Rick Reineke

Wouldn't having a person's location be helpful to other members? I would think so, especially in our trade. I suppose a member could leave it blank or N/A if they wanted to keep it private. Either way, thanks for your hard work on this site Jeff.

The question (sort of, and some of the same answers too) was posted a week of so ago on RAMPS, if anyone still looks over that way. https://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/9ce24e17fdf17a40?hl=en#

Depends on what kind of show and of course.. budget. Live or taped. Can an audience member be asked to wait for a boom op to get to his or her location or H/H runner mic. Obviously 'live' or 'live to tape', means more boom ops or runners with H/Hs. On the cheap, a few room mics can work too or a single strait stand isle mic for an audience question. Lots of options. For a 100 person audience a simple 2 or 4 speaker PA would do, preferably with a competent operator. How about the location? A quiet studio sound stage or a hotel ballroom with awful acoustics and a horrendous HVAC system... and.. adjacent to 7th Ave where they are jack-hammering. been there done that too.

In a typical ENG type scenario, Tram with the G2/3 body pack system, I set the transmitter's sensitivity to -20dB. Set the G2/3 receiver's 'AF' output level to -18 or -12dB for a mic level input . Set the mixer channel volume to 'Unity' (or 12 o'clock on a 302) Adj. the pre-amp gain for ample level and some headroom. Not exactly sure what you mean by the term "green gain".. The 'peak' reading meter on my SD mixer frequently goes into the yellow and sometimes red. Of course the mixer's limiter is engaged and I'm using a 0VU = -20dB reference level to feed a camera or other audio recording device.

Not to get off topic but I was in the cites, suburbs and rural areas back in '98... Awesome in what respect? The cheapness of life, if a person dies, no big deal, there's another three to take his or her place. The rural areas were mostly without the basic modern conveniences we're used to. Indoor plumbing and electricity for instance. Ground travel outside the cities was a white line nightmare, no road rules what so ever, except the biggest vehicle wins. .. oh yeah .. drivers license, not needed, you got a vehicle, your good to go. Maybe it's changed since I was there.

- I 'try' to charge the same as if it were for another person(s). - For a small bag 302 kit, I'll use a 620 or H2. ( tape-out > line-in )

"Don't forget that when they shoot 3D, you have double the fan noise -- double the cameras" -- and double the re-boots too probably.

I always liked the minidisc, but preferred the Sharp MD, (adi levels on the fly, ect.) hardly ever a problem. I generally used them for hazardous duty missions.... sending one down the rapids in a canoe, or close to a ballistics target ..not wanting to risk an expensive transmitter/\or recorder, always came back working and with usable audio. I wish the old DATs were that reliable. Long live the MD.

I hear ya Marc, I usually take a look at a camera's manual before hand, In my experience, Cam OPs not knowing how to access the audio menu settings is not just with the RED, I've encountered this more than once. PS I never did find a incremented level adj. just '0', +10dB ect., I don't think there is one... and the digital 'VU' meters.. strange.. even to an old-school guy like me. Oh yeah, forgot to mention , "hold roll" was a regular occurrence as the RED needed to be re-booted a few times a day.

Dropped OMF? What's the reasoning behind that? They never supported AAF either though? ( not to be confused with AIF) How's the audio going to get from FCP to PTs, Nuendo or or other post audio app. Maybe to 'force' one into using Sound Trk,, Garage Band or . or some other dummy-downed over-priced Mac specific audio application.

UPDATE: After 'forking' around with the RED's rather bizarre audio settings, input and return adapters, meters, ect. I decided to just record to my SD 'back-up recorder' and never even fed audio to the RED after the first day... I notified the producers I had abandoned the single system audio-to-camera they had 'requested' and they're response was.. "oh", so I never looked back. Thanks for input FWIW, the DP was good, however it still looked like ' 24p video' to me. But maybe I'm missing something and what do I know anyway.

Thanks for the input, I am well aware of the RED's earlier build issues, I maybe thought they improved it to a usable extent anyway. I usually run a back-up anyway... I will bring this to they're attention.. but they have they're budget.. and it's not a high-end feature. Just trying to accomedate them on a run & gun budget. I need the work. I'm certainly open to more advise, suggestions or comments. Thanks again, Rick

Soon to be working on a project with a RED ONE. Client wants single system audio-to-camera and says they have the latest build w/4 audio tracks @ 48k/24bit and the XLR to TA3 adaptors. What should I be aware of in terms of gain structure and other issues. How about a return, I see a TA-3 out and HP jack. Do these carry all 4 tracks? Can I assume the TA3 is line level? Can I plug a Comtek transmitter into any of these, if so what value pad or special cable would I need? I'll be using an SD mixer and occationally a Mackie Onyx. Thanks, Rick PS- I am also aware of the RED's internal cooling fan system.

In lower budget productions on DV cams and the like, many are using 'Plural Eyes' or 'Dual Eyes'. Less time consuming then lining up waveforms manually if there's a huge number of scenes and take files.

Yes, as Greg S. posted, for line-level (-10dB) on the G2/3 body-pack transmitter, use the ring for hot. ( the unused tip should be tied to shield) The mic level input stage is easily over-driven with an LTC audio signal, regardless of the transmitter's sensitivity setting. In addition, the bias current causes additional unwanted noise.

I'm a bit confused here Stephan, do you mean a mic-level output to a Lectro 'Transmitter' w/TA-5 input connector?

I usely ask the producer if they mind seeing the mic. I get about a 50/50 response. Non-drama of course

The only difference I can detect, (using a G2) the "Calrad" plug has a slight bit or in/out play which may have something to do with the shoulder on it. Neither the Sennheiser OEM plug nor the locking plug that Countryman uses, has the shoulder. That said, I have not experienced any problems with any of my OST mics. (or Countryman) Except one the TL40s was DOA when I got it, but was quickly replaced by OST. I suspect the plug was the problem there. OT: I don't know who actually manufactures the "Calrad" 3.5" locking plug, but it is distributed by TecNec. a division of Tower Products Inc., aka, Markertek in Saugerties, NY.

As Petros said, "Interoperability is much bigger concern than others." FCP can export OMF but not AAF ( at least w/o Autom. Duck) PTs is supposed to work with imported AAF files, but my experience with it has not been good and end up requesting OMF files. So perhaps you should stay in a format that import/exports with minimal time and aggravation, or maybe that's another lesson for the kids.

Impressive collection... nice photos too. Well worth perusing.

No Soundie should be without a soldering iron.. and some soldering and wire stripping skills to go with it.

NEAT. I like it as well!!!!

Yeah Jim, The Radio Shack Bucket Brigade analog delay kit. I built and used one... seems like a hundred years ago. Got any pictures of it? Also off topic, another hundred years, I took apart a Fender PA head, (similar to a 'Shure Vocalmaster') The spring reverb tank had a label on it stating "Manufactured by beautiful women under controlled atmospheric conditions in Wisconson" ( or whatever the US state was)

I had the same sort of issue with one of two TL-40s w/ 3.5 TRS connector. I notified Dave at OST and it was replaced w/o question. The other TL40 and the '802 trams' work w/o issue. FWIW, the OST mic cable has a close resemblance in color and size to the Sony ECM series lavs. (44, 55, 77s)

SKB makes some light weight mixer cases. Don't know if that exact size is available.