John Blankenship

When I'm doing post, I will often pull from between other takes, but I still like the option of having a block of R.T. For me it falls under the old adage: "I'd rather have it and not need it than to need it and not have it." JB

A situation I consider worse than yours was a show I worked on with an inexperienced AD who was unsure of himself and, as a result, let the DP and script supervisor boss him around and run the set. For example: AD: "Okay, we're going to do a rehearsal..." SS: "Everybody out of the room -- including sound..." He dutifully obeyed. Talk about clueless. Unfortunately, the DP was shooting more for his reel than the film -- he used every light he could lay his hands on, aimed in every direction possible (no room for boom) -- and the script super had a major attitude. Not the best atmosphere to work under. At least your situation HAD a first AD. On other shows I've done that had a weak AD, the sound department has typically suffered as a result. When no one is in charge of the asylum the inmates take over and almost all of them are there for pretty pictures, not for good sound. JB

I just used the InVision INV-7 suspension for a day of running and gunning at the Indy 500 track. It performed fine. I was a tad concerned that with a 416 the Invision might be too flexible but, in this application it worked well. Even without the additional spacers that are due out soon, the lyres mount fine onto a standard Rycote bar inside a zep, which is how I used it (along with a Windjammer cover). In my case I was wielding a Sennheiser 416. With this rig, there was slightly less handling noise than a K-TEK model K-SM (http://www.ktekbooms.com/products.php?id=47) mount and it was probably on a par with what I would have had with the Rycote hoops and K-Tek model K-SUS (http://www.ktekbooms.com/products.php?id=46) "suspenders." Earlier, someone was asking about using the InVision products with an Oktava. The combination works well. Note that, even though the INV-7 is listed as being primarily for longer mics, the mounting bracket allows two different narrower spacings. The middle spacing is fine for an Oktava. JB

If there was an opportunity during the shoot I would have pulled the producer aside and tried to tactfully point out that -- although the AD was doing a bang-up job for them in some areas -- her inexperience was compromising their audio. Remember to refer to it as THEIR audio and not YOUR audio. The mindset that causes us many of our headaches is that the crew is doing US a favor if they help us get good audio. One of the most important things to remember is to make the production mindful that it's THEIR audio that you're fighting the good fight for. However, congrats. It's cool when people you're working with recognize your efforts. Enjoy it. JB

Josh, Terrific! It sounds like you found the best win/win solution based on your unique situation. Successes like this help build confidence in a big way. In problem solving, there's nothing that compares with good, honest communication between sincere parties. JB

I doubt that anyone is taking any offense. Many of us have been in similar circumstances and have chewed our way through numerous options. In my experience, more often than not, the simplest way is the best way -- and it lowers the stress level. JB

You say they don't want to use lavs and they have little budget. In my view, you've pretty much answered your own question. Use the mic you have (Sanken CS3e) and boom it. If the show is cash poor, there's no reason for you to subsidize it out of your own pocket. Tell the producer (simply and honestly -- no heat) how it's normally done, and what to expect audio-wise using their approach, then do your best under the conditions they give you. Don't sweat the rest. Go home in the evening feeling you did the best you could under the conditions they gave you. That's the most you can do unless you wish to drive yourself completely, stark-raving nuts, worrying over other people's limitations. (Been there -- done that -- quit doing it.) Rest easy. Be glad you don't have to shovel coal into a blast furnace for a living. JB

For most of my suspensions I've been using the K-Tek K-SUS "suspenders" in place of the standard elastic bands. They're extremely durable and cushion better than most bands. They stretch well and I've used them even on the thick body of a Rode NT-4 stereo mic. They will work with many different mounts (Rycote, AT, LTM, PSC, K-Tek, etc.) With a really small diameter mic I sometimes add a rubber O-ring to prevent slippage. http://www.ktekbooms.com/products.php?id=46 The new InVision will have a place in my kit but, based on initial testing, probably only for really lightweight mics. JB, cas

Sound Devices has a simple schematics on its site that derives a mono output while preserving sufficient stereo separation. Go look at their support documents for the SD302. JB

--I believe the Invision 7 is the model that's designed for both the Schoeps 641 and Sennheiser 416, 60, etc. I bought two of them but haven't used them on location yet. I find they are too "saggy" for a fully tricked out Schopes (CMC6, CUT 1, GVC swivel, and capsule). When I have time I want to try it with just the body and capsule -- my guess is, it'll work pretty well in that configuration. They feel nice with a CMIT Schoeps, but are also a bit "saggy" with a 416 in place. JMHO. Rycote plans to sell the lyres separately, along with some small spacers to use them with Rycote mounts inside a zep. Those aren't shipping yet. --Regarding hi-pass filters: I like the CUT 1 because it is so steep. With really steep filters, phase issues can come into play, but I haven't noticed any problems with the CUT 1. The Schoeps Cut 1 is 70hZ with a 24dB/Octave slope. I believe the Sound Devices mixers use a second order filter (12dB/Octave). I'm not sure what the slope is on the Cooper or Sonosax but look forward to finding out. --I agree that a survey with one mount vs everything else is not an extremely worthwhile approach. JB

Larry, No, it should be a tenth of one percent (.001 which is .1%, not .01%). On another note, it's worrisome that the studio doesn't understand how to do a speed change when prepping playback. JB

After getting to know a number of the participants here -- some of whom I've met in person, and some I haven't, I feel compelled to throw in my four cents worth (inflation, you know). When you walk into a restaurant (or visit any place of business, for that matter), there is an ambiance that either directly, or sometimes indirectly, reflects the management of the establishment. It's an undeniable attitude and atmosphere that permeates from the top down. This forum is no different. In this thread, I've read comments about search and seizure intrusion, standing behind opinions wearing a mask (an oxymoron, if I ever heard one), and how some may see this hangout as just another impersonal venue in which to voice opinions. My experience tells me that I probably speak for most here when I say, this ISN'T just another venue. This place is NOT impersonal. It's VERY personal, and it IS more than just another web group. This is a special forum. After all, this is where many of us hang out in between RAMPS parties. If this were a restaurant, Jeff would run it the way he thinks a restaurant should be run (and he'd have MAC computers at every table). He would, no doubt, listen to everyone with an opinion about how his eatery should be helmed: He'd hear a small band of us whine about the MAC-centric bent, he'd entertain the input of how no one should wear shoes and the beer should be free, and he'd at least consider someone's idea of non-stop polka music (at 97dB @3ft on axis). However, if Chef Jeff tried to simultaneously sell 99 cent cheapo burgers, $300 champagne, jello-filled tacos, slimy fish sandwiches, and 3 course dinners highlighted by an entree of quail under glass, his eatery would summarily bomb. You can't be all things to all people. In trying to please everyone, you end up pleasing no one. This is a terrific forum, and it's the personal touch from the vast majority here that helps to make it such. (No comments, please, about a "half-vast" majority.) What JWsound.net offers is special. It's Jeff's establishment and he's wise not to try to be all things to all people. Instead, he should focus on it being what his vision says it should be -- and, for that matter, what it already is to most of us: a really cool place to learn, share, commiserate, and hang out. John Blankenship (And finally, after years of self therapy, proud of it!) Oh, and C.A.S. -- proud of that, too.

IMO, that's a design flaw of the Rycote Stickies which is an unfortunate result of the company's choice to specify a sticky that can only be used once, so you'll need to buy more. If you apply a Sticky, and then need to reposition it, you must use a new one each time. A hassle, an annoyance, slows you down -- and bad thinking on Rycote's part. There are two very good alternatives that I use. One, is the old standby "Top Stick" pre-trimmed to fit the Overcovers. The other alternative is the 3/4" sticky dots that you can get from Filmtools. Both hold much better than the Rycote Stickies. As far as how "obvious" the Overcovers are, it depends upon how well you match the color to the clothing or how nicely you can tuck them under a flap of a jacket, or the edge of a shirt, etc. JB

I've used the M150 on some occasions and they're not bad -- just not as natural sounding as a COS-11, for instance. However, from the way I read your post, that's not your real issue. Your issue is wind protection and a foam teardrop is not very effective. A Rycote Overcover, properly positioned, can work wonders, as can a Microcat. JB

Count me as another fan of the new look. JB, cas, etc.

That's good news indeed for us SADiE mavens. If I had been them, though, I wouldn't have made the announcement on April first, I would have waited a day. It'll be interesting to see what direction the company takes under a new banner. JB

Or, to throw a real world application into the discussion, the 201s or 401s would not be the best choice for use in a bag system where you also had a pair of transmitters sending a wireless link to camera. Transmitters in close proximity to a receiver will desensitize it and therefore diminish the usable range. Having a non-tracking front end would aggravate the situation, so, for instance, if you had a pair of 211s or 411s and a pair of 201s or 401s, then you should use the 01s as the camera receivers and the 11s as the receivers in the bag. It's still a good idea to position the transmitter as far from the receivers as you can in the bag system. Also, having the outgoing and incoming signals several blocks apart can help. In most situations, the results from the 01 systems has been better than even Lectro expected and users have been quite satisfied with them. If you can afford the 11s, they are worth the expense for the added security in today's crowded RF world, but if the 01s are what fit your budget, you'll probably be well pleased with their performance. JB

I thought that's what your head is for. ...easy to transport, and ...in some cases... is a multi-purpose device. JB

Which AT mic are you looking at? If it's the higher end ones, they would suffice. If it's something like the 835, you can do much better. I'd choose a used Sennheiser ME80 or ME66 over the lower end AT shotguns any day of the week. If it's an ME80 (my preference of the two), find one that has the letters SENNHEISER in outline (not solid); they sound better. If your mic budget is below $300, and you only want to buy new, check out the Rode short shotguns. BTW, I've been quite happy with my Edirol R-09 as a small (and extremely light) backup recorder. .02 FWIW JB

These days it's either TSA or "You want fries with that?" JB

Rob, So far I haven't been hit too heavily by HOLDs. However, if you have, I'd say your position is entirely reasonable. When you tell them your terms, they have the option of saying either, "Okay," or "Never mind, I'll see if I can find someone I can abuse." For me, how far I'll go out on a limb for a client depends largely upon who's doing the asking. Just the other day, I had a company I've done a lot of work for -- and who usually gives me solid bookings -- request flexibility in a hold. At first they put me on hold for Thursday (to be determined on Thursday morning), then they moved it to Friday (to be determined late Thursday). I offered to be flexible for them since I knew it was an unusual circumstance. The true test of a deal is how you feel afterward, and, in this case, I feel I made the right choice. This is definitely a case of YMMV. JB

When possible (and when I have my wits about me) I always try to carefully walk through the terms whenever things change. So, after the first day was off the table I would have (if it was one of the days when I had my wits about me) inquired about whether or not she needed me the second. Most bookings seem to want all or nothing, but when they're scrambling to fill positions, all bets are off. I try not to make too many assumptions, and also to remind myself to carefully spell out just what we're agreeing to. Even with caution, though, we all still run into odd, unpredictable situations. Another interesting one came up three days ago. It was a last minute call and the person booking the job was a staffer who was not in any negotiating position and never brought up rate. When the paperwork was emailed, the rate quoted was below my normal fee. On a follow-up phone call I mentioned that to her and she said she would have to talk with someone, that she didn't have anything to do with financial arrangements. I never heard back (this was all last minute, remember) and headed out of town for the two day job. It turns out that the person who normally did their booking is no longer with the company and whatever staffer is available is filling in until they hire a replacement. I will invoice them for my normal rate and see what happens. They're a good company, so I expect things will be handled reasonably. JB

INT. MAXIMUM SECURITY PRISON - DAY Three grizzled CONVICTS lounge about a dingy cell. The bars CLANG open and a fourth CONVICT in chain restraints and shackles is shoved into the dank interior by two burly PRISON GUARDS. The door CLANGS shut and the guards leave. CONVICT #1 (TO CONVICT #2) What're you in here for? CONVICT #2 I counterfeited twenty dollar bills and distributed them over a fifteen state area. What're you in for? CONVICT #1 Ran a string of hookers, a protection racket, numbers... the usual. (TO CONVICT #3) You? CONVICT #3 I murdered my wife and her parents. What's it to ya?! CONVICT #1 (TO CONVICT #4) How 'bout you, newcomer? CONVICT #4 Sound mixing. They nailed me for a block 28 infraction. The other three shrink back in fear. FADE TO BLACK. NOTE: Alternate CONVICT #4 line: "When's lunch break."

Thanks for the "notes." I'll get on the rewrites right away. Whoops, is the strike officially settled, yet? Maybe I should have waited. JB

I carry two mounted and fully Rycote-dressed mics in a Plano AirGlide case: A 416 w/thirteen foot VDB lays in first (Rycote folded in) -- foam cushioned -- then a Schoeps mounted on an eight foot pole with pipe insulation foam slipped around it, lays on top of that. I made my own foam cushion inserts and used the ones that came with it for something else -- and the included straps found a home on my carts -- that's ecology. http://www.planomolding.com/content/index.cfm?siteaction=product&lineid=1&groupid=10&sectionid=29&partid=27 (Click on magnifying glass for closer view.) Here's more information: http://accurateshooter.wordpress.com/2007/11/10/planos-airglide%E2%84%A2-rifle-case-popular-with-shooters/ Although I've seen them listed for as much as $88, for the protection it offers, it's surprisingly affordable: http://www.amazon.com/Plano-AirGlide-Single-Scoped-Shotgun-Rifle/dp/B0001NA22C/ref=sr_1_1?ie=UTF8&s=sporting-goods&qid=1202827753&sr=8-1 An added benefit -- when people see you toting a gun case on set, you suddenly get increased respect. Ironically, in and out of numerous government buildings, past security, et al, nary a stray question about the case or its contents. Totally off-topic note: While writing this post, three (count-em, three) different commercials that I worked on recently aired during the "Today Show" local cutaway on the TV in front of me. JB