aristotle_kumpis

Does anyone know how to setup the UCR211 to be used with the UM400 transmitter?

My UCR211 recently started to do this also. I can only use it when the pilot tone is bypassed. Does anyone know why it's doing this?

Of course the mic would be for a host, and not for me to use. I was just curious to what people are using out there. I've also seen stick mics with the transmitter already built in, so there is no need for a plug. Anyone have experience using those?

What is a great stick mic to use for interviews? I want something that sounds great, but I also don't want to have to put the mic close to the guest. Think of red carpet style interviews. I currently have the EV RE50B and the Sennheiser 835, which are okay. Any recommendations?

We will miss you Gene. What a fantastic legacy he leaves.

You won't need anything more than a 16 GB card. The 552 only records 2-tracks. I can get over 14 hours of recording at 24 bit/48k on a 16GB card. I recommend you get the Sandisk Extreme. This is what SD has recommended. It works great.

I have a carabiner clipped onto one of the loopholes on the shoulder on my Versaflex harness. I took a zip tie and made a small loop through the top of the boompole where the cable comes out. Now, I can hang my boompole on my harness, and it's out of the way. Works great.

It's a must on big reality TV series. On these shows, you generally can't slate so you have to make sure the cameras have a lockit box. Time code doesn't exist for those who do not understand it!

You can always purchase it and try placing it in a cooler for several hours! If it fails, return it. The better question is, would you be able to survive the -20 degree weather?

So, does this mean they wear two transmitters?

I've seen some news anchor people wearing two lavs next to each other. For example, Piers Morgan wears two lavs. What is the reasoning behind it?

Most likely not. The Mackie control surfaces are programmed to work with certain software programs.

I purchased a Pelican 1650 case. I have traveled around the US and out of the country, and most of my stuff fits in there. It only holds a 9ft boom pole though. Other than that, it works well. I check it in of course, which costs about $100. Make sure the production company pays for that!

That happened to me earlier this year as well. After a few days, it started working again. But then a few weeks later, it finally died. The production bought me a new one.

I used the Dr-680 for about a year. It's a great unit. But powering it is a challenge. I bought 4 of these batteries to power the unit. I bought mine from a US dealer, so search around to see if you can find one. But each one of these batteries last about 5-7 hours with the DR-680, if you leave the unit on all day. The downfall is that there is no fast charger and it takes 10 hours to charge each! So I picked up 4 that way I can cycle through them day by day. The connection fits, and it's an inexpensive solution. http://www.ebay.com/itm/DC12V-6800mAh-US-Plug-Super-Rechargeable-Li-ion-Battery-/140611700198?pt=US_Batteries&hash=item20bd1c45e6

Hey Sdog. Are you by chance trying to find a battery system for the Tascam DR-680?

Richard, you get the strangest interviews! Too funny.

I have a friend that uses this scanner when he is on jobs that involve lots of wireless. It's pretty useful. http://www.ttinst.co.uk/products-tti/rf/spectrum-analyzer.htm

Here's what I am using: https://www.musicproinsurance.com/Default.aspx I've never filed a claim with them yet. But it's pretty affordable, and they cover your gear if you travel outside the U.S.

I just finished up on a shoot for 14 days in the Caribbean. It was extremely humid and their RED camera died twelve days into the shoot. They had to keep it in a cooler a lot of the times. Talk about slowing production down.

If the football field was near a busy road, I'd talk to the production about having it inside.

Thanks Jeff. I should have been more specific. I meant 2-track mix as opposed to stereo mix.

With being in production sound for only two years, I've been trying to figure out the whole stereo mix and ISO part of our business. I work on a lot of indie films, but also television as well. The majority of the clients just want ISO tracks. They don't care about a stereo mix. When I mix for television, I'm sending a stereo mix to the camera. But I do sometimes record a stereo mix just in case. Of all the articles I read, it sounds like sound mixers are mixing to a stereo track and using ISO's for backup. Maybe it's because it's a bigger budget production and that's what the production requests. Is the stereo track just for dailies? Doesn't post production mix our ISO tracks instead of a stereo mix? Thanks!

Hey Rob. The movie came out in 2001, and it was not wide screen format.

I just watched Spreading Ground with Dennis Hopper. I could not believe this one, but there was a scene that was shot wide. And as Dennis leaves the the frame, you can see the entire boom pole and mic on the top of the frame! You can even see the boom op moving it back and forth. This is not a sound department issue (or is it), more of an editing issue. But I can't understand why the editor left that in. Crazy.