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Ken Goodwin

Members
  • Content Count

    11
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About Ken Goodwin

  • Rank
    Member
  • Birthday February 5

Contact Methods

  • Website URL
    https://www.linkedin.com/in/kennethgoodwin/

Profile Information

  • Location
    New York City
  • Interests
    Run & Gun ENG, Features, Interviews, Commercials, Documentaries, and Playback. I am an Intercom and Wireless Nerd and I also collect working vintage microphones.
  • About
    20 years in Live Sound and Theatre.
  • Interested in Sound for Picture
    Yes

Recent Profile Visitors

199 profile views
  1. Besides the differences in power-transmission....Don't most 2.4 GHz systems float among a couple channels "Auto-Frequency Management"? Chances are they are constantly scanning, finding each other, and re-scanning, re-finding each other, and re-scanning.... Like two scared cats circling a house in the night. Not to mention all of the other wifi sources and 2.4GHz users on set. Therefore, Unless you can lock a channel permanently to your transmitter in a manual mode. I suggest staying away from using multiple manufactures.
  2. Hey folks with Schoeps CMC6/MK41 , Debating between getting a Cosi CMC 6 Windshield Kit ($526.50) or a Cinela OSIX 2 Suspension Mount w/ Leonard Ball Windshield Kit ($466.06). Since the COSI fur cannot be removed, I feel the the latter kit might be more versatile. Are you all finding that you prefer one over the other? I have an outdoors interview on a rooftop in the city coming up but both should be able to handle 10mph winds or greater. Thanks, ~Ken
  3. He was fabulous in Get On Up as well. What a loss : (
  4. I edit in Logic Pro X and have developed the following workflow if I am recording a highly dynamic or unpredictable source in 32-bit float: 1) Recording the 32bit poly WAV file on my MixPre and import the files on my mac laptop. 2) Split the 32bit poly WAV file in a free software called AudioMove (since Wave Agent will not split 32bit files currently) 3) Import the files into iZotope RX 7 Elements and adjust the clip gain or peak normalize and save as new files. 4) Import the normalized files into Logic Pro X which automatically converts them to 24bit and edit. iZotope RX 7 Ele
  5. Connect the MCR54 to your computer and use it to connect to the Wisycom TX Manager software. The Tuning Groups are user programmable and the Group/Ch List is probably not mapped to what your MTP40s have saved.
  6. What are your thoughts on these proposals? Personally, I'm not a fan of "French Hours" because I feel it gets abused and all departments end up with different length meal-breaks. But I sure as heck wish a 40hr work week was a living wage for all crew members and I'm sure we all have had stress due to lack of at-home time with family, friends, and significant others. https://www.currentaffairs.org/2020/07/its-time-for-a-new-labor-movement-in-the-performing-arts?fbclid=IwAR0HliXHnBYwAvAVLdnx-j2Zpb0ryCQpdoA75Q_lKaJnPzVNiK85GJcsV3M
  7. A double 8030/30 blumlein would be an amazing tool.
  8. So it seems the general consensus is: 1) - That a beginner should not take out a loan for a full kit, even when we aren’t in a pandemic. 2) - That a beginner should rent full professional recording kits and slowly purchase pieces of your main equipment kit to reduce the rental cost over time (assuming that you can rent pieces in your area). 3) - A budget of $10K is minimum cost but it either is going to get you used gear and/or mid level to cheap gear, but you still will need to rent to complete a full kit. 4) - That a minimum kit consists of: —6x channel mixer
  9. I have a MKH418s because it's useful for when I just want to carry one mic around the city. I agree with kavenzmann's earlier post about the faults of the mic, they don't bother me too much when spot recording city sound effects like vehicles, construction, traffic, etc. I have also noticed that the side is not very forgiving to wind noise in a rycote windjammer as I have been recording every thunderstorm outside my window on my fire-escape this pandemic. But I wouldn't use the 418s for very quiet ambiences. Spaced Omni and ORTF rule the world of recording quiet ambiences. I wish that S
  10. Thanks All, I’m not worried right now about jumping overboard by purchasing tons of gear (especially with the pandemic and income losses). I already own a small bag recorder and wired mics and I definitely plan on asking to shadow local mixers (when safe) before making any significant purchases or career change. But I don’t understand what the industry labels the “standard” or “basic” kit. Which, depending on who you ask or what old job posting I have read online, is one of two options. And they cost very very different. It seems that the standard package is
  11. Hello Folks, This is my first post on JW Sound. Not using brand names, what essential equipment do you feel a beginner location sound person needs to own or rent for most jobs that pop up last minute? -How many channels does your mixer/recorder need to accept most jobs? -How many channels of wireless? -How many shotgun mics or indoor mics do you keep on hand? -How long is your first boom-pole? Do you start with two? Do you also keep stands? -Timecode, Slates, IFB, Camera Hops, ENG Breakaway cables? I know that many folks started with just
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