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About Conor

  • Birthday 04/03/1993

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  • Location
    South Africa
  • About
    Location Sound operator
    Rentals @ Stratosphere Sound
  • Interested in Sound for Picture

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  1. Not an issue when using size RG174 coax cable. In fact that has a smaller footprint than a quality locking minijack connector (which are also typically more expensive than BNC connectors). The goal was probably to integrate into the existing Tentacle market.
  2. You're probably going to need to send it in unfortunately. If the sand gets in too far then it needs to be disassembled. And you essentially have to tear down the entire machine to get inside to pot assembly. Here's a pic from the last time I had to do this procedure (albeit with a different pot). You can see how all of the pots have a very tightly fitted plastic cup around them to prevent matter from getting through to the PCB
  3. What hardware is this recorded with? Asymmetric = DC offset which can be removed with a highpass filter (even a 12db/oct from 30hz). Maybe the offset is throwing the autogain off into clipping on one side
  4. Not in situations where boom mobility is important, no. But on reality & doccie I've even seen mixers wrap foam padding on the bridge of headphones to more comfortably do this.
  5. Timecode. Reference audio track. Slate. I'm wondering how you would sync on a tone?
  6. Why do you think there may be phase cancellation? I also don't understand why you say: It sounds like you are confusing splitting with summing? The cable should work fine as described in your OP.
  7. Agreed, it's ridiculous. I got a similar response from the camera gearhouse they were renting the Komodo kit from. I work for one of the bigger sound gear rental companies in my city and we don't even keep up with all the new Red Lemos. It's really camera's responsibility at this point
  8. Did a short film with one a month ago and it was quiet. One of the more friendly Red cameras - watch out for the new 9-pin Lemo input for TC though.
  9. The problem with the MKE-2s specifically is that they contain 2 braided wires that are used to hold the shape & strengthen the lav cable. Which makes them tough but once they get kinked, it's game over. It's not the rubber shield/casing that's getting twisted & bent, so no amount of hanging/heating/drying/applying oils is going to remedy it. I've yet to find a solution
  10. Seems like odd logic, as the connector on the end of your BBI sidekick is likely of a similar cost price, as is the female jack on the Comtek. Connectors are cheap. You could have bought a bunch of them, or taken the sidekick somewhere to replace the TRS to a TS jack. Would you have felt better about a $100 gold-plated TS adapter?
  11. Lately I've been seeing this issue more frequently with the HM plugons: wear on the female XLR connector causing a bad contact problem when joining with the male XLR side. I'm sure it's a problem with the Neutrik connector and not a Lectro design flaw, and that careless operation/use of the HM makes the problem much more likely to happen (putting undue stress on the connector in the field). It just seems rather unfortunate that the repair route needs to be to replace the entire XLR assembly (a costly job), rather than replacing a simple connector. Wondering if anyone else has experienced this issue, and whether anyone had success with another method of repair?
  12. Thanks Jon. I'm definitely happy in my current position at the moment and will stick it out here for a while to come still. Regarding post work - if I've already invested in the Steinberg route with Nuendo/Cubase/Wavelab, would you say it's still absolutely necessary to become acquainted with ProTools as soon as possible? Doing some basic work with RX7 Standard at the moment, saving for the upgrades. Thank you so much, this all makes a lot of sense. I can definitely work on and immerse myself more in the fiscal concepts and tips you've mentioned.. You make a great point. Would you think it would make any sense for me to invest in starter level gear now? Or save over time and start with bigger purchases of pro level gear? I enjoy your YT channel btw!
  13. Greetings, denizens of JWSound Some background: (may be a bit long-winded but context is a good thing I hope) I'm a sound-engineering diploma graduate (not that the qualification really counts for much), aspiring to build a career in either location or post, though I know I'll likely end up focusing on one discipline and dabbling in the other. I don't have any post work experience, but have invested in basic home studio gear and software and am teaching myself in my spare time at home when I can (really just basics & personal/friends projects thus far). I started out after college in location sound, and was lucky enough to get onto a decent long-format drama gig as a boom op fairly quickly. The mixer I worked under was gracious enough to take me from pretty much 0 experience in location sound under his wing to becoming a half decent boom op by the end of the shoot. From there I worked mostly as a boom op for a while on various gigs gotten through word of mouth or people I met - tried agents but didn't have much luck getting work through them. Work dried up for a while and I wasn't able to sustain myself any more doing this, and got other work outside of the industry. Eventually I got a call about another big long-format gig and took that, was about 6 months. On this shoot I really cut my teeth as an audio utility as well as boom op, getting a bit more responsibility handling & applying lavs to the actors for the mixer in question, managing Tx/Rxs, so I learned quite a bit more on this job. However, after the job was over I struggled to find work again. I just didn't have the intimate knowledge of a lot of the gear required to take on work as a mixer and the competition for work as boom op / utility seemed quite high. Shortly after, I was lucky enough to get a job at a film sound rentals company/gearhouse, which is where I currently work. It's been an amazing job as we have all of the pro-level location sound gear and I'm able to familiarise myself with all of it - Lectro, SoundDevices, etc. I've gained an incredible amount of knowledge working here and working with and maintaining gear, networking with operatives, constructing big kits for reality shows, etc. I'm very grateful for my situation. But the caveat is obviously that I don't really get to work on set. And there's a wealth of on-set knowledge that I'm missing out on learning. I'm in a gearhouse working with gear for my 9-5. And I don't think that I want to be doing this forever. I'm just not sure how I should progress from this in the future. I guess the obvious choice is to use this time to save up to buy my own gear and then make the jump to freelance when the time feels "right"? I would just like to know if anyone has advice on what they would do / would have done at this point in their careers. One idea I have had is to ask my superiors if they might let me loan equipment over nights/weekends to volunteer on student shoots or something like that. That way I'd at least get to practice workflow and acclimatise more to actually operating and being on set. I apologise if this is a bit long-winded, but I'd highly appreciate any advice or input. I guess ultimately I'm a bit tentative about making the jump to working freelance as I've struggled to get consistent work in that position in the past (though I did have much less experience), and if you don't work, you don't eat. And I have a level of job security now which is hard to justify leaving. Cheers in advance for any advice
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