and have 2 days to prep it and get used to it for a show....I sure hope I didn't get one from the same batch as you guys.  Now you got me worried.

I <3 lock-it boxes!

Figures some odd news of the very unit I just ordered today pops up lol.  Anyways...  so you're hearing this sound from the headphone monitor of the HVX?  If so, do you hear this same sound before the hop send... ie: the mixer?    If not, go back to the HVX maybe look up some of the audio settings... is there an auto gain control on?  Do you have your frequencies spaced out far enough between the channels (as noted in the manual)?  Is the same noise present when using an onboard mic on the HVX?  Are you able to A/B the SR unit with another receiver to see if there are any changes?  Finally, is this noise making it to tape... when you playback on your camera or in the editor, do you hear the same noise?

Not sure how much of the elimination process you have gone through so far, but if you're positive you have it isolated down to the SR unit itself, maybe contact lectro and speak with their tech support.

John, that's probably the best/easiest explanation I've heard so far...huge help tyvm.

The word akku is the short form and came from the Akkumulator (from lat. accumulator „collector“). Latin was spoken in italy at the time were julius Caesar was the man in charge. 

We use it in Germany.

For a long working day 10_12 hrs i need 2 of the L7S. The 744 needs more power even when the NPF charging is on.

The 442 is all so more hungry.

Greets Ralf

Interesting, thanks for sharing