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Rick Reineke

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About Rick Reineke

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    Hero Member
  • Birthday April 1

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    http://www.rraud.com

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  • Location
    Planet X
  • Interests
    Noiseless appliances, automobiles and aircraft
  • About
    HELP !...... I have been kidnapped by aliens, and taken to a place they refer to as their "beloved Planet X". These beings have left behind a replica of me... BEWARE OF THIS IMPOSTER !!!!
  • Interested in Sound for Picture
    Yes

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  1. Basically, a word clock prevents drift between two or more devices running together. Typically, a 'master' clock generates a stable signal which slave devices accurately sync to. TC alone does not prevent devices from drifting, especially a TC stamp, which is just a precise start time reference. A sync clock is usually not needed on a typical productions with normal duration takes. Search "Tri-Level sync" and "Genlock".
  2. I would expect some room sound with just about any mic at 5 feet from the source.
  3. Yes indeed there are other good options. I also work with bands as their system tech and FOH mixer, so I'm subjected to all kinds of crap cables. More times than not doing a line-check, a non-working cable is discovered to increase my grumpiness.
  4. I am partial to Canare cables. (L-4E6S Starquad for mics and the two-conductor L-2E5 mini for lines) It's velvety smooth, flexible and coils/uncoils easy...an absolute pleasure to work with. Rugged? I have some Canare cables I bought in 1990 that have been through all kinds of production hell. Less than $1 a foot for DIY termination.
  5. Not sure about the model/manufacturer, resembles a Shure SM-59 (a short-lived fancy version of the venerable SM-58) I do see three pins at the butt end, indicating a hard-wired XLR connection that is not plugged in. Probably from a music video which are almost all lip sync.
  6. i am not familiar with "sucking dialogue" ... at least in positive terms. The Sanken CS-3e is a multi-element shotgun mic, which has a tight pattern and performs well in both interior and exterior environments (in the hands of a skilled boom op or course).
  7. Rick Reineke

    Best Lavs?

    The Sennheiser ME2 that is usually included with the 100 series transmitters is considered sub par by most audio folks. It better than nothing though, and can be used as a back up when you upgrade. Search this forum for discussions on lav mics,. There is a wealth of info here to help you choose a mic within your budget. Many here prefer Sankens and DPAs. In the sub $200 range, the Countryman B3 and OST 801/802 come to mind. There is additional discussions and opinions on lavs over at the DVXUser audio forum.The DVX User audio section is frequented by audio pros, camera folks, ect. Addendum; the ME2 is not to be confused with the MKE 2 which is a highly regarded Sennheiser mic.
  8. Please be more specific. That's like asking, I do not like the car I have, what should I get to replace it. What do you not like about the 416, what attributes are you looking for and what is your budget?
  9. There is no SK100 receiver The EK100 is the portable receiver. Even with an hardware volume pot, the EK100 would not make a very good IFB receiver. Output is low.. at the max AF setting, it can only output a -10dB level line., which is somewhat anemic for low ohm HPs. The 3.5mm jack will only output sound to the left channel on standard stereo HPs as well. FWIW, the 100 series G2, 3, 4 Tx and Rx: EM 100 base station receiver EK 100 portable receiver ---------------------------------------------- SK 100 Body pack transmitter SKP 100 plug on transmitter (XLR) SKM 100 H/H mic/transmitter
  10. Most field recorders going back to the Nagra R-R did not have EQ settings (aside from a HPF). If you are dealing with video as well, the Vegas Pro video editor has a substantial DAW built in. btw, Vegas 1&2 were an audio only DAW when first published in 1999 by Sonic Foundry. Magix Vegas Pro 17 was just published about two weeks ago. Cockos' Reaper was inspired by the Vegas DAW, so there are many similarities.
  11. Yeah Mike, I recall the ECM-50 from my early ENG days. I do not think there was a 'lapel' (clothing mount) mic prior to it. I also recall it was only available in one color .. silver, and was powered by a 'n' cell battery. The news anchors really liked the sound of them. The '55' came in two colors, silver and black. (ECM-55b). My two remaining 55s can be powered by a AA or Phantom Power... and they still work.
  12. I used dynamics in the engine compartment and exhaust area. The Shure SM11 dynamic lav is small for tight spaces and can take high SPLs. Otherwise I've used Shure 57/58, EV 635 and Sennheiser MD421s. A lot of the low-end comes from the engine compartment. Air turbulence has to be dealt with of course.
  13. What microphone? For the G2,3,4 SK100 bodypack transmitter, and assuming the Red wire is (+) 'hot', it is connected to the 3.5mm TRS plug's TIP terminal. Assuming the Blue wire is for bias power, that would also be connected to the TIP terminal. The cable shield is connected to the SLEEVE/GROUND and the RING. To input an unbalanced -10dB line-level signal into the SP100 Tx (transmitter) from mixers and such, the (+) hot wire is connected to the RING terminal. The cable's shield is connected to the SLEEVE/GROUND and the TIP. btw, correct English audio tech terminology: the "Plug" is the male connector The "Jack" is the female connector on the Tx. (strange as it sounds, Jack is a female)
  14. Sorry to hear of your misfortune Eric. It was always a pleasure communicating with you on the phone and on-line. I wish you well.
  15. This month's (Aug) Pro Sound News has an interesting articular as well, "Woodstock 50: Back to the Tapes" on the remix and such from the original 8-track R-R tapes, which actually only had 6 tracks for music.Track 1: audience, track 8: camera sync tone (no TC back in those days). Eddie Kramer and Lee Osbourn recorded it backstage on Scully machines.. though there was another mono SR mix recorded off the FOH console, which was used occasionally when the multi-track was not usable or not rolling (tape changes).
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