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About SoundDude

  • Birthday 01/01/1

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  1. Our local supplier shipped two Micon1 replacements days after, begrudgingly. One was a jammed rotating connector on the Sennheiser end and come to think of it, the one that broke a wire on the mic-end connection also had a too-tight rotating cuff. The two replacements spin freely and I have used the wrench to make 'quite solid but not overtightened' (as per their directions). I'm a little worried, to be honest. I'm going to have to keep this in mind whether to keep the two microphones and many accessories that we just purchased not even two full work weeks ago. Tangent / O.T.: I do like the sound of the mics. I did a side by side comparison between: Sennheiser ME2, MKE3, Rode Lav, and DPA (I think it's a 4060).
  2. Thanks, Ninjafredden. Yeah we lav everything and I boom when I can / when I know I'll be able to pick up usable stuff. Situations here are usually walk n talks and they do a fair amount of industrial stuff on-site and in those situations I'm not too surprised with metal/concrete around but I'm always within sightlines of the subjects. Distance varies but I'd say I've experienced issues past 50' or so. Thanks for the heads-up about the scanner. I've just been using the onboard and they have a G3 and a G2 and the two aren't as easily used in that aspect. Currently using Rode Lavaliers and I'm pretty happy with the sound. Not so happy with the connectors. Two broke yesterday in one day of use.
  3. Reporting: one day on the job and down one Micon-1 Connector. I thought these were a nice design/good idea to be able to simply swap out connectors for applications but... when I was twisting off the Sennheiser connector it twisted off the connector end and snapped the tiny solder point wire. Very dangerous to happen in the field. Have to say I may ship back my two full sets (wires, accessories, various connectors) based on this experience while recording on a plane today for a corporate CEO interview. Luckily, yes, I had another connector. Jeff
  4. Wow that's fantastic! A+ analogy! What I had told them was "I'm your audio person and you've asked me to put together an audio gear list. You just spent nearly 20k on lighting and this is the other part of that system so if you want to continue using the gear you bought to get you started even though you're in this 10 years now after telling me you brought me on to bring your projects to the next level, I don't mind charging you my hourly rate to fix up the audio I couldn't capture better on set... or we can spend now, recoup this in your client charges, and spend less time in the end on audio and have gear that will hold up better over time, thereby reducing your overall spend." Good thing I know the owner well enough to poke. ME-66. Check. My first recommendation was: gotta ditch these. Thus, the search. Long shotgun was basically for those environments where I can't get in the shot due to two cameras / walk n talks. YES, the subjects are ALWAYS wired, forgot to mention that. So, relax and let the wires do the 'legwork' for me? Wireless -- yes, sorry for omission. Senn G3 evo set. I haven't been super happy with them so was asking on another board about coverage/whether to try getting external antennae (though I'm usually standing holding a boom with strapped on Zoom H6 mixer [I know...I know...] and the two wireless pack receivers and still trying to knob-fiddle). THUMBS-UP to skills and experience. Absolutely. I do alright in the post and in-studio world after nearly 20 years and having to try to get my brain around location gear and audio now. No time for practice hahaha because they're booked fairly solid in summer season here where we only have 12 good weeks Thanks - appreciate all the response time! Jeff
  5. Thanks - I have since received some great responses on another thread that included discussions about wireless units as well.
  6. Wow thank you all very much for the responses. I had not received email notification of them so missed out until now. Taking time to review!
  7. Hey folks, I come from a post environment and have little on-set experience so my wireless experience is limited. I've transitioned to working as overall sound guy for a video prod. co. (small form / doc / corporate) and they use Senn G2/G3 equipment for transmission. I've been experiencing a fair amount of RF interference and drops (it's a small Canadian city so not too clogged). Am I correct that something like Lectrosonics operates with more power? I just came from a couple years working at a live theatre house that also used G3's. I'll admit I'm mostly a wireless neophyte. Can anyone point me to some reading or links? The folks here have already said they can't afford a full set of Lectrosonics and I suppose I could look into an antenna system for the receivers but typically in the field it's a mixer and receivers strapped to yours truly on walk'n'talk type things. Thanks, gurus! Jeff
  8. Thanks, folks! And yes... here in the Canadian prairies... wind is definitely not our friend. Thanks, Marc, for the suggestion about package/finding used. Minister - yeah in my listenings I did prefer the Rode over 416 but I guess I also have to think 'about it in the mix and making the dialogue come through' -Jeff
  9. Hi folks; I was told I had a budget of around $5k for some new gear at the video production company I'm now at as audio guy and video assistant editor. So I know it's everyone's favourite question in boom mic land, but I'll phrase it differently Currently they're using Sennheiser ME66 and ME2 boom/lavs and when I priced out some Sanken COS-11 and Rode Lav wires and a complete package Senn 8070 (with grip, blimp, and rycote total of over $3k), the answer I received was "You wanna spend HOW much on one microphone?!?! You're crazy! What's wrong with using lavs, we already have a boom mic!" So: in order to keep with a 21mm/22mm mic shockmount and zeppelin rig (which will make them happy by keeping cost down), I'm looking for bang for buck and was maybe entertaining idea of Shure VP89 short and long capsule. Ideally, I'd go with Schoeps CMC6/MK41 for interior sit down interviews but my concern for these folks is the outdoor location shoots (it's 'corporate video' etc and sometimes can be in factory/mining/manufacturing/outside in windy prairie fields) so if I have to use the ME66 indoors, I shall. I know I can't serve both needs equally (indoor sit-down and possible distance-shot location with desired rejection) but which mics would you suggest I look at for the sub- $1200 ish range? I haven't been in location audio for awhile (mainly a post guy who polishes it later) so the go-to's for me used to be Senn 416, Neumann 81 / 82. I've recently been reading about Rode NTG-3 and the Shure VP89 series. Cheers! Jeff
  10. Thanks for the reply, Mark. Yes, the 'safest bet' is the standard of 30/48. Who's to say which is 'best'. It is the post crew that has to deal with whatever format and ensure it is in sync with the picture at that stage. But how many times is post known about / do they have opportunity to talk before cameras and sound roll? (insert single cricket here) I just know that if my post projects are going to see a certain workflow, if it's all the same to the local sound mixers I deal with and the post sup... I'd prefer the lesser amount of headaches as would everyone, correct? Thanks for the input.
  11. I didn't see a smiley or anything to indicate humour/ribbing there and since I'm new to the board ... I'll edit my reply so as not to draw fire since I am a new user and nobody here yet knows my humour. And respectfully withold my comment and just say "Thank you, sir." Jeff
  12. Thanks, Mark. Do you have thoughts on film-based feature shoots? (you specified digital camera / 23.98 in your reply) And 48048 29.97??? I'll bet the post crews were happy with those two differences. Jeff. p.s. thanks for the link
  13. I know...consider myself spanked. I was hoping for a quick response--and I got it. Thanks, folks. I was more interested in hearing what people are using in the field for features, these days (if there was any change from the ol' standby) though it sounds like "it depends." --or also if there had been any requests to location mixers from post audio to run at a different rate. In the end, I suppose, "doesn't matter" somewhat applies--as long as location mixing is, yes, "at film speed" 30 or 24. The editorial EDL will still reference those location codes and post editorial just has to find the combination to put it in sync with workdub showcode. Jeff p.s. Yes I'm familiar with the process (pulldown from tape or files).
  14. Greetings, everyone. Been doing some posting and reading over on the gearslutz and the members suggested coming here to ask the working location sound mixers. I'm a post-production editor and mixer and we recently had a feature come in that was shot on film, edited in Final Cut 23.98, audio post is 23.98 matching a 23.98 work dub and we had a heck of a time assembling original location sound from the EDLs which came in, of course, at 23.98. Well location sound was recorded at 30fps, 48kHz. I've worked on features before but have spent the past few years in television and last time I assembled any location sound was from DAT / tape , pilot tone, etc. Haha. So, in the end, it was discovered that even through manual loading of a handful of takes from various reels--the timecodes weren't matching up and I asked for a 30ndf EDL to be delivered. I had to run TITAN for a 30ndf source to a 29.97ndf destination, then switch Pro Tools to 23.98 to achieve correct 'showcode' placement. (and it appears at some point there was a reverse telecine at some point to add to the voodoo) Which leads to my question: For those working on features (film shoot) these days, is 30ndf/48k still traditionally being used by the location mixers? (aside: my features have all been file-based location sound the past number of years, not that it 'really' matters since settings are settings.) Because I just found out (unfortunately, a week too late) that my next feature just began shooting and will also edit in 23.98. It, too, is a film shoot and location mixer is using 30ndf 48k. The end post workflow format is already known so I was just going to ask him to record audio at 23.98 48k and all picture cut and audio EDL timecodes should match smoothly. Not often do location mixers know what's going to happen in post, so this is why I'm asking what people are using these days? With a lot of shoots happening on digital these days I can assume there is some 23.98 recording. But for a typical film shoot? Everything is pretty much going HD in the picture edit stage and with telecine, etc. 23.98 should be the way to go in post, anyway. Someone else I was talking to thought 24fps field recording might work, to match camera and stay in 'film speed', then with telecine things would be correct? Or perhaps 23.98 with a 48.048kHz? Thoughts/input greatly appreciated. Thanks. Jeff
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