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David Waelder

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About David Waelder

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    Hero Member
  • Birthday January 1

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  • Location
    Los Angeles
  • About
    Production Mixer
  • Interested in Sound for Picture

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  1. If the situation is a controlled fire operated by a special effects technician, you should contact that person beforehand to introduce yourself and let him know that you'll be recording sound. You'll want to respectfully request a silencer for the gas line. A silencer is basically a length of gas pipe loosely stuffed with steel wool. It cuts down the hiss of the gas significantly. Don't assume that the EFX person will have that sort of gear on the truck. I've had EFX technicians tell me more than once that they have line silencing components back in their shop and would have brought them along
  2. It's really an impossible choice; you would want to be prepared with at least one of each type on any assignment. But it's often possible to get excellent results with professional gear even using it outside its normal comfort zone. All The President's Men was recorded almost entirely with a Sennheiser 805/815 shotgun, even the interior scenes. Chris McLaughlin preferred the long shotgun and Jim Webb often deferred to his boom operator in microphone choice. David
  3. Try Jeff Jones: ****** Road Ann Arbor, MI 48103 jeff@amazingaudio.com 734-761-1920 (landline) 734-216-7740 (cell) Jeff was a regular Chinhda client over a period of several years. I think much of his business has been for the auto industry. From many interactions,I believe he is operating at a high professional level. David
  4. I previously recommended acquiring a Noga arm, or a knock-off, for rigging microphones in cars. The inexpensive knock-offs that were previously available on Ebay are now relegated to listings as "magic arms." This is entirely right and proper. Since then, I received a promotional piece for a very similar "Articulating Arm" from Adorama for only $20: https://www.adorama.com/fpxar06.html In general I think that buying from Adorama is better than wandering into the den of thieves that sometimes operates in a corner of Ebay. Still, I am reminded of the interchan
  5. I expect you are aware but, just in case- That boom operator box is used with a hard wire boom connection and you'll need a few other components to make it functional: 1. You'll need a recorder and/or mixing panel that can feed audio to a second set of headphones. (The Audio operator - mixer? - monitors through the first set.) 2. You'll need a short breakout or pigtail cable to receive the microphone signal and feed headphone signal. 3. You'll need a "duplex" cable to run between your recorder (& breakout cable) and your boom operator. The dup
  6. I would be happy to make such a post but, regrettably, I don't have that skill or knowledge. David
  7. We're in a more complex environment today than what was prevalent when we both were starting out but there have long been recognizable brands commonly found on sets. It's never a comfortable situation when a component acts up but it can be very uncomfortable if you are using something not recognized as professional. If you are odd-man-out, people who have no real knowledge of the subject can be quick to volunteer that they have never seen anyone else using that particular item on a set. I don't think this is an argument to deter people from trying new technology. The kind of innova
  8. You probably already know this but, for the benefit of readers less familiar with the Nagra, it's important to note that, for best performance, the recorder needed to be biased for the particular tape used. The various tape formulations (3M 908, Quantegy 480, etc.) can't be interchanged at will. The machine needs to be adjusted for each tape. This applies to recording; I don't think there is any problem with playback from different tapes. David
  9. Except for a few specific exceptions, as noted above, the brand names of your gear are not likely to have any influence on whether you are hired. If the issue comes up at all, and you don't have to socially distance, you can watch the eyes of the producer/production manager glaze over in a matter of seconds. However, if something were to go wrong, you would be in an uncomfortable position if you were using something non-standard. David
  10. The Ebay listings under "Noga" now appear authentic. I guess the Noga people cracked down. (As they have every right) You'll have to be more creative in your search terms to find the Knock-offs. (Or pay for the authentic product.) But I think you really do want a Noga-style product. That design locks flexible joints at both ends with a single lever making a rigid support
  11. You'll need some sort of bendable arm that can be attached to the car to hold your microphone in an advantageous position. (Sorry I didn't mention that.) The Noga arm is frequently used for this. Authentic Noga arms, available from places like Film Tools, are a bit expensive. Knock-offs found on Ebay seem to work well. You'll also need a clamp on one end to affix the arm to the car. Clamps are often offered by the same Ebay vendors selling faux Noga arms. Weathertek (and others) sell forms to hold your cell phone that fit into a cup-holder. I would buy one of those and
  12. If you are going to use a shotgun microphone (and I think Paul's suggestion of a head worn mike is a good one), you would want to position it on the transmission tunnel pointed up at your mouth. From that position, it would be shielded from road noise by the doors and frame of the car and aimed at the headliner of your car's roof. That would give you better isolation from road noise than up in the visor area. If you try a lavalier, rather than taping it to your cheek, I would tape it to the middle of your forehead, just at the hairline. That should give results very similar to what
  13. That is a very sweet ride. I had a '73 B-GT for fourteen years. I bought it new in Boston (Waltham), drove it west in 1978 and finally replaced it in 1987. It was one of the last years with dual SU carburetors and I still have the Unisyn in my tool kit. David
  14. It is an affliction; I'd probably be a rich man if it weren't for the cars. But I'm happy in the grips of my disease and a member of the Southern California Alfa Romeo Club, often referred to as a drinking club with a car problem. I acquired Orsini, the 1991 Spider Veloce pictured here, in 2015. I am the third owner. Ron, from South Carolina, used it as his daily driver and put nearly 100,000 miles on it over ten years. Andy acquired it then, drove it up to Long Island, and used it for pleasure. He added just over 10,000 miles, rebuilt the transmission, replaced the top and rebuilt the susp
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