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Ken Goodwin

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About Ken Goodwin

  • Birthday February 5

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  • 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

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  1. FYI @BAB414. Here is a photo from a DPA demo that took place at the Piano Salon in the Yamaha Artist Services Center in NYC. This was the premiere of their 6060 series but they also took the opportunity to compare a few different mic placements with DPA 4099s, 4022s, and 4061s.
  2. Just to head off the inauguration questions at the pass: Custom Microphone Painting: ColorWare.com Custom Microphone Painting and Crystals: CrystalRocked.com Custom Microphone Painting and Phantom Powered Grill Glow Lighting: MutantMics.com Custom XLR spray painting in a stiff 30degree wind: Your poor poor sound utility.
  3. The FVB.00.303.NLAE24 is a screw-on connector. The rest of the B series is push-pull, but the FVB was developed as a screw coupling. The contacts themselves are solder cup. The DPE.99.123.1K crimps the ferrule onto the wire and then the DCL.91.516.5TK tool tightens down the notched nut. The GMF.00.018.DN is the bend relief that is sold separately. ~K
  4. 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.
  5. 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
  6. He was fabulous in Get On Up as well. What a loss : (
  7. 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 Elements retails for $129, but they have sales all the time and I think i bought it for $30. If I am recording stereo or mid-side I make it a point to edit the file gain exactly the same way on both mono files. (I should also say that I love 32bit recording for things like thunder and wind gusts. Explosions, like a gunshot for example, are usually repetitive and predictable so a good limiter can make a 24bit recording sound great after a few test shots. But a blustery hurricane with wild wind gusts or really rumbly thunder can cause your limiter to pump and ruin a 24bit recording. It's not like I can politely ask the thunderstorm to turn around and come back for a second take. )
  8. 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.
  9. 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
  10. A double 8030/30 blumlein would be an amazing tool.
  11. 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 —headphones —2-4x wireless transmitters depending on if you are ENG or —2x shotgun mics (maybe another 2 indoor supercardioid mics) with wind protection. —2x boom poles, (9ft & 15ft are the most popular) —2-3x timecode boxes —1x timecode slate, —4x IFB, (i’m guessing, a number wasn’t mentioned) —1x camera-hop, —wireless accessories (tape, mounts, straps) —media cards and backups —all the adapters & cables —All the batteries and chargers.
  12. 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 Sennheiser would make a 5pin MZX 8030 series module that would allow you to screw on different Mid capsules rather than using the MKH30 strapped to a MKH8040, 8050, or 8060. (Sennheiser, if your on here and take my idea, I want a t-shirt)
  13. 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 either: (A) - a 4-channel mixer/recorder, one boom mic, 2 Wireless, and Timecode (maybe w/Slate) (B) - a 6-channel mixer/recorder, two boom mics, 2-4 wireless, 4x IFBs, and TimeCode w/ Slate. Now, I’m new here, but am I missing something? Obviously the sound mixer will charge the client very differently for each kit version, but the difference in value between the two kits is a lot of money. And for someone who is a beginner, or early career, or burdened with other debt, even $7K is a big figure to look at, let alone, $10K or $25K. So on average, what are the sort of low-level jobs that pop up last minute and what gear do those folks actually need? Is it something closer to kit “A” or kit “B” ? Thanks for your replies, ~Ken @drpro, could you explain what GAS is? I'm assuming you aren't talking about fuel for your car. Is it a specific type of lease?
  14. 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 a boom plugged into a handheld recorder and can rent additional gear when necessary, but it seems expectations have risen. By my calculations, even a kit with 2-channels of UHF wireless and two wired mics can cost around $10K. A kit with 4-channels of UHF wireless, IFB, and camera hops can quickly reach $25K. Depending on the kit and your hustle, you could theoretically make up the purchase cost within a year. -So my last two questions are, how many of you feel it is necessary to take out a small loan to start in the business and is it worth it just to apply to those last minute jobs that require a "standard" inventory package? Thanks, ~Ken
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